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PREFACE
Back in the 1990s, George Vance and I were both interested fans of François Rabbath and his "Nouvelle Technique de La Contrebasse". Although George did the bulk of the work, we co- authored "The Bass Project", a Suzuki style pedagogical method designed to alleviate the mind numbing aspects of the more traditional treatise such as Simandl and Bille. It was learning while performing, rather than the drill and etude approach. George devoted his time to teaching kids and was equally devoted to the teachings of Suzuki. Later, we put together a book entitled "Boardwalkin", which was designed to be a continuous scale method working through the "reachable" notes in each of the 6 Rabbath positions based on the harmonic nodes located on either side of the octave G. (see below)
PREFACE
Back in the 1990s, George Vance and I were both interested fans of François Rabbath and his "Nouvelle Technique de La Contrebasse". Although George did the bulk of the work, we co- authored "The Bass Project", a Suzuki style pedagogical method designed to alleviate the mind numbing aspects of the more traditional treatise such as Simandl and Bille. It was learning while performing, rather than the drill and etude approach. George devoted his time to teaching kids and was equally devoted to the teachings of Suzuki. Later, we put together a book entitled "Boardwalkin", which was designed to be a continuous scale method working through the "reachable" notes in each of the 6 Rabbath positions based on the harmonic nodes located on either side of the octave G. (see below)
