François Rabbath (born in Aleppo, Syria) is a contemporary French double- bass player, Another technique used by Francois Rabbath is the Crab Technique, named for the way the hand movement resembles a crab’s sideways walking. François Rabbath demonstrates his crab fingering system as an alternative to traditional shifting. In contrast, the New Method of François Rabbath and his followers divides the double bass into six positions and navigates the notes in each of these large.
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His fingerings were kind of confusing to me. Progressive Repertoire fuses the Suzuki repertoire and the Rabbath technique with traditional double bass technique and repertoire with excellent results.
Jason Heath’s Double Bass Blog
Included are two of the most often-performed works in the double bass repertoire: My 4th graders had just learned the D scale in school and old man Simandl was having them grind away on atonal and they really are atonal exercises with accidentals galore. Ill definitely check out the Vance.
Pivots are often mistakenly called extensions or shifts. Just came across this article. His blog and podcast are highly regarded in the music world and have been featured as top offerings in the world of arts and culture for the past decade. Many, too many bassists do their job because they learned by Simandl and their stupid teachers.
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This bloody awful set of tuneless exercises left me frightened of anything beyond keys closely related to C major and any position beyond first. Simandl has the students grinding away at half steps in non-melodic patterns the first time they put down their fingers. Rabbath left the conservatory on good terms and began to pursue other opportunities. My experience with it is limited—mostly from former students of Rabbath, never with the man himself.
I was really bored to tears, but it really really helped the left hand alot. If poor techniques are ingrained at an early age they are almost impossible to fix. Progressive Repertoire Simandl, Franz: I learned many of his pieces and played them for recitals, competitions, and other events.
Using these six positions and the pivot technique where the fingers rock backward or forward but the thumb does not move a bassist is able to reach many more notes from a single position than they can with more conventional positions and shifts.
Several very well known double bass teachers have gone to Paris to study with him and bring his approach back to their own students. His scale work in Book 2 is truly brilliant in getting a secure feel for whereever you are on the fingerboard in any key, although I thought he was mad when I first saw them! As far as Simandl is concerned, I went through all of that when I was a student, and I loved the method, perhaps because I had a really good teacher that was able to get it across in a perfectly positive way.
Another technique used by Francois Rabbath is the Crab Technique, named for the way the hand movement resembles a crab’s sideways walking. Further reading and resources: Right know I like to publish my small book, because many people of different countries asked me for it mostly latinamerican countries because the text its in spanish Maybe you can help me contact some editorial that you think they will be interested on.
Rabbath versus Simandl – a comparative study for double bass – Jason Heath’s Double Bass Blog
I completely agree that Simandl should be treated as an advanced text. His discussion of how to practice is most interesting. It moved doggedly slow, and was extremely boring.
Dan Swaim did a wonderful job putting together the Suzuki bass books. Rabbath believed that these three elements must rzbbath synchronized in order for the music to happen accurately and does an excellent job of explaining this theory.
He divides the bass fingerboard into six positions, based on the natural harmonics of the instrument. Second, he believed students should learn to play the double bass as soloists, no matter what their ultimate musical function would be Rabbath,p. The fingers truly look ragbath a crab running along the beach francoiz they scurry over each other.
This was a revelation. I started out learning the double bass from a student of the orchestra that I used to play in. On the other hand, they were learning their positions well even if they were bored.
He does not recommend sight-reading. I believe the result of this journey is a synthetic approach that combines the strongest elements of each set of practices into a cohesive yet open architecture that consistently produces rapid progress for my students… and now their students as well. He started teaching private lessons in about 50 years old and still teaches, although clearly not as much now that he is 80 years old.