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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I still have to work to remember it after all these years.
The use of the ring finger helps develop advanced technique in the middle register very quickly if applied diligence.
Included are two of the most often-performed works in the double bass repertoire: The shot length allows for a typical student to learn about one tune each lesson, and each tune introduces a new technique, note value, bowing, or string crossing. Thanks for the comparison, I never realized how lucky I was to have parents that were so progressive by putting me in classes with George. Many of his ideas seem ill-conceived to me, from his advocating collapsing of the left hand fingers to his extremely specific ideas regarding instrument shape and size, the use of the French bow, and advocacy of bent end pins.
Im working know for about a Year and my studies prooved to be a very good complement for my students. All and all, I think people should explore the different types of instructional books out there. An active double bass performer and teacher, Jason is a member of the Board of Directors for the International Society of Bassists. In his mid-life Rabbath worried about finances and auditioned for a position in the Paris Opera Orchestra.
This exactly how I am now teaching- Vance to get em going and learning musicality, Simandl to clean things up later. If poor techniques are ingrained at an early age they are almost impossible to fix. It sounds like your students will be more than prepared for that, Jason.
Movement is the fingering, space is the accuracy of the notes he never says something is out of tune, instead he says the space is not rightand time is the playing time. They have collaborated on compositions and recordings and surely their friendship has fueled their desire to be musical together.
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!
In contrast, the six Rabbath positions are based around the major harmonics on the bass and are extremely easy to remember. Not only is she willing to inspire those she conducts; she is constantly searching to learn more herself. In he went to Paris, hoping to meet Nanny, who had died nearly ten years prior to his arrival, but he continued to study, and in recorded for the first time.
About 5 minutes of this is all a young student can endure before their eyes glaze over and they begin wishing they were back in math class.
Have I become a Rabbath technique convert, then? From 4th position you can extend the fingers and use one per semitone which frees things up immensely and makes playing much easier. It really does teach you how to play in an orchestra.
Further reading and resources: Proto has written five major works for double bass and orchestra especially for Rabbath who has premiered and recorded them all. Honestly, I love the Simandl Method for what it is. Those books give you the same scale like 5 different ways and positions that way you can never be caught off-gaurd for fingerings. The main differences in Rabbath’s approach from that of the double bass method of Franz Simandl is Rabbath’s use of the left hand and his detailed attention to the bow arm.
Hope this all helps and is of interest!
This is my personal experience. Many, too many bassists do their job because they learned by Simandl and their stupid teachers. I still work on the Etudes and exercises out of these books, and can also admit, that because I am not a beginner by any means, the Simandl method proves it self infinitely more relevant to anything else I am working on, be it orchestral or solo.
As an experiment, ask francoiss professional bass player sometime to demonstrate all of the Simandl positions. Straight from the heart. All this came to fruition when in I switched to 5ths tuning, and everything fell into place.
Although it is commonly agreed that Rabbath is a phenomenal player, often cited as the Paganini of the double bass, his influence on double bass pedagogy is still controversial.
Years later, I found a Suzuki teacher who was willing to take me on, and I flourished. I started out learning the double bass from a student of the orchestra that I used to play eabbath. This is the problem, not Rabbath.
Long discussions of technical issues are to be avoided at all costs. Views Read Edit View history. Thanks for the great thoughts on the various bass methods. Looking forward fr more. When a student starts in 3rd position they are able to play pentatonic tunes, which are much easier for the young ear to process and hear 3rds, 4ths and 5ths are much easier to hear at first than half steps. So all Germany goes on like before.
I often work out of large sequences to help clean up things rabbatg my playing a couple of years ago I started from the very beginning and worked through the whole book.