Double Bass Simandl 1 review, after all these years...

[chicagodoubler]

I hadn't cracked Simandl 1 open in years, and decided to take my own medicine for a while.

WOW that book is hard. Even as a pretty durn seasoned professional, it's been kicking my butt this week.

I've discovered several places on the neck where I consistently play out of tune, and a transitional position that I avoid... because it's consistently out of tune. Having problems in the bottom half of the instrument? Simandl can fix it.

Also, anyone who says Rabbath has crazy fingerings needs to take a closer look at some of the stuff in the introductory positions of Simandl 1. Even after spending years with the insanity fingering section of Rabbath 3, there were a couple things that I had to slow down and use a tuner for- some weird celloistic stuff in the lower positions.

Cheers.

 

[David Potts]

No harm in looking back so long as you don't tend to plateau comfortably amongst old friends. You will go back each time with different eyes and ears. I keep going back to Sturm Vol. 1 whenever I haven't practiced for a while. Using 1 2 3 4 fingering all over the neck positions I am painfully aware of intonation when combining 1/2 and 1st Positions, especially A flat on the E string .
Cheers, DP

 

[gerry grable]

No harm in looking back so long as you don't tend to plateau comfortably amongst old friends. You will go back each time with different eyes and ears. I keep going back to Sturm Vol. 1 whenever I haven't practiced for a while. Using 1 2 3 4 fingering all over the neck positions I am painfully aware of intonation when combining 1/2 and 1st Positions, especially A flat on the E string .
Cheers, DP

It just proves that we're all different. I've never understood how so many people have trouble with the A flat on the E string. However, as far as the 1 2 3 4 fingering all over the neck , my third finger always wants to play flat. It's as if having been Simandlized for so many years, my 2nd and 3rd fingers are married.

 

[David Potts]

Gerry, it is probably because the pinkie lacks some strength and I forget to back it up Simandl-style with the other fingers, eg when moving from B flat on the A string. My 2nd finger gives the clearest A flat, especially for long held notes and soft dynamics.

 

[chicagodoubler]

David,

Rabbath 1 has been my go-to for years for 1st/half position. It's often overlooked that these are most definitely the most challenging positions on the neck, and the place where we spend a disproportionately large amount of time professionally.

One difference I noted recently between absolute top-notch orchestral players and everyone else is the mastery of the lower positions. I was sitting in a section with the players of a certain well known opera orchestra and realized I needed to go back and dig the "basic" books back out and work on tone, power, and articulation...

And yes, continuing to grow is the alpha and omega of professional musicianship.

 

[Hector Wolff]

Gerry, I assume you mean third and fourth fingers are married Simandl style

 

[Lbernardes]

I kinda know how it feels, where i come from we dont really use simandl, teachers here preffer the streicher stuff.

Every single time i go back to it there are always so many things to remember and start practicing again. I really enjoy revising technique with that, and must be psychologically prepared to do so because thats just so frustrating hahaha

 

[chicagodoubler]

Lbernardes,

I dug the Streicher books out recently as well. His tips on the German bow are nearly universal. Every serious student should at least look at these books.