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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One of my bass teachers had given me some George Vance books to look through and study. In Simandl’s system, first position below thumb position encompasses only a whole step.
That I definitely have to agree. Similarly, Rabbath developed and named the crab technique, wherein a finger is never lifted from the string until the next finger is placed. About 5 minutes of this is all a young student can endure rabbatj their eyes glaze over and they begin wishing they were back in math class.
Just came across this article. Long discussions of technical issues are to be avoided at all costs. How the Rabbath method helps bassists get unstuck.
Which is the better?
I tell my students first of all that the excercises are not designed as great music. Those books give you the same scale like 5 methos ways and positions that way you can never be caught off-gaurd for fingerings. Pivots thus enable the fusing of several different positions at once.
Double Bass Arco and Classical Bass Method Books, Petracchi, Rabbath, Reinke, Rollez
To adhere blindly to a certain system would be a serious mistake and detrimental to performance. I completely agree that Simandl should be treated as an advanced text. And it really is hard to accept this. From Wikipedia, the free encyclopedia. In his mid-life Rabbath worried about finances and auditioned for a position in the Paris Opera Orchestra.
Hope this all helps and is rabbatj interest! He is a truly creative artist speaking in a compelling original voice. Also, my beginning 4th grade students had a terrible time reading the sharps and flats that Simandl put into even the very beginning of his materials.
Rabbath did not think the tailor would sell jethod the book so he stole it! 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.
I completely agree with you about the Boring thing when starting bass studies. Coming from a bassist who had no private lessons for most of his bass playing years minus collegeI found that the Dr. The only conclusion I can come to is that 19th century string actions and gut mdthod meant that this was the only practical way of playing at the time. Sadly, Fabbath had died eight years earlier and Rabbath would never get to have these conversations with him.
Instead he says the student should study the score and work on the music without the instrument. Francpis Rabbath began a collaboration with American composer Frank Proto. For example, similar exercises are found on the first page of Franco Petracchi’s Simplifed Higher Technique.
Over time, I realized that, by focusing on the six Rabbath positions and learning the fdancois motions, most students did not need to stare at their left hand or fingerboard and could instead rely on their ear and their sense of touch to find notes. The comfort navigating the fingerboard and the flat position hierarchy taught by Vance no position is scarier than any other sets up a student for all of the challenges of Simandl, and the combination of both methods in this sequence much more effectively prepares the student world of orchestral music.
But the recordings that are available rxbbath This is my personal experience. Views Read Edit View mrthod. The reason a pivot is not a shift is because the thumb does not move either on the string or behind the neck. The use of the ring finger helps develop advanced technique in the middle register very quickly if applied diligence.
The only materials available at the time were for the cello. I want to have fun also, was his answer. I try to make sure the student comes away with a strong set up…a secure left hand shape and a parallel franfois.
Subscribe to get our weekly newsletter covering the double bass world. Not by a long shot. I liked the tunes the Suzuki tune progression is very well-conceived but was unsure about trying to use these books without any Suzuki training.
I do the same thing myself.
Rabbath versus Simandl – a comparative study for double bass – Jason Heath’s Double Bass Blog
This page was last edited on 12 Decemberat But thanks to the diagrams and music examples Rabbath was able to make connections between printed notes and positions on the strings of the double bass. The technique is outlined in the third ffrancois of the Rabbath Method and allows for part of the hand to move while the other part remains and vice versa — in this way the hand can move up and down the string in certain passages without ever fully shifting.
Nor me or somebody else in the world would be inspired by Simandl in that way. I have never tried Vance Progressive Repertoire books. I have started students both ways, and the Simandl students leave their first lesson with a grimace while the Vance students leave with a smile.