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Progressive Repertoire for the Double Bass, Vol. 1 (Book & CD) Paperback – March 15, 2000

4.1 out of 5 stars 14 customer reviews

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Frequently Bought Together

  • Progressive Repertoire for the Double Bass, Vol. 1 (Book & CD)
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  • O5428 - Progressive Repertoire for the Double Bass - Vol. 2
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  • O5425 - Vade Mecum for the Double Bass
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Editorial Reviews

Review

"So, you have an excellent bass player who needs some extra challenges. But, the rest of your orchestra can't handle the bass literature that offers that challenge. The Progressive Repertoire is an excellent resource of graded solos that one could compare to the Suzuki series for violin, viola, and cello. The benefit of these is that they were arranged by an excellent bass pedagogue using his fingering method that introduces the higher positions first, which I've been told helps the beginning bass player's comfort level since the arm and shoulder are at a more normal level for starters. The pieces are based on octaves, fifths and fourths in the first book, which is an excellent foundation for aural training. Each book comes with a CD of Francois Rabbath performing the pieces, which is helpful as well." --Nebraska Music Educator, April 2010
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Product Details

  • Paperback: 40 pages
  • Publisher: Carl Fischer Music Publisher (March 15, 2000)
  • Language: English
  • ISBN-10: 0825833299
  • ISBN-13: 978-0825833298
  • Product Dimensions: 0.1 x 10.6 x 12 inches
  • Shipping Weight: 4 ounces (View shipping rates and policies)
  • Average Customer Review: 4.1 out of 5 stars  See all reviews (14 customer reviews)
  • Amazon Best Sellers Rank: #139,887 in Books (See Top 100 in Books)

Customer Reviews

Top Customer Reviews

By Michael J. Edelman TOP 500 REVIEWERVINE VOICE on April 17, 2006
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Double bassists who have slogged their way through Simandl should take a look at Vance's books to see how enjoyable learning the DB can really be. This is simply the most musical DB method ever published. From the beginning, the student is playing familiar melodies- and in thumb position. Unlike Simandl, the thumb positions aren't treated as advanced material, but as part of the entire neck to be learned as a whole.

Vance's method is based on Francois Rabbath's Nouvelle Technique, in which the entire neck is covered in only six positions, defined by natural string harmonics. Extensions and pivots make it possible to play the full range of notes without excessive shifting. Some teachers have been resistent to Rabbath's pedagogy, but my experience has been that it is a real advance in DB technique, both in terms of teaching, and in terms of performance.

While Simandl concentrates on preparing the student to play in an orchestra section, Rabbath and Vance concentrate more on the double bassist as soloist. My own interest in double bass is playing jazz, but I find that the Rabbath system gives me exactly the kind of flexibility and facility I need.

Teachers unfamiliar with these books really should give them a look- and a listen; each comes with a CD of Rabbath himself playing the pieces and exercises, so the student can work on developing musicality along with technique. Players studying Simandl- even advanced players- will find these books eye opening as well.
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Having been an electric bass player for 25+ years I recently purchased an NS double bass. I bought this book to be able to get introduced to bowing. It's a good starter book if you've never done any bowing on a double bass. Not in tab, so it keeps me up on sight reading. The CD is a plus with playing along and getting the right sound with the bow. Beginner level songs. Well worth the money.
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I am a newly starting bass player and I purchased this book at my teachers recommendation. I will say up front that I did not go from start to finish, nor did I progress equally throughout the book. I think I would be frustrated if I did that, because the book is a little cold and clinical in it's approach. I personally think it's best as a supplemental book that you would use in certain situations as you try to practice one specific area at a time.

One thing that IS good about the book is that it covers the entire bass. There is a lot of variety in what it covers. Again, you'll probably be bogged down if you go start to finish, but if you use the book liberally and skip around, you'll really cover the entire bass. I am using one of the songs for a simple church performance because it's fairly basic, but has a nice melody to it. But most importantly, it uses the entire bass, so the performance gives a great overview of the full range of sounds that the bass provides - not just the deep sounds that people expect.
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As pointed out to me by a friend, it starts out the student in positions higher up on the neck to accommodate the smaller hands of younger students. The tunes/exercises are child oriented as well. However, is a good way to learn the upper and thumb positions along with treble clef no matter what your age.
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My 11 year old daughter has been learning the bass for the past several years. She had first started with the piano, learning by the Suzuki method. Her teacher loaned us her son's old bass for my daughter to start learning. This book leads the student through learning the bass in a very similar method as the Suzuki method. (My daughter's teacher likes this book more than the official Suzuki bass book.)
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I support the use of these method books when teaching (or self-teaching) the double bass for many reasons, but my top two are: 1. It is tried and true; students who use this method are usually successful according to their own goals. 2. It is unique in that the progression of topics covered, in my opinion, more comprehensively sets up the beginning bassist to understand the inherent variety in bass technique. (ex. thumb position/upper positions are covered earlier than other methods, which is actually easier for the arm and hand to become acclimated to.)

Along with scales and etudes from other authors/composers, it's a great choice.
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I am not sure about this: I bought this method as a complement to Simandl, after reading that it would get me playing up the neck sooner. It does, however there are a couple issues: there is no a clear description of the positions, and of the technique used (pivoting). Since this is Vol 1, I expected all the basics explained here. Do I need to buy the Vade Mecum as well? Also, the method uses the G clef for thumb position: it certainly helps notation, but it means I have to transpose to the new key. Overall, this is a strange combination of extremely basic tunes (Twinkle Little Star) and obscure technique. I must be missing something.
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