I read a thread about double bass learning method. Almost everybody recommends Simandl's book. I would, with respect, like to know why. I started to play double bass when I was about 30 after 15 years of playing bass guitar. I had a teacher for about a year, we covered the 'physical basics' of posture, both hands, bow. I didn't need to talk theory or 'how to play jazz' or 'what to play' as I knew it already. Since that time I'm learning myself. I don't have the ambition to play classical music, it's jazz and around for me. In Prague, where Simandl studied around 1860, I never heard about Simandl method. I went to main city library, where they have lot of Simandl's etudes, and hidden in the depth of underground depository a single print of his first method book from around 1920 in german. I scanned it through. Seemed to me very similar to other, newer 'classical' methods better known in Czech, like Frantisek Cerny Double bass technical studies (1927). To me, the basic idea of Simandl/Cerny is 'play in low positions, when you are proficient, learn a new position higher on the neck'. The book itself doesn't really oblige the 'rigid' left hand pressing of two halftones with 1,2,4; I guess this is more a pedagogical tradition. When I was learning by these ideas, I was progressing slowly and painfully. As it is very repetitive (play the same until you can do it), I was fixating the good habits as well as bad ones, and the teacher constantly had to rectify me. I never understood, why I should learn what is position II, III/II, III etc, when really I need to learn the positions of tones and how to approach them. To me, much more satisfactory was Ray Brown's bass method. There is emphasis on playing in all scales, all notes on all strings. From the start, it takes the bass as an instrument where all fingerboard is approachable. It shows what you would want to learn tomorrow, after you deal with today's problem. Also, the intonation is learned from relations between tones, not in the 'this tone is here' way. And, not least, the licks you learn you really can use in your music. I was thrilled by watching Chris Fitzgerald's Left hand techniques perspective. It confirmed my feeling that double bass should not be learned in 'this is done like this' way. It's more effective to know how many ways there are to do the thing, so that the student understands he needs to find the way that serves him best, even if it forced old Simandl to turn in his grave. I would like to know whether the contemporary pedagogy corresponds with what I say. Or am I missing something and there is something important Simandl can teach me?