This might work well for some, but I don't think its very good advice. I think its far more valuable to work with one teacher for a few years before moving on (unless, of course, its not a good match or they're not a good teacher!). Ruts are invaluable learning tools, and working your way out of them is a skill you will need in any venture you undertake for your whole life.
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Double Bass What's the best beginner DB book?
- Thread starter Lorenzo
- Start date
This might work well for some, but I don't think its very good advice. I think its far more valuable to work with one teacher for a few years before moving on (unless, of course, its not a good match or they're not a good teacher!). Ruts are invaluable learning tools, and working your way out of them is a skill you will need in any venture you undertake for your whole life.
JAUQO III-X
Inactive
The Evolving Bassist by Rufus Reid,it comes in two volumes,the two volumes combined and in DVD format.
http://www.amazon.com/Evolving-Bassist-Rufus-Reid/dp/0967601509
http://www.amazon.com/Evolving-Bassist-Rufus-Reid/dp/0967601509
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I'm in the same boat as the OP I started playing DB two weeks ago after AGES of BG. I got a teacher to get me going. We are using Simandl and supplementing with Ray Brown book the Blues lines in the back. After my first lesson I picked up the Simandl 30 Etudes for some more DB music. My teacher is happy with it and I'm working on my bowing with the first etude.
I agree with getting more than one perspective, but I have studied long term and taught students long term and rarely did the teacher or dare I say I not have something valuable to impart.
For one thing the correct sequence of information is very important. Knowing exactly which step is valuable. That is often what you pay for.
Also, a teacher will let you know which area of your playing is slipping.
Another is the fact that most of us will cater to our strengths in practice, set up and performance and not our weaknesses.
A teacher can help you get out of that at any stage of your playing.
On the other hand, I have gotten a lot out of going to different great well-known players to get specific information that they have.
Often it is a one off lesson, but if you do your research and ask very specific questions you can get a lot out of a musician who is in town for a night.
You may also want to get certain information such as a different bow grip or method than your primary teacher specializes in.
However, just a random, shot in the dark in getting more than one teacher without doing the research won't do much for you.
I agree that you should stay with someone fairly long term (if they are good and you two work well together), but getting different perspectives is always a good thing. To me it would seem the best way to compromise is to keep a good regular teacher, and also to explore what others have to say. This way you get the benefits of both.
My approach was to have my main teacher, and then I would organize workshops and lessons with bass players who's playing I admired when they came through town.
I hope I didn't discourage anyone from trying for a career as a Double Bass Method Composer. It does have a bright side and as soon as I find it, I'll let everybody know. In the meantime, I'll continue with the heavy, black beard and carring a trumpet case.
Tom Gale
asodb.com
There IS a bright side! Last year, I broke EVEN on those 5 unnamed things! Also, for my disguise, I'm now still wearing the big, black beard but carrying an empty flute case - its lighter than the trumpet case.
AKA Tom Gale
ASODB.com
AKA Tom Gale
ASODB.com
i did, he told me to get the sturm etudes book
(among other things)
yes, i'm a thread necromancer
Thanks, Tom... I just started writing "Double Bass For Dummies". Word on the street is that I'm eminently qualified.
i did, he told me to get the sturm etudes book
(among other things)
yes, i'm a thread necromancer
i just wanted to add that i now hate wilhelm sturm
etude #3, 2nd measure makes me feel totally inadequate as a bassist and human being.
(just kidding, i really do love this book
)etude #3, 2nd measure makes me feel totally inadequate as a bassist and human being.
Excellent starting point! Now, there is hope for you to become a great bassist! So, figure a way to overcome the 2nd measure musically even though you may have to push the envelope - technically speaking.
Tom Gale
ASODB.com
Excellent starting point! Now, there is hope for you to become a great bassist! So, figure a way to overcome the 2nd measure musically even though you may have to push the envelope - technically speaking.
Tom Gale
ASODB.com
yeah, the one thing i love most about the sturm etudes is you really get the sense you've expanded your abilities when you get one down
even though you may have to push the envelope - technically speaking.
Tom Gale
ASODB.com[/QUOTE]
Let me tell you about my first musical catharsis of many, many years ago. Just graduated from college, had had two teachers - both Simandlites (that's a Gary term..) Got a gig with a part time symphony and was finally getting paid. Things we going well until a concert which featured Kabalevsky's 'The Comedians'. There is a spot that has C, Bb, A, G - all sixteenths single bowed, played 4 times and then ending on F at a wild presto.
The section did the usual C4, shift to Bb2, A1 and open G. It was a mess.
I went home and tried everything I had been taught. Still a mess at that extreme presto. Then a light came on. If I shift, I'm done - no time. Both teachers would roll over BUT I played the C4 - tossed in a half step pivot to Bb2, A1 and, during the open G, pivoted back to C4, etc. Two other players heard it during the next rehearsal and asked how did I do it. One did it beautifully and the other said his teacher wouldn't allow that. Oh well..... It worked and once the 'can't do it that way' chain is broken, other ideas flowed.
Tom Gale
ASODB.com
Tom Gale
ASODB.com[/QUOTE]
Let me tell you about my first musical catharsis of many, many years ago. Just graduated from college, had had two teachers - both Simandlites (that's a Gary term..) Got a gig with a part time symphony and was finally getting paid. Things we going well until a concert which featured Kabalevsky's 'The Comedians'. There is a spot that has C, Bb, A, G - all sixteenths single bowed, played 4 times and then ending on F at a wild presto.
The section did the usual C4, shift to Bb2, A1 and open G. It was a mess.
I went home and tried everything I had been taught. Still a mess at that extreme presto. Then a light came on. If I shift, I'm done - no time. Both teachers would roll over BUT I played the C4 - tossed in a half step pivot to Bb2, A1 and, during the open G, pivoted back to C4, etc. Two other players heard it during the next rehearsal and asked how did I do it. One did it beautifully and the other said his teacher wouldn't allow that. Oh well..... It worked and once the 'can't do it that way' chain is broken, other ideas flowed.
Tom Gale
ASODB.com
simandl hands down
and to whoever said "old techniques"
there's a reason people are still using them
and to whoever said "old techniques"
there's a reason people are still using them
Well, it's not really a book and it probably would be considered intermediate by some, but I suggest the Jeff Bradetich Bass Technique DVD from Lemur, Shar, or Mr. B himself. I think it comes with notated examples of whats on the DVD. The man is always coming up with better ways to learn the instrument.
I just found this thread so I'm reviving it as a zombie thread.
Thank you to the former member for mentioning my text "An Introduction to Double Bass Playing".
I think the best advice is getting a seasoned and experienced teacher. My book is not a method book but can be a great resource for someone entering the world of double bass. It is geared toward music educators who are not bassists but do have to teach double bass.
In my private studio I use:
- Simandl
- Practical Studies by Thomas Gale (and his following books when they're ready)
- Sturm etudes
- Suzuki - BUT I have to include a big addendum on this. The Suzuki bass books use a very specific and not widely used pedagogy. It tends to use upper positions with string crossings much more than traditional fingerings. I also dislike the notation for shifting. It uses arrows rather than a traditional dash ( - )..... Gale uses a slash ( / ) for shifting... Perhaps it was easier when printing. The music in the Suzuki books is great. I greatly temper the included fingerings with traditional fingerings.
That said here are a few additional thoughts:
Simandl is hands down the best method for learning and mapping the fingerboard. It is also the most boring and dry text there is. I use it in small doses. Thomas Gale's method of scaffolding the fingerboard with positions I - IV - Thumb is the absolute perfect supplement to use with Simandl. Between the two, students easily create a mental fingerboard map while simultaneously avoiding the Simanld trap of a fear of higher positions. I'm not a fan of a few of Gale's pages of string crossings and bow placement but that is a subjective point.
I require all my private students to purchase Simandl, Gale, Sturm, & Suzuki.
Thanks for reading / listening!
MostlyBass
Link Removed
Thank you to the former member for mentioning my text "An Introduction to Double Bass Playing".
I think the best advice is getting a seasoned and experienced teacher. My book is not a method book but can be a great resource for someone entering the world of double bass. It is geared toward music educators who are not bassists but do have to teach double bass.
In my private studio I use:
- Simandl
- Practical Studies by Thomas Gale (and his following books when they're ready)
- Sturm etudes
- Suzuki - BUT I have to include a big addendum on this. The Suzuki bass books use a very specific and not widely used pedagogy. It tends to use upper positions with string crossings much more than traditional fingerings. I also dislike the notation for shifting. It uses arrows rather than a traditional dash ( - )..... Gale uses a slash ( / ) for shifting... Perhaps it was easier when printing. The music in the Suzuki books is great. I greatly temper the included fingerings with traditional fingerings.
That said here are a few additional thoughts:
Simandl is hands down the best method for learning and mapping the fingerboard. It is also the most boring and dry text there is. I use it in small doses. Thomas Gale's method of scaffolding the fingerboard with positions I - IV - Thumb is the absolute perfect supplement to use with Simandl. Between the two, students easily create a mental fingerboard map while simultaneously avoiding the Simanld trap of a fear of higher positions. I'm not a fan of a few of Gale's pages of string crossings and bow placement but that is a subjective point.
I require all my private students to purchase Simandl, Gale, Sturm, & Suzuki.
Thanks for reading / listening!
MostlyBass
Link Removed
Last edited:
