The "Bass"-ic Blog

     The second most popular method book for orchestral bass playing is New Technique for Double Bass , written by Francois Rabbath. Devised as an alternative to the Simandl method, the Rabbath method uses the "pivot technique" to allow the bassist to cover more than 1 whole step per string in each hand position. Here is a video of Hans Sturm , former president of the International Society of Bassists and bass educator, explaining the pivot technique to Jason Heath of Contrabass Conversations : Here is a look at the pros and cons of the Rabbath method: Pros The Rabbath method was written as a way to break bassists from their usual role as accompanist. As Rabbath states in the introduction, "the young player should rather begin his studies with higher aims - to become a soloist and to direct his efforts in that direction." The "pivot technique" allows players to cover a wider range of notes without shifting. In the Rabbath method, a 1 octave ...

     Most music educators agree that the best way for  beginning students to improve on their instrument is by working out of method books specifically designed for that student's instrument. In the classical bass world, it often comes down to a question of Simandl vs. Rabbath. In the next few posts we will look at the pros and cons of each of these method books. I will also explore a third method for orchestral bass (The George Vance Method) as well as what I have found to be the best book for teaching jazz bass playing. New Method for the Double Bass by F. Simandl      The orange cover of New Method for the Double Bass  has become a staple on the music stands of bass players around the world. The most recent edition, published in 1984, maintains the same fingerings, bowings, and page numbers as previous editions. The only changes are clarifications of the translation of Simandl's original remarks and the addition of footnotes intended to upd...

     Choosing repertoire is one of the more important decisions music teachers make and can directly effect the learning outcomes of your ensemble for the entire semester. While there is often a tendency to choose literature that will wow the parents at your next concert, one must also consider the educational value of each piece and often that value varies from instrument to instrument. According to Bob Phillips , Director of String Publications for Alfred Music , older pieces for string orchestra tend to have large gaps in difficulty between the parts. That gap often looks something like this: Overall Grade: 2.5 Part Part Difficulty 1st Violin 3.0 2nd Violin 2.0 Viola 1.5 Cello 2.0 - 2.5 Bass 0.5 As you can see, there is often a major discrepancy between the difficulty of the bass part and all the other parts. Here is a musical example demonstrating what Bob Phillips is ta...

     Hello and welcome the The "Bass"-ic Blog! My name is Bill Dickson and I have been a professional bassist for the last 28 years, playing primarily big band, musical theater, and accompanying high school and middle school show choirs. During that time I have also spent many hours as a clinician and rhythm section coach for school jazz ensembles. I recently returned to college to complete my BA in Music with the goal of earning my teaching credential and teaching music in an elementary or secondary school. This blog is starting as my senior project, a requirement for graduation. In my years of working in various school environments I have noticed bass players in orchestras and jazz ensembles are often at a disadvantage because most teachers only have a passing knowledge of the double bass the goal of this blog is to provide teachers who don't play bass with some insight into the world of double bass playing with a focus on the grade school environment. Some of the subje...