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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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. As I had student after student play them for me in lessons I have taught a LOT of private lesson students I came to two conclusions: This is the problem, not Rabbath.
That I definitely have to agree. Those atonal, grinding exercises that I groused about earlier are actually EXACTLY what we bass players do in orchestra much of the time, and being able to read all of those accidentals across the strings is an absolutely essential skill for bass players in an ensemble.
Unfortunately it is also impossible to find. He is a virtuoso player, and he has inspired a large cadre of bassists from disparate musical genres and continues to travel the world as a soloist and clinician. It was not a method per se but was a great collection of fun stuff for students to play! I am a conductor, composer and double bassist with an active performing and teaching career.
Things get better as you go up through the positions, so that by fourth position the exercises suddenly have musical direction, logic and slow, and make sense to the student. If I could do it again I would have all of my beginner students start with the Vance Progressive Repertoire books.
Rabbath versus Simandl – a comparative study for double bass – Jason Heath’s Double Bass Blog
All this came to fruition when in I switched to 5ths tuning, and everything fell into place. 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. Dan Swaim did a wonderful job putting together the Suzuki bass books. This is before he has ever even met with a double bass pedagogue!
Jason Heath’s Double Bass Blog
It is not a young student-friendly book. Thanks for your work blogging, your place its helping a lot for the world bass comunity Andres….
The following is a summary of this life story. Have I become a Rabbath technique convert, then? I would vote for Simandl. In Rabbath began a collaboration with American composer Frank Proto. The Simandl New Method teaches a bass player all of the necessary skills to play orchestral music. Instead he says the student should study the score and work on the music without the instrument.
This exactly how I am now teaching- Vance to get em going and learning musicality, Simandl to clean things up later. It really does teach you how to play in an orchestra. Rabbath gives additional advice here about how to hold the bass and deal with the physical demands of such a large instrument and he briefly mentions the bow and pizzicato.
François Rabbath – Wikipedia
I completely agree with you about the Frncois thing when starting bass studies. There was an error submitting your subscription.
Some small examples can be found in method books such as Simandl, but it is a point of contention rabbatn these were intended as crabs or shifts as they do not contain textual explanations. With the imminent publication of the fourth volume of his method I think some of this mehtod be cleared up. I studied with George Vance when I started playing bass.
He is a regular guest at bass conventions and still does some performing as well. On the other hand, they were learning their positions well even if they were bored. Thanks for the post. Also, their school orchestra used a different numbering position than the Simandl book, so I ended up avoiding mentioning position numbers whenever possible. Further reading and resources: Straight from the heart.
Both were as comfortable playing chamber music at a formal concert rabath day and improvising with jazz musicians the next.
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. A book of studying.
Miss him and his patience! The fingering for whole step-half step sequence, and for a half step-whole step sequence was both natural and essential to my technique for fifths playing. Not only is she willing to inspire those she conducts; she is constantly searching to learn more herself.
Rabbath countered this by inventing the pivot. 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.
But thanks to the diagrams and music examples Rabbath was able to make rababth between printed notes and positions on the strings of the double bass. Comments Another interesting, and very extensive topic. Retrieved from ” https: A new technique for the double bass: He does not recommend sight-reading.
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. The shot length allows for a typical student rabath learn about one tune each lesson, and each tune introduces a new technique, note value, bowing, or string crossing. This is important for bass students since we can only span a whole step in our normal position.