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96799
New Method for the Double Bass - Book I
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New Method for the Double Bass - Book I by Franz Simandl Double Bass - Sheet Music
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New Method for the Double Bass - Book I Book 1 (English and Japanese Text) by Franz Simandl Double Bass - Sheet Music

By Franz Simandl
Chamber Music String bass (Double Bass)

SKU: CF.O492

Book 1 (English and Japanese Text). Composed by Franz Simandl. Edited by Frederick Zimmermann Lucas Drew. Perfect. Back To School. Instructional and Technique. Instructional book. With bowings and fingerings. 149 pages. Carl Fischer Music #O492. Published by Carl Fischer Music (CF.O492).

ISBN 9780825801525. UPC: 798408001520. 9x12 inches.

This edition of the highly acclaimed method features extensive editorial notes by Lucas Drew, in both English and Japanese. An indispensable resource for students of the bass.

Ratings + Reviews

Based on 2 Reviews
Anonymous
December 05, 2017
Simandl Book 1
I have been a member of a 52 week symphony orchestra for over 30 years. This book is actually more useful as a warm up book for orchestral professionals than as a bass method. I've used it as such for my entire career. I believe there is no really great method book for a beginning student-it should be a highly individualized effort between teacher and student.
Shaun K.
September 15, 2010
Needs to be retired
The New Method for the Double Bass by Franz Simandl will always have an important place in the history of double bass pedagogy. Having said that, it is hardly new. Simandl died in 1912, and the most recent, Zimmerman/Drew edition came out in 1984. Though Volume I is advertised as a beginner method, I cannot think of a more inappropriate book for young students. It's like reading the bass playing equivalent of a scientific study of tying one's shoes, totally missing the point of view of a beginning student. It focuses on the left hand, ascending the fingerboard in half steps, attempting to establish an unwieldy and frankly impossible-to-remember position system, on the way to convincing the student that playing in the upper registers of the instrument is inherently hard or somehow only for advanced players. The worst part is that the exercises are patently unmusical, and as such are just plain boring.