FRANCOIS RABBATH NOUVELLE TECHNIQUE DE LA CONTREBASSE METHODE COMPLETE ET PROGRESSIVE EN TROIS CAHIERS ENGLISH TEXT — DEUTSCHER TEXT TEXTO CASTELLANO ALPHONSE LEDUC TAT ran eyFRANCOIS RABBATH est n€ Je 12 mars 1931 a Alep. Ii fait partic d'ume famille mombreuse : quatre seeurs et cing fréeres musiciens. En 1944, rencontre de Frungois Rabbath et dela contre, basse: coup de foudre!... I étudie seul, aldé des méthodes d'un contrebassite francais : Edouard Nanny, professeur au Conservatoire de Musique de Paris. Ila Pimmense joie d'etre entendu par deux tris grands = interprétes : Yehudi Menuhin et José Hturbi qui Pencow- agent a. persévérer. En 1955, il vient & Paris pensant pouvoir rencontrer Edouard Nanny au conservatoire ; hélas, ce dernier est ‘décédé depuis plusieurs années. 1963-64: publication de ses premiers enregistrements (ontrebosse et percussion). Soliste, il ne joue pas exclusivement ses propres ceuvres, ‘mais également celles des autres, et en premier lieu celles de J.-S. Bach et Vivaldi, quill transcrit. uvres Gerites et interprétées 2 1a contrebasse : Désert ~ Impalas ~ Ode d'Espagne - Concerto. pour une contrebasse seule (N* 1) ~ Poucha Dass - Kobolds ~ Creasy course ~ Manteau de plule ~ Sete Quate ~ Ibérique pénin- Sulaice (ou Espoir) ~ Equation, ‘Transcriptions Weuvres de J-S, Bach : Adagio (2° mouvement de la Toccata en sol majeur pout orgue). ‘Sarabande (4° mouvement de la Suite N° 1 pour violoncelle en sol majeur), Gigue (6° mouvement de ia Suite N* 1 pour violoncelle en sol majeur). En juin 1971, les ceuvres ci-dessus ont fait Pobjet d'un cenregistrement, intitulé : « Frangois RABBATH au Palais, des Sports do Paris » (M.N), Autres enregistrements ‘« The Sound of Bass » (Philips). «La Guerre et la Paix - Guernica» (M.N) 1" Suite en sol pour violoncelle de J.-S. Bach» (MN). £2 concertos de Vivaldi » (MN). sie eet =e eeFrancois Rabbath~: «""" wine “NOUVELLE TECHNIQUE de LA CONTREBASSE METHODE COMPLETE ET PROGRESSIVE EN TROIS CAHIERS = 1" cabier - 1" et 2 postions 2 caer ~ 3° 4 positions 3 cabier = 5° 6 poisons A NEW TECHNIQUE NUEVA TECNICA FOR THE DOUous. we ~ + TANERAPAIQ A COMPREHENSIVE TUTOR METODO COMPLETO Y PROGRESIVO IN THREE VOLUMES EN TRES CUADERNOS = lame tt aed 2ed psn 1 ewaderno~ 182° pasiones 2d volume ~ rd aed 0 pstons 2 euaderms ~ 38 $2 puciones 3rd volume - 3th and 6th pstons 3 ewaderns ~ 35 6! pscons NEUE TECHNIK DES KONTRABASSES VOLLSTANDIGE UND FORTSCHREITENDE SCHULE IN DREI HEFTEN, = Hef 1 and 2. Lage Heft 2-3. und 4. Lage Hef 3-5. und 6. Lage ALPHONSE LEDUC Editions Musicales - 175, rue Saint-Honoré, Paris Iimptien France Printed in France 1 Gabier Ret YEPremier Cahier First Volume - Erstes Heft Primer Cuaderno‘TABLE DES MATIERES INTRODUCTION MANIERE DE TENIR LA CONTREBASSE ENUE DE L’ARCHET . aL POSE BT CONDUITE DE L'ARCHET PIZZICATO CONCLUSION Exercices cordes vide a Bxaries de la premite position - emier UEGAD Petiecenissacssee ore 3 Exercices sur toutes les ovrdes - 4 Reécréation n? 1 en Ut 5 Exercee Surcet, Garume ot intervals en ly 10 petits exercices rythmiques 7 xercice d'inte-valle, 1" position - 1°" degré nl Exercice préparatoice en la mineve pour étude ONS Blache sea 1 2 Gamme en la mineur 13 Gamme en fa . 4 2. execiges prfpaaiies en f4 majeur, pour Peétude n® 2 Prete Aste 15 Gamme en fa majeur- 1° degre. 16 Gammes et intervales en sib majeur ” Gamme en sib majeur Btude n° 3 . 18 Ringe go 4 on sol majeur 1" positon - 28 dems fenceeeee 18 Bride n® 5 en i mineur 20 Bude n® 6 en ré majeur. . 4 Etude n? 7 e2 cé mineur - 1" position ~ 12 ct 2° degrés cevteteeeeesees D2 Récréation n® 2.en mi minour 2B Game, en do - 1 et 2° postions» 16,2" et 3 dogrés cece 4 Exersee pour changement de poston - 1*F, 2° ot 3° degres 25 Etude n° 8 - If et 2° positions - 1¢F a5 degrés . 26 Etude_n® 9 en sé mincur ~ 1" et 2 positions - TFA Se depres n Etude n? 10 - 16 et 2° positions - Ie" a 58 degés... cee veeteeeee 28 AL.28.437 CONTENTS INSTRUCTIONS FOR HOLDING THE DOUBLE BASS » WV oie ww POSTE CNTR OFTHE rezxss0 Exercises for open strings 2 Exercises in the first position - First semitone 3 te alin , tenga ef tevin wt ral Aminor 6 Exercise of intervals, Ist position - Ist semitone .. 11 sen st i seh naa i rt a Exercise for change of Position «| + Ast, 2nd and 3rd cai ss soddilnens! mine sty 8,9 Dad tn. Sem nest 2 sy 1 gn tin, sama mela rte tyLavantage se situe surtout dans Vaigu : c'un simple mow vvement da bras on atteindra les positions 5 et 6, sans se courber, sans se pencher. Si cette position de instrument semble la meilleure, cest parce qu elle rationalise et ibére les mouvements : seul le bras, se déplace. IL ne faudrait pas oublier que ce n'est pas le doigt qui trouve la note juste lors des changements de positions mais le bras et son mouvement, Cette remarque doit inciter 'éleve’ répéter souvent 'exer cee suivant; ne pas regerde endo ob e dig Se pose mais entrainer plutét son bras et le mouvement de ce dernier & acqueérir In distance qui correspond 2 la note désicee. TENUE DE LARCHET (voir photo n® 32) Larchet a.un point déquilibee qui se situe sur la baguette, leégerement en avant de la hasse. ‘On saisira done Varchet par la baguette, entre les dernigres phalanges des quatre doigts légtrement écartés et la pointe du ppouce plié qui bloqaera Farchet au point d'quilibre. Ceme renue détend le poigner, Parchet sera plus maniable POSE ET CONDUITE DE LARCHET (voir photos n™ 25, 26,27) Larchet doit étre posé sur les cordes entre la touche et le chevalet. On le fera pivoter vers soi afin que seule une partie dela méche soit au contact de la corde. Au deplacement des doigts vers Vaigu doit correspondre unglissementdelarchetverslechevalet. Vellerace quel achet reste paralléle av chevalet en tirant (M) eten poussant ( ). Le coup darchet dont on dit quill fate le virtuose, est fonction de la souplesse darticulation du poignet, Le bras se contentera daccompagner et de prolonger les mouvements de ce dernier. Les cordes ne doivent pas cingler sur la couche dans les fortes, on les réglera cependant au plus prés de cette dernigze afin déviter une fatigue de la main gauche, préjudiciable. PIZZICATO (voir photo nt 31) Faice vibrer les cordes en les pingant avec l'index de la main droite, le pouce Sappuyant sur le coté droit de la touche, Conserver Farchet en mai, CONCLUSION Si cette méthode permettait léclosion d'une nouvelle vision de la contrebasse #ésolument tournée vers exploitation maxima de ses potentialités et sien outre, elicazrivata décider les futurs contrebassistes se considérer comme des musiciens Apart entitre, armés techniquement et décidés a sortir de l'ano- nymat de V'orchestre pour affronter seuls les feux de la pete ele sre prouvé que mon dessein était justifié et mon combat utile. Frangois RABBATH REMERCLEMENTS & Jean LEDUC grice & qui Jal pu éaiter cee méthode & Martine RICHARD pour les photographies qusle ralisées iit A NEW TECHNIQUE FOR THE DOUBLE BASS A COMPREHENSIVE TUTOR in three volumes, Jn setting down the resules of more chan thirty years dedicated to the double bass which were spent trying to penetrate the tonal secretsof this inconsparably rich and nobleinstrument, have tried to put myself inthe place ofastudentor teacher who might ask himself: “Whar is the point in having anew method -when generations of good inass players have found the traditional material entirely satisfactory?” L would fist like to consider the existing methods-some ‘of which L used in my early years of study (Nanny). Until recently the double bass hes never been ia the litne: light, alvays having been restricted co an accompanying dle: composers, musicians and public have all become conditioned to regard this as the sole function of the instrument. ‘The methods were based on scales, arpeggiosand melodies swhich from the outset confined the student bass player within the boundaries of what was expected of him: i. the r6le of an accompanist. However, the young player should rather begin his studies with higher aims-to become a soloist and to direct hiseffortsin that direction. Jn the first place, a clear and precise perception of the range of the double bass & imperative. One muck delve into the “unknown regions’ of the instrument and should shun any Jimitations to one’s view of it. The instrument should set fice to the player's imagination. To give the reader a picture of this indispensably unified view of the bass, its fingerboard has been logically divided into six sections or divisions which simplifies the finding of notes. (Gee photos No. 30 and Nos. 1-18). This precise dividing-up makes for easy understanding of the geography of the finger- board and leads to greater assurance. Once the student has this picture registered in his mind, it will eheoretically no longer be necessary for him to tumble jor the right note It will, moreover, be noved thar these divisions do nor stop at the fateful ‘thumb position’ (see photos Nos, 10, LI and 12), Beyond this, the traditional methods maintained a ch racteristic silence, which deprived the student of av least a good third of the instrument’s potential, leaving a zone of ‘musical waste-land that only the curious or adventurous mu- sician could or would reveal ach position calls for a complete repositioning, of the hang, The natural harmonies ofthe instrument form the bass Of this method of division. This gives confidence to the player and makes certain an assured approach | lune tried to put forward some suggested fingerings bur the young player will quickly discover those which best suit his siple and allow him che grates fait. fo adhere blindly to a certain system would be a serious mistake and detrimental to performance. ‘Tomemorisex fingering, beit one’sownor someone clse's isanecessary step. Thenote becomesanentity and one nolonger has to resort to fingering indications. However, from the outset when choosing the fingering) for difficalt passages, one should endeavour to play a piece up| to speed. A passage played slowly may well require a different fingering to that aeeded at normal speed. “The note is more important than the fingering and one should eventually be able to dispense with the annotation of thescore,‘One's mind should be concentrated on the note and not oon the fingering, Theretore, the final section of the studies will give the early exercises denuded of their fingerings. Itison these that the real work mustbe done on perfecting the technique and interpretation. Playingatsight isa temptation which few instrumentalists can resist since they are convinced this will save time However, they should be dissuaded from doing this. The most effective approach is first to read carefully the score, to imprint it on one's mind. In this way, difficulties can be noted and understood better. Thence forward one should work on the music without the instrument. This stage is necessary; indeed, 1 will help the player to free his mind so as to be able to overcome even the ‘worst pitfalls when he takes up the bow. ‘To minimise obstacles isthe way to the heart of the matter as thus one can overcome difficulties and concentrate on inter- pretation. Mistakes and wrong notes should not interrupt an exercise Carey on and when the exercise is finished, go back to the very beginning and not just to the part where you came unstuck, A piece of music is an entity which must be seen as a whole. To play a few difficult bars several times increases the possibility of stumbling in the same places when the whole work is being played To play the whole thing again is to locate the difficulty in itsmatural place, to see itin perspective and togive itits real value without overemphasising its importance Ic will sometimes occur that a passage cannot be master- ed, even after much work on it. Stop playing. Before going to sep, when you ate quite relaxed, play the passage again in yout imagination as if you were a virtuoso. In your imagina tion you can achieve almost anything. A good rest and the workings of your subconscious will complete the process and the next day the piece will seem easier to play. The double bass alls for acertain physical effort right from the beginning and any student not having a good idea of che piece in his mind or insufficiently prepared psychologically, may well flag and perhaps end up discouraged INSTRUCTIONS FOR HOLDING THE DOUBLE BASS: When the bass is held vertically, the middle of the neck should be at shoulder height. Itis essential to adjust the spike correctly. Afterwards, all one need do is to tilt the instrument towardsone so thatit forms aslight angle to the body and so that the joint, where the back of the instrument meets the upperrib, is leant against the body under one's rib-eage. (See photos Nos. 28 and 28). ‘The neck resin the hollow ofthe shoulder. The instrument is now well positioned, leaving the arms completely free "With he instrument held at this angle, the fist postion (fom G toB on the top string), isnotso high up. The reduction Of necessary arm movement gives added facility to the left hand ‘The advantage is most apparent in the higher positions. ‘With one single movement ofthe arm the fifth and sixth posions are reached without twisting or stretching, If this position seems to be che best, itis because it allows for the greatest economy and freedom of movement, Only the arm moves. ‘One should not forget that when shifting positions, it is not the finger which finds the right note but the movement of the arm, This should persuade the student to repeat often the foliowing exercise: don’t look to see where to put the finger but train your arm to move the correct distance to the required note. HOLDING THE BOW. (see photo No 2) ‘The balance point of the bow ison the stick, justabove the frog. Consequently the bow should be held by the stick in the last joints ofthe four slightly separated fingers and the endofthe bent thumb which will hold the bow at its balance point. This bow hold relaxes the wrist and the bow will be more controllable, POSITION AND CONTROL OF THE BOW: (see photos, Nos 25, 26, 27) ‘The bow should be placed on the strings between the fingerboard and the bridge. Incline it towards you so that only small part of the hair touches the string. W hen playing in the higher positions move the bow towards the bridge at the same lame as moving he fingers, See tat che bow is Kep paral ro the bridge on both the up (TM) and down (\ ) bows. Bowing, which, it is said, is what distinguishes the vir ‘050, is based on supple wristarticulation. The arm followsand continues the wrist movements. ‘The strings must not touch the fingerboard but should be set asclose asis possible so as C0 avoid unnecessary fatigue in the left hand, PIZZICATO: (See photo No 31) The strings should be made to vibrate by plucking them with the index finger of the right hand, while resting the thumb ‘on the right hand side of the fingerboard. The bow should be kept in the hand CONCLUSION If this work should pave the way towardsanew conception of double bass, decidedly aimed atthe fullest use ofits possibili ties, and if it succeeds in convincing foture bass players to consider themselves as musicians in their own right, technically competent and determined to rise above the anonymity of an orchestra and into the limelight, then my project will have been worthwhile Francois RABBATKNOUVELLE TECHNIQUE DE LA CONTREBASSE METHODE COMPLETE ET PROGRESSIVE en trois cabiers. NEUE TECHNIK DES KONTRABASSES VOLLSTANDIGE und FORTSCHREITENDE SCHULE in drei Heften. de Cahicr Signe pour tirer Varchet : Signe pour pousser Varchet: Bxercices cordes a vide. Soutenir le son sur chaque note. Zeichen zum Ziehen des Bogens |Abstrich) : Zeichen zum Schieben des Bogens {Aufscrich): Ubungen mit Iceren Saiten. ‘Auf jeder Note den Ton durchhalcen, A NEW TECHNIQUE FOR THE DOUBLE BASS A COMPREHENSIVE TUTOR in three volumes. NUEVA TECNICA DEL CONTRABAJO METODO COMPLETO Y PROGRESIVO en tres cundernor. Frangois RABBATH Sign for down bow: Sign for up bow : V Exercises for open strings. Suscain the sound on each note. Signo para retirar el arco: 9 Signo para colocar el arco: Ejercicios de cuerdas al aire. Sostener e\ sonido sobre cada nota Sol G RéD MiE = = = a n v a fn ¥ 5 Bx. n° EA — = = = eS © wr by aeHoNsE upvc & ce SBlions Musicales 173, Rue Si-Honoré, Pars AA. 3.487 aExercice d/archet Fx. of bowings ib. fr Bogen Bj. de arco. \ 5 AL 23.4897Exercices de Ia premidre position. Premier degré. Exercises in the first position. First semitone. Voir photos n° 1, 2, 3 et 19. See photo No.1, 2, 3 and 19. Woungen der 1. Lage, 1. Stufe. Ejercicios de la primera posicién, Primer grado. Siche Foros Nr-1, 2, 3 und 19. Ver fotos N* 1, 2,3 y 19. 1 corde (Sol)(G) 2 corde (Ré)(D} 3m corde (La) (A) 4 corde (Mi) (E) oni 2s 24) 0 1242410 o12421 0 124 216 1" corde (Sol) 1G) y 3 2 Ex.n°l 2 corde (Ré) (D) a v 2 8 23 yes corde (La) (A) 2 ° 2 4 1 4 corde (Mi) (E) o 4 24 o 4 4 4 2 4 2 1 4 tw corde (Sol) (Gj Bag , 4 24 5 = zee corde (Ré) (D) 20 4 ok AL. 25.457yer corde (La) (A) a ‘ 1 4 o 424 7 4 corde (Mi) (E) o 4 2 ot o 4 21 4 124 a ae Ex, sur toutes les cordes. — Ex. on alll the strings — Ob. iiber alle Saiten. — E}. sobre codas las cuerdas. 22es2s0 0 44 — ——— ¥x.1 = Pe eee ee et el = Sot o 140 2 hetet AL 256437RECREATION Ne1 en ut 1 position — 1° degré. 1% fois: jouer sans liaison. 2we fois: jouer avec les liaisons indiquées SPIELSTUCK Nr. 1 in C 1. Lage — 1, Stufe. 1. Mal: ohne Bindung. 2 Mal: mit den angegebenen Bindungen spielen. 104 Metronome 2 44 ‘4 S DIVERTIMENTO No.1 in C major 1st position — 1st semitone. Ist time: play without slurs. 2nd time: play with the slurs indicated. RECREACION N21 en do I’ posicién — 1" grado. 1 vez: tocarlos sin ligadura. 2? vez; tocatlos con las ligaduras indicadas. AL. 23437