THE NEW

SIMANDL adapted by Cole Davis

1

1. F MAJOR
This first exercise is a great introduction to the NEW fingering method,
which is designed to familiarize you with some of the more unexplored
parts of the instrument. In the first line, I am repositioning the phrase to the
C on the E string, a more unfamiliar “C.” It is said that Ron Carter played
his “Footprints” bass line on this C!

Here’s the old method, which stays in 1/2 position:

And here is the new method:

Note how, as is often the case between the old and new methods, the
fingerings are exactly the same. This is because these “upper positions”
are actually really similar to half position, we just avoid them for whatever
reason. Here’s another example:

Old method, in 1/2 position:

New method, using the upper positions:

2

1. F MAJOR
Again, those are the same exact fingerings, across two different positions.
The open strings are what allows us to play the upper positions with the
same fingerings as half position. The most important thing with
understanding the new method is coordination. We’re used to everything
happening in a row, as in, you play the open string purposefully to get to
the new string; once you’re on the open G, you then play an A or Bb on that
string. But what if you used that open G as a way to get to the A on the D
string? Or what if you used the open G to migrate to the low C on the E
string? It may feel like going “backwards,” but you’re actually opening up
the instrument to a world of possibility. You can use the open strings as a
“free space” to play the whole bass, without being boxed in to half
position. Here’s one more example:

Old method, staying in 1/2 position:

New method, using the open strings to migrate between positions:

In the new method, I often start on the E string and then migrate back to 1/2
position using the open strings. The open strings are what enables me to
do this. It is important for me to mention that I do not think the New method
is in any way “better” than the Old method. Without the Old method, many
of us would not have even learned this instrument in the first place. I am
just offering a different way of approaching the fingerboard. On to the next
exercise!
3

1. F MAJOR
Old Version
Stay in 1/2 pos.

?b ˙ œ4 œ œ
4

˙ œ
4 1 0 4

œ
1 0 2 2 0 1

˙ ˙ œ œ œ
35

?b ˙ ˙4 œ0 œ4 œ œ
4 1

˙ œ
4 0 4

œ
4 2 2 0

˙ œ œ
39

? ˙4 ˙0 œ2 œ0 œ4 œ œ
4 4 1

˙ œ
0 0

b ˙ œ
2 0

œ
43

?b ˙ ˙0 ˙2 œ4 œ2 œ0 œ4
˙ œ œ
1

œ
4 1

œ
0 2 0

47

?
4
œ4
1
œ2 œ4
4

œ œ0 œ
œ œ œ
0 0 1 1 1 4

b œ œ œ œ
4 0 0

œ œ œ
51

?b œ4 œ
4 4

œ œ œ
0 0 4 0 4 1 4 1 4

œ œ
1 1 0 2

œ œ œ œ œ œ œ œ œ
55

?b œ4 œ œ œ
4 4 4

˙ œ œ
0 1 1

œ œ
1 4 0 1 2 0 0

œ œ œ ˙ œ
59

? œ
4 0

œ
1 0 1 0

b œ œ œ
0 0 4 1

œ œ œ ˙ ˙
63

?b ˙ ˙4
4 0

n
1 1

˙ ˙ w
66
4

1. F MAJOR
New Version

?b ˙ œ4 œ œ
4

˙ œ
4 1 0 4

œ
1 0 2 2 0 1

˙ ˙ œ œ œ
35 Estr. Astr. Estr. 1/2 pos.

?b ˙ ˙4 œ0 œ4 œ œ
4 1

˙ œ
4 0 4

œ
4 2 2 0

˙ œ œ
39
1/2 pos.

? ˙4 ˙0 œ2 œ0 œ4 œ œ
4 4 1

˙ œ
0 0

b ˙ œ
2 0

œ
43 Estr. Dstr.

?b ˙ ˙0 ˙2 œ4 œ2 œ0 œ4
˙ œ œ
1

œ
4 1

œ
0 2 0

47 1/2 pos. Dstr. Astr. Estr.

œ2
41
? œ œ4 œ œ0 œ
4 4

œ œ œ
0 0 1 1 1 4

b œ œ œ œ
4 4 0 0

œ œ œ
51 Estr. 1/2 pos.

?b œ4 œ
4 4

œ œ œ
0 0 4 0 4 1 4 1 4

œ œ
1 1 0 2

œ œ œ œ œ œ œ œ œ
55
1/2 pos.

?b œ4 œ œ œ
4 4 4

˙ œ œ
0 1 1

œ œ
1 4 0 1 2 0 0

œ œ œ ˙ œ
59

? œ
4 0

œ
1 0 1 0

b œ œ œ
0 0 4 1

œ œ œ ˙ ˙
63

?b ˙ ˙4
4 0

n
1 1

˙ ˙ w
66
5

2. Bb MAJOR
This exercise is similar to the last one, which explores identical fingerings
in different positions, using the open strings as a free space.

Here’s the old method, which stays in 1/2 position:

And here is the new method:

Once again, the fingerings are the same. Here’s another example, where I’m
using the open A string to get back into half position. Even though I am not
in half position, I play the open A - which can realistically be the start of a
phrase in ANY position on the bass - to migrate back to half position.

Old method, in 1/2 position:

1/2 pos.

New method, starting elsewhere and migrating to half position:

6

It’s not necessarily “easier” it just gives us a broader understanding of the

instrument. In the second half of this book, we’ll look at some ways that the
New method is in fact “easier” - which to me means less shifting. Here is
one more example where I use the same fingering in a different position:

Old version, which stays in 1/2 position:

New version, which jumps around a bit:

In this example, the 4-1 fingering from F to Bb is the same in both positions
- and it’s kind of unexpected. Before I started exploring this topic, I never
played that Bb on the E string. It was like it just didn’t exist. Now I use it all
the time, and it makes my life much easier.
7

2. Bb MAJOR
Old Version
Stay in 1/2 pos.

? bb ˙ œ œ œ œ4 œ œ
4 4

œ ˙ œ
1 4 1 0

˙
0 0 1 1 0

˙
109

? b 4 œ œ4 œ0 ˙2 ˙4
œ
4

œ
1 1

b ˙ œ œ
0 0 0 1

œ ˙
113

? b œ œ œ œ
4 4 4

œ œ œ
1 1 4

œ œ œ œ
0 1 1

b œ œ œ œ
0 4 1 4 1 0 0

œ
117

? b œ œ
4

œ œ
4 4 4 1

œ œ œ œ
1 1 0 1 1

b œ œ œ œ œ œ
0 1 0 1 0 1

œ œ
121

? bb œ œ œ œ œ œ œ ˙ œ œ4 œ0 œ
1 4 4

œ ˙ ˙
0 4 1 2

˙ ˙
4 0 1 0 4 0 1 0 1

˙
125

? b b ˙0 ˙ œ4 œ0 œ2 œ œ2 œ0 œ4 œ1
œ œ œ œ œ0 œ4 œ1 œ0
1 4 0 4 0 1

131

? b œ œ œ œ œ œ œ œ œ
4 4

œ œ œ
4 4 4 1

œ œ œ œ
1 1 1 0 4 0 1

b œ œ œ œ
0 4 1 0 0 1 0

136

? b œ œ4 œ0 œ2 œ4 œ0 œ2 œ4
œ œ œ œ œ
4 1 4 4

b œ œ œ
0 1 0 0 1

141

? b œ2 œ0 œ œ0 œ4 œ œ4 #
4 0

œ
1 4 1

b œ w
1 0 1

œ œ œ
145
8

2. Bb MAJOR
New Version

? bb ˙ œ œ œ œ4 œ œ
4 4

œ ˙ œ
1 4 1 0

˙
0 0 1 1 0

˙
109 Estr. Astr. Estr.

? b 4 œ œ4 œ0 ˙2 ˙4
œ
4

œ
1 1

b ˙ œ œ
0 0 0 1

œ ˙
113 1/2 pos. Astr. Dstr. Astr.

? b œ œ œ œ
4 4 4

œ œ œ
1 1 4

œ œ œ œ
0 1 1

b œ œ œ œ
0 4 1 4 1 0 0

œ
117 Estr. Astr. Estr.

? b œ œ
4

œ œ
4 4 4 1

œ œ œ œ
1 1 0 1 1

b œ œ œ œ œ œ
0 1 0 1 0 1

œ œ
121 1/2 pos.

? bb œ œ œ œ œ œ œ ˙ œ œ4 œ0 œ
1 4 4

œ ˙ ˙
0 4 1 2

˙ ˙
4 0 1 0 4 0 1 0 1

˙
125 Estr. Astr. Estr. Astr. Estr. Astr. Dstr.

? b b ˙0 ˙ œ4 œ0 œ2 œ œ2 œ0 œ4 œ1
œ œ œ œ œ0 œ4 œ1 œ0
1 4 0 4 0 1

131 Astr. Dstr. Astr. Astr.

? b œ œ œ œ œ œ œ œ œ
4 4

œ œ œ
4 4 4 1

œ œ œ œ
1 1 1 0 4 0 1

b œ œ œ œ
0 4 1 0 0 1 0

136 Estr. Astr. Estr. Astr. Estr. 1/2 pos. Estr.

? b œ œ4 œ0 œ2 œ4 œ0 œ2 œ4
œ œ œ œ œ
4 1 4 4

b œ œ œ
0 1 0 0 1

141 Estr. Astr. Dstr. Estr. Astr. Dstr.

? b œ2 œ0 œ œ0 œ4 œ œ4 #
4 0

œ
1 4 1

b œ w
1 0 1

œ œ œ
145 Astr. Estr. Astr. 1/2 pos.
9

3. G MAJOR
This exercise maximizes the open strings. The G major scale is the ultimate
open string scale, because it contains 3 open strings - A, D, and G. The
open E string is also in the scale, so if you’re improvising or playing
walking bass lines, that can be effective as well. Once again, the open
strings are the glue connecting all the positions on the bass, making it
possible to move freely about the instrument. Here are two examples of
how I use the open strings to do this.

Old method staying in 1st position:

New method using all the strings:

Here’s another example, returning to the idea of using the same fingerings
in a different position. The trick is to make the E and F# sound the same on
both strings.

Old method:

New method, starting on the A string:

10

3. G MAJOR
Stay in 1st pos. Old Version

?# ˙ ˙0 œ4 œ
1 2 2

œ œ
2 0 0 2

œ
0 0 1

œ œ œ ˙ ˙

?#
1 2

œ ˙4 ˙1 œ0 œ
œ
0 1 2

œ œ
0 0 0 0

œ œ ˙ ˙

?# œ œ ˙0 ˙4 œ œ1 œ b ˙2
œ
2 4

œ œ #˙
1 2 0 4 1 1

? # œ œ1 œ0 œ4 œ0 œ1 œ0 œ œ œ0 œ1 œ4 œ0 œ0 2 Œ 2 0 œ 0 2
4 1 2 1 1

œ œ œ œ ˙ ˙

?# œ œ œ œ ˙
œ œ œ œ ˙
2 1 2 1 2 2 2 2

œ œ œ œ ˙ ˙
1 1

˙
0 0 0 0 0 1 0 1

? # œ0 œ1 œ4 œ1 ˙
0
˙4 œ œ œ œ
1 4 0 4
˙
1
˙0 œ4 œ0 œ1 œ0 ˙4 ˙1

? # œ0 œ œ1 œ4 ˙0 Ó
œ4 œ1 œ0 œ1 ˙4 ˙0 œ1 œ0 œ4 œ0 ˙1 ˙0
4

? # œ0 œ4 œ1 œ4 ˙0 ˙ œ4 œ1 œ0 œ1 ˙4 ˙ œ œ œ œ ˙
2

˙
1 0 1 0 2 0 1

? # œ0 œ n
2

œ œ ˙ Ó
1 4 2 0

œ œ œ œ ˙
1 1 1 2 2

˙
0 0 1 0 1 2

˙ œ œ œ œ ˙
11

3. G MAJOR
New Version

?# ˙ ˙0 œ4 œ
4 2

œ œ
4 0 2 0

œ
0 0 2 4

œ œ œ ˙ ˙
Estr. Astr. Estr. 1/2 pos.

?#
4
œ ˙4 ˙1 œ0 œ
œ
0 2 2

œ œ
0 0 0 4 0

œ œ ˙ ˙
Estr. Astr. Dstr.

?# œ
4
œ ˙0 ˙4 œ œ1 œ b ˙2
œ
2 4

œ œ #˙
2 0 4 1 1

Astr. Dstr. Astr. Estr.Dstr.Astr. Dstr. Estr.

? # œ œ1 œ0 œ4 œ0 œ1 œ0 œ œ œ0 œ1 œ4 œ0 œ0 4 Œ 4 0 œ 0 4
4 1 2 2 2

œ œ œ œ ˙ ˙
Dstr. Astr. Estr. Astr. 1/2 pos.

?# œ œ œ œ ˙
œ œ œ œ ˙
4 4 4 4 4

œ œ œ œ ˙ ˙
2 2 4 2 2

˙
0 0 0 0 0 2 0 2

˙
Estr. Estr. Astr. Estr. Astr.

? # œ0 œ1 œ4 œ1 ˙
0
˙4 œ œ œ œ
1 4 0 4
˙
1
˙0 œ4 œ0 œ1 œ0 ˙4 ˙1

Astr. Astr.

? # œ0 œ œ1 œ4 ˙0 Ó
œ4 œ1 œ0 œ1 ˙4 ˙0 œ1 œ0 œ4 œ0 ˙1 ˙0
4

1/2 pos.

? # œ0 œ4 œ1 œ4 ˙0 ˙ œ4 œ1 œ0 œ1 ˙4 ˙ œ œ œ œ ˙
4 4

˙
1 0 2 0 0 2

Astr. Estr. Astr. Estr.

? # œ0 œ n
œ œ ˙ Ó
4 2 4 4 2 0 4 4

œ œ œ œ ˙
2

˙
0 0 4 2 0 2 4

˙ œ œ œ œ ˙
Estr. 1/2 pos.
12

4. C MAJOR (#1)
In this exercise, we notice some differences between half positions and the
upper positions. In half and 1st position, there is one possible fingering for
each note, which is why it can be difficult to improvise in half or 1st
position. To me, technique and improvisation are inextricably linked, so
much so that it is very difficult to improvise without understanding what
you can do in each position. In the upper positions, there is more flexibility,
which we can see in this example.

Old method staying in 1st position:

New method, using two different fingerings in an upper position:

In the New method, I start with the C on the E string, and then play the E on
the A string - imitating the fingerings in half position, but using the open D
between those two strings. In the 5th bar of this phrase, I play the same E
but with the 1st finger, which makes the rest of the phrase more playable.
13
4. C MAJOR #1
Stay in 1st pos. Old Version

?˙
2

˙ ˙ ˙2 œ0 œ1 œ0 œ2 œ œ2 œ
2

œ
0 1 1 1

197

? ˙0 ˙ ˙2 ˙0 œ1 œ4 œ1 œ0 œ2 œ0 œ2 œ
1 0

201

˙0 ˙1 œ2 œ4 œ2 œ1 œ0 œ1 œ0
?˙ 1
˙
2
œ
1

205

?˙ ˙0 œ1 œ0 œ1 œ2 ˙4 ˙0 ˙4 ˙2 ˙1 ˙0
Ó
1

˙
2

209

? œ1 œ0 œ1 œ
2 œ4 œ2 œ1 œ0 ˙4 ˙1 ˙0 ˙2 œ0 œ2 œ0 œ1 œ4 œ1 œ0 œ2

215

?˙ ˙0 ˙ ˙ œ œ œ œ0 œ1 œ0 œ2 œ1 ˙0 ˙ œ œ œ œ
1 2 1 2 1 2 2 1 2 1
0

221

? ˙0
2

Ó
2
œ œ œ œ0 œ1 œ0 2 œ0 œ1 œ2 œ0 œ1 œ2 œ1 œ0
˙ œ œ
2 1
0 2

˙
227

˙4 œ4 œ2 œ1 œ2 œ4 œ1 œ0 2
? œ œ œ0 œ1 œ œ0 œ2 œ1 œ2 œ0 œ1 œ Ó œ
1 2 4 2

233

? œ œ1 œ0 œ1 œ œ0 œ2 œ1 œ1 œ0 œ2 œ0 œ1 œ2 œ1 œ0 œ
2

Ó
4 4 2 1 1

œ œ œ ˙
0

239
14

4. C MAJOR #1
New Version

?˙ ˙ ˙ œ0 œ2 œ0 œ œ œ œ
4

˙
4

œ
0 2 4 4 2 4 2

197 Estr. Astr. Dstr. Astr. Estr.

? ˙0 ˙2 ˙0 œ1 œ4 œ1 œ0 œ2 œ0 œ2
˙ œ
1 0

201 Astr. Dstr. Astr.

?˙ ˙ ˙0 ˙1 œ2 œ4 œ2 œ1 œ0 œ1 œ0 œ
1 2 1

205
Astr. Dstr. Dstr. Astr.

˙ œ1 œ0 œ1 œ2 ˙4 ˙ ˙4 ˙2 ˙1 ˙0
?˙ Ó
1

˙
2 0 0

209 Astr. Estr. Dstr.

œ4 œ2 œ1 œ0
? œ1 œ0 œ1 œ ˙4 ˙1 ˙0 ˙2 œ0 œ2 œ0 œ1 œ4 œ1 œ0 œ2
2

215 Dstr. Dstr. Astr. Dstr. Astr.

?˙ ˙0 ˙2 ˙ œ2 œ1 œ2 œ0 œ1 œ0 œ2 œ1 ˙0 ˙2 œ œ0 œ œ
1 2
1 1 1

221 Dstr. Astr. Dstr. Astr. Estr.Astr.

? ˙0 œ œ œ0 œ1 œ0 œ2 œ0 œ1 œ2 œ0 œ1 œ2 œ1 0
Ó œ œ
4 2

˙ œ
4 0 2 1

˙
227 1/2 pos. Estr. Astr. Estr. Astr. Dstr. Astr.

? œ œ œ œ1 œ œ0 œ2 œ1 œ2 œ0 œ1 œ ˙4 œ4 œ2 œ1 œ2 œ4 œ1 œ0 œ2
Ó
1 4
2 2
0

233 Astr. Dstr. Astr. Dstr. Dstr. Astr.

? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
2

Ó
4 4 2 1 1

œ œ ˙
1 0 1 0 2 1 1 0 2 0 1 2 1 0 0

239 Dstr. Astr. Dstr. Astr. Dstr. Astr. Estr.

15

5. C MAJOR (#2)
This exercise is pretty similar to the last C major one, where we looked at
the flexibility within the New version as opposed to the rigidity of the Old
version. As always, we need to remember that the Simandl was actually
pretty cutting edge for its time - it was written in 1887, the same year the
telephone was invented. That said, bassists weren’t really improvising in
1887, so I felt the need to create a New method which would benefit all bass
players, especially the improvising bassist.

Old method staying in 1st position:

New method, alternating between E and A string:

The most complicated thing about this exercise is the coordination of

playing the open D before the C on the E string (2nd bar of the phrase).
That’s a hard thing to get used to, but once you get used to it, it is much
easier. It’s not only easier in terms of understanding the bass, but easier
physically. If you can move around the bass using the open strings, you’ll
save yourself a lot of physical pain, which often occurs when you spend
too much time in one position. Pain in the left wrist occurs when you spend
too much time in half position (where the strings are at their highest
tension) and pain in the right wrist can occur from pulling too hard, which
is a natural tendency when you’re playing in half position all the time.
16
5. C MAJOR #2
Stay in 1st pos. Old Version

?œ ˙ œ2 œ œ ˙ œ2 ˙0 Ó
2 2 2

œ œ
1

œ
1 1 0 1

245

? œ0 ˙2 œ0 œ2 œ1 œ0 œ ˙ œ1 œ0 œ2 œ1 œ0 œ ˙0 œ1 ˙4
œ Ó
2
0 2 1

249

˙1 œ4 œ1 œ0 ˙1 œ2 ˙4
?œ 2
œ
2
œ
1
œ
2
Ó
255

œ4 ˙0 œ0 œ1 œ2 œ4 œ2 ˙1 œ0
? œ
2
˙2 Ó
259

?œ ˙2 œ œ2 œ0 œ1 œ4 œ1 ˙0 œ2 ˙ Ó
4 1 1

263

? œ1 ˙
1
œ
0
œ
1
œ2 œ0 œ1 œ0 ˙2 œ
1
˙
0
Ó
267

? œ0 ˙ œ œ œ2 œ0 œ2 ˙ œ Ó
2 1

œ ˙
0 0 1 1 0

271
17

5. C MAJOR #2
New Version

?œ ˙ œ4 œ œ ˙ œ4 ˙0 Ó
4 4

œ œ
4 2

œ
2 2 0 2

245 Estr. Astr. Estr. Astr.

? œ0 ˙2 œ0 œ2 œ1 œ0 œ œ1 œ0 œ2 œ1 œ0 œ ˙0 œ1 ˙4
œ ˙ Ó
2 2 1
0

249 Dstr. Astr. Estr. Astr. Dstr. Astr. Dstr.

˙1 œ4 œ1 œ0 ˙1 œ2 ˙4
? œ2 œ2 œ
1
œ2 Ó
255 Astr. Dstr. Astr. Dstr.

œ4 ˙0 œ0 œ1 œ2 œ4 œ2 ˙1 œ0
? œ
2
˙2 Ó
259 Astr. Dstr. Astr.

?œ ˙2 œ œ2 œ0 œ1 œ4 œ1 ˙0 œ2 ˙ Ó
4 1 1

263 Dstr. Astr. Dstr. Astr.

? œ1 ˙
1
œ
0
œ
1
œ2 œ0 œ1 œ0 ˙2 œ
1
˙
0
Ó
267 Dstr. Astr. Dstr. Astr.

? œ0 ˙ œ œ œ2 œ0 œ2 ˙ œ Ó
2 1

œ ˙
0 0 1 1 0

271 Estr. Astr. Estr.

18

6. C MAJOR (#3)
This exercise uses the 4th finger C on the D string interchangeably with the
more familiar C on the G string. I think it’s necessary to be comfortable with
both, especially since the fingerings are the same throughout. C major is
another one of those great keys where all 4 open strings work. Here’s an
example of how I use the C on the D string.

Old method (1st position):

New method:

This is something I address even more simply in my “Scales and

Arpeggios” packet, which is conceptually very similar to this book. This
phrase is literally a C major scale, but the way I am fingering it is different
from the original first position fingering by going up the A string.

Old method:

New method:
19
6. C MAJOR #3
Stay in 1st pos. Old Version

?œ ˙
2
1
œ
2
œ œ0 ˙
1
œ œ2 ˙4 œ2 œ1 ˙0 œ1 œ0 œ2 œ1 œ0 œ2 œ1 œ0
275

?œ œ œ œ œ œ ˙ œ0 œ1
œ ˙
2

œ ˙ œ œ œ œ
1 2 1 2 2 1

œ œ œ œ
2 1 0 2 1 0 0 1 0 0 1 2

281

œ4 œ4 œ1 œ0 ˙2
?œ œ œ œ œ ˙ œ œ œ œ œ ˙0 œ œ1 œ0 œ2
1 2 2 1 2 1 1
0 0 0 0

287

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2 1 2 1 1 2 1 2
0 0 0 0

293

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2 4 2 2 2

œ œ œ œ œ œ œ œ œ œ œ œ œ
0 4 1 4 0 2 0 1 2 0 1 0 1 0 2 2 1 0

299

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? œ1 œ0 œ2 œ1 œ œ0 œ1 œ œ œ ˙ œ œ œ œ œ
2 2

œ ˙
2 2 1 0 0 1 2 1 2

œ
305

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4 2 2 2 2 2

œ œ ˙ ˙
2 0 1 0 1 2 0 1

œ
311

œ4 ˙1 œ0 2 0 1 2 1 2 0 1 2 œ0 œ1 œ4 ˙0 2 1 0 2 1 2
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317