Cole Davis - The New Simandl PDF

Generated for #2343 Jamil Lima jamildnlima@gmail.
com
THE NEW
SIMANDL adapted by Cole Davis
1 Generated for #2343 Jamil Lima jamildnlima@gmail.com
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:

Generated for #2343 Jamil Lima jamildnlima@gmail.com
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
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
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
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:

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.
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
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
? 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.
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:

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 ˙
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.
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.
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.
4. C MAJOR #1
?˙
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
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 24 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.

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.
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.
5. C MAJOR #2
?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
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

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:
6. C MAJOR #3
?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
? œ0 œ2 ˙1 œ œ œ œ œ2 œ1 ˙0 œ œ œ œ œ œ ˙ œ œ œ œ
2 1 2 1 1 2 1 2
0 0 0 0
293
?œ œ œ œ œ œ œ œ œ œ œ0 12
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 1 0
299
œ4 ˙0
? 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
? œ ˙0 œ œ ˙ œ œ œ œ œ œ œ2 œ0 œ1 œ
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
? œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ w bbbbb
317
6. C MAJOR #3
New Version
?œ ˙ œ œ œ0 ˙ œ œ2 ˙ œ2 œ1 ˙0 œ1 œ0 œ2 œ1 œ0 œ2 œ1 œ0
2 4
1 2 1
275 Estr.Astr. Dstr. Astr.Dstr. Astr.
? œ2 œ1 œ0 œ2 œ œ ˙ œ0 œ1
œ ˙
2
œ ˙ œ œ œ œ
1 2 1 2 2 1
œ œ œ œ
1 0 0 1 0 0 1 2
281 Estr. Astr. Dstr.
œ4 œ4 œ1 œ0 ˙2
? œ0 œ1 œ0 œ œ ˙ œ œ œ œ œ ˙ œ œ1 œ0 œ2
2 2 1 2 1 1
0 0 0
287 Astr. Estr. Astr. Dstr.Astr. Astr. Dstr. Astr. Dstr. Astr.
? œ0 œ2 ˙1 œ œ œ œ œ2 œ1 ˙0 œ œ œ œ œ œ ˙ œ œ œ œ
2 1 2 1 1 2 1 2
0 0 0 0
293 Astr. Estr. Astr. Estr.
? œ 0 4 1 4 0 œ œ œ0 œ œ 0 œ œ œ0 œ2 œ4 œ2 œ0 œ œ0 œ2 œ4 œ0
2 2 4 2 2 4 4 4
œ œ œ œ œ œ
299 1/2 pos.
œ4 ˙0
? œ2 œ0 œ4 œ2 œ4 œ0 œ1 œ œ2 œ ˙1 œ œ œ œ œ
2 2
œ ˙
0 0 1 2 1 2
œ
305
? œ ˙0 œ4 œ ˙0 œ œ œ2 œ0 œ1 œ
œ œ œ œ
4 4 2 4 4 4 2
œ œ ˙ ˙
0 2 4 0 1
œ
311 Dstr.
Astr.
œ4 ˙1 œ0 2 0 1 2 1 2 0 1 2 œ0 œ1 œ4 ˙0 2 1 0 2 1 2
? œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ w bbbbb
317 Dstr. Astr. Estr. Astr. Dstr. Astr. Estr.
7. Db MAJOR
This exercise is an example of how the New method is at times easier to
play. The Old method uses a lot of 1-1 shifting, where you play a whole step
(like Ab to Bb) with the first finger. I understand why they do this, it is so
that way you have a cleaner 1-4 fingering for the following notes. However,
it is almost impossible to play a 1-1 shift at a faster tempo. Not only that, a
1-1 shift almost always disrupts the groove. I have a hard time swinging
when I have to make an awkward shift like the one below
Old method (1/1 shift):
New method:
The New method starts this phrase on the D string. Because of this, there
are no shifts. One might challenge this by pointing out the stretches in the
New method, as opposed to the Old method where there are no stretches.
My argument to that would be that it’s Db Major, so you’re going to have to
stretch at some point! Here’s another example.
Old method:
New method:
In this example, the Old method is very difficult to execute, especially at

faster tempi. A 1-1-1 shift, starting on Bb, then to Ab, then back to Bb, is a
very unfriendly and unnecessary thing to play on bass. This isn’t a knock
on the Old method; I do understand how for orchestral bassists a 1-1-1
shift can be passable. For the improvising bass player, however, it makes
very little sense. A criticism of the Simandl, which I do share, is that the
exercises make their way to the G string, and then once you arrive at the G
string, you are to shift as much as possible. This is what I call “bass Tetris”
in my YouTube videos, because it looks like you’re playing the bass in a
Tetris shape. The 1-1-1 shift epitomizes that. Try playing this 1-1-1 shift, and
then try playing the new fingering back to back, and see which is easier.
Old method:
New method:
7. Db MAJOR #1
Between 1/2 and 1st pos. Old Version
? b b œ4 œ œ4 œ1 ˙4 œ œ4 ˙ ˙2 ˙4
bbb Ó
1 1
324
? b b œ1 œ2 œ4 œ1 ˙4 œ1 œ4 ˙2 ˙1 ˙4
bbb Ó
328
œ œ1 œ1 ˙4 œ1 œ1 ˙4 ˙1 ˙4
? bb b œ 2 4
Ó
bb
332
œ1 œ4 œ2 ˙4 œ2 œ4 ˙1
? bb b œ 4
˙
1
˙
4
Ó
bb
336
œ4 œ2 œ1 œ2 ˙4 œ2 œ1 ˙4 ˙1 ˙1
? bb Ó
bbb
340
? bb œ4 œ1 œ1 œ1 ˙4 œ1 œ1 ˙4 ˙1 ˙4
bbb Ó
344
? bb œ œ1 œ4 œ1 ˙4 œ1 œ4 ˙1 ˙4 ˙2 Ó
2
bbb
348
? b b b œ4 œ1 œ2 œ1 ˙4 œ1 œ2 ˙4 ˙ Ó
2
˙
4
bb
352
7. Db MAJOR #1
New Version
? b b œ1 œ œ1 œ2 ˙4 œ2 œ1 ˙ ˙1 ˙2 Ó
bbb
4 4
324
Astr. Dstr. Astr. Dstr.
? b b b œ4 œ1 œ2 œ4 ˙1 œ4 œ2 ˙1 ˙2 ˙4
bb Ó
328 Astr. Dstr. Gstr. Dstr.
œ œ4 œ1 ˙4 œ1 œ4 ˙1 ˙4 ˙1
? bb b œ 1 2
Ó
bb
332 Gstr. Dstr. Gstr.
œ4 œ1 œ2 ˙4 œ2 œ1 ˙4
? bb b œ 2
˙4 ˙
1
Ó
bb
336 Dstr. Gstr. Dstr. Astr.
œ2 œ1 œ4 œ1 ˙2 œ1 œ4 ˙1 ˙4 ˙2
? bb Ó
bbb
340 Gstr. Dstr. Gstr. Dstr. Gstr. Dstr.
? bb œ1 œ4 œ2 œ4 ˙1 œ4 œ1 ˙4 ˙1 ˙4
bbb Ó
344 Gstr. Dstr. Gstr. Dstr. Astr.
? bb b œ œ1 œ4 œ1 ˙4 œ1 œ4 ˙1 ˙4 ˙2 Ó
4
bb
348 Dstr. Astr. Dstr. Astr. Dstr. Astr.
? b b b œ1 œ4 œ2 œ4 ˙1 œ4 œ2 ˙4 ˙ Ó
2
˙
4
bb
352 Dstr. Astr. Dstr. Astr. Estr.
8. Db MAJOR (#2)
This exercise is a development of the previous one, which is also in Db
major. Here I’m using more “electric bass” like fingerings, especially in the
first 4 bars. In this case, I’m using the A and D strings to play this scale, as
opposed to the Old method. To me, both methods are challenging - it is Db
major, an unfriendly key for the bass - this one just uses slightly less
shifting.
Old method:
New method:
The New method makes unconventional use of the open string in the 4th
bar of this phrase. This is again where coordination comes in. My first
finger is on the Ab on the D string, so it would seem that the G a half step
below is inaccessible. But since I have the open string, I can keep my hand
where it is, play the open string, and then return to the D string to play the
Ab again. We are used to open strings as a point of arrival, but what if they
were just a catalyst for movement and mobility? Here’s another example:
Old method:
New method:
In this example, the Old method is very difficult to execute, especially at

faster tempi. A 1-1-1 shift, starting on Bb, then to Ab, then back to Bb, is a
very unfriendly and unnecessary thing to play on bass. This isn’t a knock
on the Old method; I do understand how for orchestral bassists a 1-1-1
shift can be passable. For the improvising bass player, however, it makes
very little sense. A criticism of the Simandl, which I do share, is that the
exercises make their way to the G string, and then once you arrive at the G
string, you are to shift as much as possible. This is what I call “bass Tetris”
in my YouTube videos, because it looks like you’re playing the bass in a
Tetris shape. The 1-1-1 shift epitomizes that. Try playing this 1-1-1 shift, and
then try playing the new fingering back to back, and see which is easier.
Old method:
New method:
8. Db MAJOR #2
Between 1st and 2nd pos. Old Version
˙1 ˙4 œ1 n œ0 ˙1 A œ4 œ2 œ1 œ4
? b b b œ4 œ1 œ4 œ1 œ œ œ œ
4 2 4 1
bb
356
˙4
? bb œ œ œ œ ˙ ˙ œ œ ˙ œ œ œ4 œ œ2 œ4 œ1 œ4 œ1 n œ0
2
4 1
bbb
2 1 4 1 4 2 4 1 4
361
? bb ˙ œ4 œ2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
1 2 2
bbb
1 2 4 1 4 2 4 1 4 1 4 1 2
367
? b b œ4 œ2 œ1 œ4 œ2 œ4 œ1 œ4 œ4 œ2
bbb œ œ w
1 1 4
372
˙4 ˙4 ˙4 ˙1
? bb b ˙
4
˙
1
˙
4
˙
1
œ œ ˙
2 4 1
˙2 ˙
1
˙ ˙
bb
376
? bb œ œ ˙2 œ4 œ1 œ1 œ4 œ1 œ2 œ œ œ4 œ1 œ4
bbb œ
1
383
? b b œ œ nœ œ œ4 œ1 n œ2 œ4 œ1 œ4 œ2 œ œ1 œ4 œ4
4
bbb ˙ Ó bb
1 4 1 2 1 1
œ
387
8. Db MAJOR #2
New Version
? b b b œ1 œ4 œ1 œ4 œ œ ˙1 ˙4 œ1 n œ0 ˙1 A œ2 œ1 œ4 œ2
œ œ
1 1 2 4
bb
356 Dstr. Gstr.Dstr.
Astr. Dstr.Astr.
˙4
? b b œ œ4 œ1 œ2 ˙4 ˙ œ œ ˙ œ œ4 œ1 œ œ2 œ1 œ4 œ1 œ4 n œ0
2
bbb
1 2 1 2 4 1
Gstr.
361 Astr. Dstr. Astr. Dstr. Gstr. Astr. Astr.
? b b ˙4 œ2 œ1 œ œ œ œ4 œ œ œ œ œ œ œ œ œ œ ˙
1 1
bbb
4 1 2 1 1 2 4 4 2 24 1
367 Dstr.Astr. Dstr. Astr. Dstr.
? b b œ2 œ1 œ4 œ2 œ1 œ4 œ2 œ1 œ2 œ1
bbb œ œ w
4 4 1
372 Gstr. Dstr. Astr. Dstr. Astr.
˙4 ˙1 ˙4 ˙1 ˙2
? bb b ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙
4 1 4 1 2 4 1 1 4 1
bb
376 Gstr. Dstr. 1/2 pos. Gstr. Dstr. Astr. Dstr.
? b b œ4 œ2 ˙ œ2 œ4 œ1 œ4 œ1 œ2 œ4 œ1 œ1 œ2 œ4
bbb œ
1 4
383 Dstr. Gstr. Dstr. Gstr. Astr.Dstr.
? b b œ œ nœ œ œ œ1 n œ2 œ4 œ1 œ4 œ2 œ œ1 œ4 œ4
4
bbb ˙ Ó bb
1 4 1 2 4 1 1
œ
387
Dstr. Gstr. Dstr.A D E A
Astr.
9. Bb MAJOR (#2)
Here is another example of how the same fingering applies to two different
positions. I’m not changing the original fingering in the first 4 bars here, I’m
just changing the application of that fingering to the A string. Once again,
this deals with playing an open string in an unexpected place.
Old method:
New method:
Fear not the Bb and C on the E string! Becoming comfortable with those
notes has been a complete lifesaver. Here is an example of how I prefer
“stretching” to shifting. The Old method uses a lot of shifts, as I mentioned
earlier. I prefer to stretch along the lines of an electric bass player, which
makes it much easier to improvise.
Old method:
New method:
9. Bb MAJOR #2
Old Version
? b œ œ œ œ
4
œ œ œ œ œ
1 14 4
œ œ œ œ
1
b œ œ œ
0 1 0
392 1/2 pos.
? b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
b œ
396
1/2 pos.
œ œ œ œ œ œ œ œ œ œ œ4 œ1 œ2 œ0
? bb œ œ
400 1/2 pos.
œ1 œ4 œ1 œ4 œ1 œ2 œ2 œ1 œ4 œ1 ˙2
? b b œ2 œ2
1
Ó
404
œ4 œ1 œ1 œ1 œ4 œ1 œ2 œ1 œ4 œ1 œ1 œ1 œ4 œ1 œ2 œ
? b
b
408
? b œ œ1 œ0 œ1 œ2 œ1 œ0 œ2 œ1 œ0 œ2 œ0 œ1 œ0 œ4 œ
2
b
1
412
? b œ0 œ4 œ œ4 œ0 œ4 œ œ œ4 œ œ œ œ4 œ œ
4
b œ
1 1 0 1 0 1 1 0
416
? bb œ œ ##
4 4
œ œ œ œ Ó
4 1
œ œ œ
1 1
œ œ ˙
1 0 0 1 0 0 0
œ
420
9. Bb MAJOR #2
New Version
? b œ œ œ œ
4
œ œ œ œ œ
4 4 4
œ œ œ œ
1 1 1
b œ œ œ
0 1 0 0 1 0 4 1 0
392 Estr. Astr. Estr. Astr. Estr.
? b œ0 œ œ4 œ œ0 œ4 œ œ œ4 œ0 œ1 œ2 œ0 œ4 œ
b œ
1 1 1 0 1 1
396
Astr. Dstr. Astr.
œ0 œ2 œ0 œ4 œ2 œ0 œ0 œ2 œ4 œ2 œ4 œ2 œ1 œ0
? bb œ 4
œ
4
400 Dstr. Astr. Dstr.
œ2 œ4 œ2 œ1 œ4 œ2 œ12 œ4 œ1 œ4 ˙1
? b b œ1 œ1 Ó
404 Gstr. Dstr. Gstr. Dstr.
œ1 œ4 œ2 œ4 œ1 œ4 œ2 œ1 œ4 œ2 œ1 œ2 œ4 œ2 œ1 œ0
? b
b
408 Gstr. Dstr. Gstr. Dstr.
? b œ œ1 œ0 œ1 œ2 œ1 œ0 œ2 œ1 œ0 œ2 œ0 œ1 œ0 œ4 œ
2
b
1
412 Astr. Dstr. Astr. Dstr. Astr.
? b œ0 œ4 œ œ4 œ0 œ4 œ œ œ4 œ œ œ œ4 œ œ
4
b œ
1 1 0 1 0 1 1 0
416 Estr.
? bb œ œ ##
4 4
œ œ œ œ Ó
4 1
œ œ œ
1 1
œ œ ˙
1 0 0 1 0 0 0
œ
420 Astr. Estr. Astr. Estr. Estr.
10. D MAJOR
This one is hard (for me, anyways) so let’s start with the major scale, which
is how this exercise starts. I address this exact thing in my “Scales and
Arpeggios” PDF, which deals with the different ways of fingering major
scales. Here’s the Oulde and Neue methods of fingering the D major:
Oulde method:
Neüe method:
So there is a bit of a stretch in the Neüe method, but no shifting!

Improvising in the Oulde method is quite challenging because of all the
shifts. If I tried to improvise on the D major scale using both methods, I
would find the Neüe method much easier and more conducive to harmonic
and melodic expression. Here’s one more example:
Oulde method:
Neüe method:
So the Neüe method looks harder because of all the instructions, but it’s
actually not. The Oulde method is using a 1 on the G right here:
This 1 on the G defeats the purpose of having an open G. My rule is, when
you have an open string, use it! The rest of the phrase is kind of boxed in,
in that there’s nowhere to go. If I put a 1 on the G, I’m telling my fingers that
there is only one possible way to finish the phrase, and it just leads me
right back to half position. If I play the G open, it looks like this:
This to me is much easier, and it opens up the entire instrument.

10. D MAJOR
Old Version
2 œ 1 œ œ œ4 œ4 œ1 # œ1
Between 1st and 2nd pos.
4 œ
1 œ œ œ 1 œ 1 œ
2 œ œ 4 œ œ œ
? ## œ œ œ œ œ œ œ œ œ # œ
4 4 2 4
1 4 4 1 4
0 0 4
œ2 œ4 œ1 œ4 œ2 œ4 œ1 œ4 œ1 4 œ2 œ1 œ4 œ1 œ4 œ4 œ1 4
424
? ## œ
2
N œ œœ œ œ œ
0 4
œ œ œ œ œ œœœ
œ
œ4 œ2 œ4 œ1
431
? ## ˙ Ó Œ œ œ œ œ œ œ œ œ œ œ Œ Œ œ œ œ œ œ œ œ
œ2 œ4 ˙
439
œ œ œ œ œ4 œ0 1 4 1 4 0
? ## œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ
œ
446
? ## œ œ œ œ œ1 œ4 ˙ œ œ1 œ
453
? ## œ œ ˙ œ œ œ
œ œ ˙ œ œ œ
œ Œ œ œ œ
œ2 œ1 œ4 œ1
458
œ œ
? ## œ œ œ Œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ
œ
465
œ4 œ2 œ4 œ1
? # # œ œ œ œ œ œ œ œ ˙4 ˙ œœœœ œœœœ ˙ ˙ Œœœœ
2
1
473
2 œ
4 œ
1 œ
œ œ
? ## œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ ˙4 1
4
˙ Ó bbbb
0 4 1 4 1 4 1 0 1 4 0 1
˙
481
10. D MAJOR
New Version
4 œ œ
1 œ 4 œ œ
œ œ 1 œ 0 œ œ œ 4 œ œ œ
œ1 œ4 œ2 # œ1
? ## œ œ œ œ œ œ œ œ œ # œ
1 4 1 2 2
1 4 1 4 1 4 1 1 4 1
0 0 4
Astr. G D G Dstr. Astr. Gstr. Astr. Dstr.

1 œ 4 œ œ
4 œ œ4 œ1 œ4 œ1 œ4 œ0 œ4 œ1 œ4 œ œ4 œ0 œ4 œ1 0 4 0
424
1 œ œ
? ## œ N œ œœ œ œ œ œ œ
2 2 1 1
œœœ
1 0 4 1 0 1 4 0
Dstr.Gstr. D G D Astr. Dstr. G Dstr.Astr. Estr.

œ œ1 œ4 œ1 0 4 1 0 1 4 0 œ1 0 4
431 Astr.
? # # ˙0 Ó
2
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Œ Œ Œ
4 1 0 4
4 1 0
Gstr. Dstr. Astr. Dstr. Astr. Dstr. Astr. Estr.

œ1 œ2 ˙1
439
1 œ
0 œ
œ œ œ4 œ0 1 4 1 4 0
? ## œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ
1 4 4 4 1 4
0 1 0 0 0 1 4
œ
446 Estr. A Estr. Astr. Dstr. Gstr. Dstr.Astr. Estr.
? # # œ1 œ4 œ0 œ1 œ4 œ1 ˙4 œ œ1 œ4 0 œ œ œ
œ œ
4
œ œ œ œ
1 0 1 0 1 4 0
453 Astr. Dstr. Gstr.Dstr. Astr. Estr. Astr.
? # # œ1 œ ˙ œ œ0 œ1 4 0 4 0 1 4 œ0 œ1 œ4 œ0 œ1 ˙0 œ œ4 œ0 0 Œ 0 1
4 1 4
œ œ œ œ œ œ œ œ œ œ
Dstr. Astr.Estr. 1/2 pos.
œ2 œ1 œ4 œ1
458
œ œ 4 œ
4 1 œ
4 1 4 0
œ
? ## œ œ œ Œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ
1
œ
4 0 1
4 0
œ 1
œ
1 1 0 1 4 0 1 4 0 4 0
465 Astr.E Astr. Dstr. Gstr. Dstr.

œ2 œ1 œ4 œ1 0 4 1 0 4 0 1 œ1 0 2
? ## œ œ œ œ œ œ œ œ ˙ ˙ œœœœ œœœ ˙ ˙ Œœœœ
1 4
0 4 1 2 0 0 2 0 0 4 0
473 Astr. Estr.Astr. D Gstr. Dstr. Astr. Estr. A D Astr. Astr.

4 1 œ
? # # œ1 œ0 œ4 œ1 Œ œ0 œ4 œ0 œ1 œ0 œ4 œ1 œ0 œ1 œ4 œ0 œ1 œ œ ˙ 0
2
˙ Ó bbbb
2 0
˙
481 Dstr.Astr. Astr. Dstr. Astr. Dstr. Gstr. Dstr.
11. Ab MAJOR
The Ab major scale is one of the most abrasive scales to play on bass. If
played in half position, it involves multiple stretches. I prefer to use this
fingering, which is actually less stretching than the original fingering:
Old method:
New method:
In the New method, I use the open string to minimize shifting once again.
Since we only have one open string in this scale, I will take full advantage
of it, even if the fingerings are slightly unconventional. The Old method
seems easier here, but the New method offers a shift-free way of playing
this exercise.
Old method (1/2 position):

New method:
Out of context, the New method looks bizarre, but in context it serves the
purpose of playing the exercise without shifting. Here is one more example
of how I avoid shifting:
Old method:
New method:
The Old method involves shifting to get up to that C, but the New method
just uses the open string to change positions.
11. Ab MAJOR
Old Version
Between 1/2 and 1st pos.
? bb
2
œ œ4 œ0 œ4 œ0 œ1 ˙4 œ0 œ
œ œ
4 1
bb ˙ ˙
4 1 1
488
œ œ1 œ œ1 œ4 ˙2 œ4
? bb b ˙ ˙ œ œ œ œ4
1 2 4 1 4 0 0
b
492
œ œ1 œ4 œ1 œ4 œ2 ˙4 œ2 œ0
? bb b ˙ œ œ
2
˙
4 1 4 0
b
496
œ œ1 œ4 œ2 œ4 œ œ ˙
? bb b ˙ 4
˙
1
œ
4 0
Ó
b
500
? bb ˙4 ˙1 œ1 œ œ œ œ œ œ œ0 œ1
bb œ ˙
4
504
? bb ˙ ˙1 œ œ œ œ œ œ œ œ œ œ2
4 2
bb ˙
4 4
508
? bb b ˙ ˙2 œ1 œ4 œ1 œ œ œ œ œ œ1
4 1
œ
4
˙
4 1 4 1 2
b
512
? b b ˙4 ˙1 œ œ œ œ œ œ œ œ Ó #### #
2 2 1
bb
1 4 1 4 4 4
˙ #
516
11. Ab MAJOR
New Version
? bb
1
œ4 œ1 œ0 œ1 œ0 œ1 ˙4 œ0 œ
œ
4
œ
1
bb ˙ ˙
2 1
488 Estr. Astr. Dstr. Dstr. Dstr. Dstr.
œ0 œ4 œ0 œ4 œ1 ˙4 œ1
? bb b ˙ ˙ œ œ œ4 œ
1 2 4 1 1
b
492 Astr. Dstr. Dstr. Gstr.
œ œ1 œ4 œ1 œ4 œ2 ˙4 œ2 œ0
? bb b ˙ œ œ
2
˙
4 1 4 0
b
496 Astr. Dstr. Gstr.
œ œ1 œ4 œ1 œ2 œ1 œ4 ˙2
? bb b ˙ 4
˙
1
œ
4 0
Ó
b
500 Astr. Dstr. Gstr. Dstr.
? bb ˙1 ˙4 œ1 œ4 œ1 œ0 œ4 œ0 œ4 œ0 œ1
bb œ ˙
1 4
504 Gstr. Dstr. Astr. Estr. Dstr.
? bb ˙ ˙1 œ0 œ1 œ0 œ4 œ œ4 œ œ œ œ0
4 1
bb ˙
1 1 2 4
508
Dstr. Dstr. Astr.
? bb b ˙ ˙0 œ4 œ0 œ4 œ œ œ œ œ œ2
1
œ
4 2
˙
1 4 1 4 4
b
512 Dstr. Dstr. Astr. Dstr.Astr.
? b b ˙0 ˙4 œ œ œ œ œ œ œ œ Ó #### #
1 1 4
bb
1 4 1 2 2 1
˙ #
516 Astr. Estr.
12. F# MAJOR
Ah yes, F# Major: the single worst key in the history of upright bass. I
would actually say that it’s the worst key in the history of human beings.
There are very few good songs in the key of F# Major, a rare exception
being Whitney Houston’s “I Wanna Dance With Somebody.” When playing
in F# Major, I try to get out of half position as quickly as possible, because
once I’m in half position, it’s very hard to get out due to the absence of
open strings. This is how I would play the beginning of this exercise, which
starts with the F# Major scale:
Old method:
New method:
This is how I approach this exercise as a whole, just trying to stay out of
half position and use the whole bass. There is a video where I explain this
further on Jason Heath’s YouTube page. I even walk in F# on that video,
which is hard to do.
12. F# MAJOR
Old Version
Between 1/2 and 1st pos.
? #### # œ œ œ4 œ1 œ œ
1 4 1 2 1 4 1 4
œ œ œ
4 1 1 1
# œ œœœœ œ œ œœœ œ œœœ œ œœ

1 44 21 4 1 1 4 1 4 1
520
#
? ## # # œ œ œ œ
1 4 1 2 4 1
œ œ1 œ4 œ œ œ œ œ œœ œ œ œœœœ
# œ œœ œ œ œ
1 4
œ4 œ œ œ
524
? #### # œ œ œ œ œ 4 œ
œ 1 œ œ œ œœœ œ œœœ
1 œ 4 œ
2 œ
1
œœ
#
˙
528
4 œ
œ œ œ œ 4 œ
1 œ
œ
? # # # # # œ œ œ1 œ4 œ œœœ œ œœœ
2 4
1
Ó bbb
1 2 4
#
532
12. F# MAJOR
New Version
? #### # œœ œ œ œœœœ
2
œ œ œ œœœ
2 4 1 2 4 1 4 2 1 4 2
œ œ œ œ
4 1
œ œ
1 4 1 4 2 1 4 1 2 4 1 4
# œ œœ œ œ œ
520 Astr. Estr. Dstr.Astr. Estr.
Estr. Astr.
#
? ## # # œ œ œ œ œ 2 4 1 œ
œ œ œ4 œ2 œ4 œ1 4 1
œ œ œ œœ
1 4
# œ œœœ œœ œ œœ
1 2 4 1 2 4 1 4 1 2 1 4 1 4 2
Astr. Dstr.
œ4 œ1 œ2 œ1 4 2
524 Astr. Dstr. Astr. Dstr.
1 œ œ œ 1 œ œ
Dstr.
1 4 1 4 œ œ 1 2 4 œ
? #### # œ œ œ œ œ œœœ œ œœœ œœ
4 2 4 2 2 1
1 4 2 1 4
#
Astr. 1/2 pos. Gstr. Dstr. Astr. Dstr. Dstr.
œ4 œ1 œ4 œ2 œ1 4 2 4 œ1 œ2 œ4 œ1 œ2 ˙
528
4 œ
1 œ
4 œ
œ
4
? #### # œ œ œ œ œ œ
1
Ó bbb
1 2 1
#
Dstr. Gstr. Dstr. Astr. Dstr. Gstr.
532
13. Eb MAJOR
In this exercise, I offer another alternative to 1-1 shifting. 1-1 shifting does
make sense for orchestral excerpts, for which the Old method was
originally written. However, for the improvising bassist, a New method
must be devised.
Old method:
New method:
I actually demonstrate this exact phrase on Jason’s YouTube page as well.

Even though we are taught not to stretch, the stretch here is totally natural.
I have large hands, so for me it’s easy, but even if you have Kenny Pickett
sized hands (look it up) you can make this stretch with ease. 1-1 shifts
make everything harder, especially improvising. They’re even harder going
back, and cause even more of a loss in momentum - and if you’ve ever
studied jazz, you know it’s all about moving forward and the feeling of
motion. On the next page, I demonstrate another example of this:
Old method:
New method:
All of those 1-1 shifts can be very cumbersome. I’m not completely against
it, I’m just offering a different solution that works better for what most of us
do. A backwards 1-1 shift is one of the toughest things to play, and it’s
almost impossible at a faster tempo.
I demonstrate the differences between playing the two at a faster tempo on

Jason’s YouTube page, where I physically break down the differences
between the New and Old exercises.
13. Eb MAJOR
Old Version
Between 1/2, 2nd and 3rd pos.
œ4 œ1 œ1 œ
? b b œ1 œ4 œ0 œ1 œ œ1 œ0 œ4 œ1 œ4 œ0 œ1 ˙ Ó œ œ œ œ
4 4 1
˙4 œ œ œ4 œ œ4 œ1 œ4 œ œ œ œ œ1 ˙4
? b œ œ œ œ
1
Ó Ó
1
bb
œ œ 4 œ
1 œ œ4 œ2 œ4 œ1 œ1 œ1 œ4 œ2 ˙4 œ4 œ2 œ4 œ1 œ1 œ1 œ4 œ2
? b
2
bb Ó
œ4 œ2 œ4 œ1 1 œ4 œ1 œ4 œ1 œ0 œ1 œ4 œ1 œ4 œ1 œ4 œ1 ˙0
? bb ˙
b Ó Ó
? b œ œ1 œ1 œ0 œ4 œ0 œ1 œ1 œ4 œ1 œ1 œ0
4
bb
œ4 œ œ œ œ œ œ œ
? b ˙4
bb Ó œ œ œ œ ˙ Ó
? bb ∑ ####
b #
568
13. Eb MAJOR
New Version
œ4 œ1 œ2 œ0
? b œ1 œ4 œ0 œ1 œ œ1 œ0 œ4 œ1 œ4 œ0 œ1 ˙ Ó œ2 œ0 œ2 œ
4 4 1
bb
Dstr.
œ4 œ1 œ4 œ1 œ0 œ1 œ4 œ1 ˙4
536 1/2 pos.
˙4 œ0 œ1 œ4 œ
? b b œ œ0 œ2 œ
1
Ó Ó
2 1
b
Dstr. 1/2 pos.
œ œ œ1 œ4 1 œ4 œ1 œ2 ˙4 œ4 œ2 œ1 œ4 1 œ4 œ1 œ2
Astr.
1 œ
542
4 œ
1 œ
œ œ œ
4
? b
2 2
bb Ó
Dstr. Gstr.
œ4 œ2 œ1 œ4 ˙1 œ4 œ1 œ4 œ1 0 œ1 œ4 œ1 œ4 œ1 œ4 œ1 0
548
? b Ó œ ˙ Ó
bb
554 1/2 pos.
œ4 œ1 œ2 œ0 œ0 œ2 œ1 œ4 œ1 œ2 œ0
? bb œ1
b
560
Dstr.
œ4 œ1 œ0 œ4 œ4 œ1 œ0 œ4
? b ˙1 Ó œ œ œ œ ˙ Ó
1
bb
1 4 0 1
563 1/2 pos.

14. B MAJOR
Much like in F# major, the B major incurs a lot of shifting. I prefer to stretch
rather than shift, as you probably know already since I’ve mentioned it
about nineteen times in this book. Since B major is already pretty hard to
play on bass, you’re actually not stretching more with the New method, just
shifting less. Here’s an example:
Old method:
New method:
Even though it seems like more of a strain going from the C# on the E
string to the D# on the A string, it’s actually less of a strain than the
standard position where you’re going from C# on the A string to D# on the
D string. The Old method also has a 1 1 shift in the first bar, and I eliminate
that by starting on the E string. Here’s one more example:
Old method:
New method:
14. B MAJOR
Old Version
Between 1/2, 1st and 2nd pos.
? #### œ œ ˙4 ˙ ˙ w4
1 4 4
# œ œ ˙
1 1 1 1
569
? #### œ
1
œ
4
œ
1
œ4 ˙1 ˙
2
˙
1
˙4 w2
#
573
? # # # # œ1 œ4 œ1 ˙2 ˙4 ˙4 w1
œ ˙
1 1
#
577
? # # # # œ1 œ4 œ1 œ4 ˙1 ˙4 ˙1 ˙2 ˙4 .
# Œ
œ2 œ4 œ2 ˙2 ˙4
581
œ4 ˙1 ˙1 w4
? ####
#
œ ˙4
585
? #### œ œ œ4 ˙2 ˙1 ˙1 w
#
589
? #### œ œ œ œ4 ˙1 ˙1 ˙ ˙ w
1
#
593
œ ˙4 ˙1 .
? #### œ œ œ ˙ ˙ ˙1 Œ ###
#
597
14. B MAJOR
New Version
? #### œ œ ˙4 ˙ ˙ w1
1 4 4
# œ œ ˙
1 2 1 2
569 Estr. Astr. Estr. Astr. Dstr.
? #### œ
4
œ
1
œ
2
œ4 ˙1 ˙
2
˙
1
˙4 w2
#
573 Estr. Astr. Dstr. Astr. Dstr.
? # # # # œ1 œ4 œ1 ˙2 ˙4 ˙1 w4
œ ˙
2 2
#
577
Astr. Dstr. Astr. Dstr.
? # # # # œ2 œ4 œ1 œ2 ˙4 ˙1 ˙4 ˙2 ˙4 .
# Œ
Dstr. Astr. Dstr.
œ1 œ2 œ1 ˙1 ˙
581 Astr.
œ4 ˙2 ˙4 w1
? ####
2
#
Gstr. Dstr. Gstr. Dstr.
œ1 ˙2
585
? #### œ4 œ4 œ2 ˙1 ˙4 ˙1 w2
#
589
Dstr. Gstr.Dstr. Gstr. Dstr. Astr.
? #### œ œ4 œ2 œ1 ˙4 ˙1 ˙4 ˙4 w
2 1
#
593 Dstr. Dstr. Gstr. Dstr.
œ4 ˙4 ˙1 .
? # # # # œ2 œ2 œ1 ˙
4 ˙2 ˙1 Œ ###
#
597 Gstr. Dstr. Gstr. Dstr. Gstr.
15. A MAJOR
This exercise uses the idea of going up the string to play scale passages. I
love this exercise for practicing major scales. Instead of practicing the
major scales the same way, practice the scale just using 1 string. It will
increase your understanding of that individual string. Not to mention
mitigating the horror of when your string breaks on a gig - I remember
when my A string broke on a gig and nobody noticed. That was a good
feeling, albeit horrifying. Here’s an example of going up the string.
New method, going up the E string:
One more example (Old method)
New method, going up the E string:

The different fingerings here might be startling at first (for example the 2 - 0
1 shift in the first bar of the last phrase) but it actually increases speed.
When you’re playing a scale in a key like A major, it can be hard because of
all the shifting, especially up the G string. But if you minimize shifting by
using the open strings as a free space, it becomes much easier, and you
can play the scale much faster. This is also great for walking bass lines as I
mentioned before. I use open strings in walking lines all the time and
nobody notices - unlike electric bass, where the open strings stick out. I
maintain that this method is great for any bassist learning to improvise or
expand their understanding of the instrument.
“CLOSING REMARKS”
Thank you for purchasing my book, “THE NEW SIMANDL.” It took me over
4 months to write, and it was something that I had always wanted to do.
The Simandl-Rabbath debate is a classic in the bass world, and I hope to
submit my contributions to that debate with a book encompassing the
basics of both techniques. Another source of inspiration for this book was
the Storch etudes, which I studied in graduate school. Those etudes are
mind opening, and effectively introduced the idea of “open strings as a free
space” to bass world. I found that my walking improved tremendously as a
result of studying the Storch etudes, and it was a delightful realization
when I found out that Ron Carter derived many of his great bass lines in
the 60s, at least technically, from those etudes (check his bass lines on
“Sorcerer” and “E.S.P” for examples of how using open strings in this way
can open up the whole instrument). I also found that practicing in this way
minimizes pain significantly. As a working bassist, tendonitis is my worst
nightmare, and I haven’t had tendonitis or anything close since I started
practicing this way. Also, be sure to use the backing tracks to these etudes,
made by the producer Itamar Gov-Ari, they’re a lot of fun. CD out
15. A MAJOR
Old Version
Between 1/2, 1st and 2nd pos.
# œ œ œ ˙2 œ4 . œ2 œ4 œ1 œ1 4 2 0 4 1
? ## œ œ œ œ œ œ ˙
0 1 4 0
J
œ œ œ œ
1 4 1 1 4
601
? ## # œ œ ˙ œ.
œ œ œ œ œ œ
1 0
œ œ œ œ œ œ
4 4
œ
1 1
œ œ ˙
1 1 4 0 0
J
605
2 œ
4 œ
1 œ
4 œ
#
? ## œ œ œ œ œ œ œ œ œ # œ œ œ œ œœ œ
1 4 4
œ œ œ œ œ Nœ Œ
1 1
œ œ
609
1 œ
4 œ
? ### œ œ œ œ œ
4 2 œ
œ
2
œœœœœœœœ œ œœœœœœ œ œœœ Œ

2
613
œ œ1 4 2 œ 1 ˙
2 œ œ1 œ4 1 0 4 2 ˙
? ### œ œ #œ œ œ Nœ œ œ
4
#œ œ
1 2 2 4
4
617
œ2 œ4 œ2 # œ1 œ2
? ### œ œ2 œ4
#œ œ œ Nœ œ œ2 œ4
1 2 1 4 1
4 4
œ
621
œ œ œ œ 1 œ2 # œ4 œ1 œ4 œ1 œ2 1 4 1 œ1 # œ2 œ4 œ1 1 4
4 4 1
? ## # œ œœœ œ œ œ œ n œ1 # œ2 œ œ œ 0 Œ
œœ
625
15. A MAJOR
New Version
# œ œ œ ˙1 œ2 . œ1 œ4 œ1 œ2 4 2 0 4 1
? ## œ œ œ œ œ œ ˙
4
J
0 1 0
œ œ œ œ
2 4 1 4 1
601 Estr. Astr. Dstr. Gstr. Dstr. Astr. Estr.
? ## # œ œ ˙ œ.
œ œ œ œ œ œ
1 0 4 1
œ œ œ œ œ œ
0 14 4 4
œ
2 2 1
œ œ ˙
0 1 4 1 1 4 0 0
J
605 Estr. Astr. Dstr. Astr. Estr. Estr.
1 œ
4 œ
2 œ
1 œ
#
? ## œ œ œ œ œ œ œ œ œ # œ œ œ œ œœ œ
2 4 1 0 2
0 1 4 1 0 1 4 0
œ œ œ œ œ Nœ Œ
1 4 2 1 2 0 1 4 0 1 4
œ œ
609 Estr. Astr. Estr. Estr. Dstr. Gstr.
Astr.
4 œ
2 1 2 œ
? ### œ œ œ œ œ œ œ 1 0 1
œœœœœœœœ œ œœœœœœ œ œœœ Œ

1 0 4 0 1 0 1 4 0 2
0 1 4
4 0 1 0 4 0 1
613 Estr. Estr. Astr. Dstr. Gstr.

Astr. Estr.
œ2 œ4 1 2 œ 4 ˙
2 œ œ4 œ1 2 0 2 1 ˙
? ### œ œ #œ œ œ Nœ œ œ
1
#œ œ
1 2 2 24
617
Gstr.Dstr. Astr. Astr. Dstr.Gstr. Dstr. Astr.
Estr. Astr.
œ1 œ2 œ1 # œ4 œ1
? ### œ œ01 œ2
œ œ œ œ œ1 œ2
4 0 2
œ
0 2 0 2
œ
621
Dstr. Gstr. Dstr. Astr. Estr. Astr. Dstr. D G A G
œ2 œ1 œ4 œ1 1 œ2 # œ4 œ1 œ4 œ1 œ2 1 4 1 œ2 # œ1 œ2 œ4 2 4 1 4 0 1 œ
2 4 1 0
? ### œ œœœ œ œ œ œ nœ #œ œ œ 0 Œ
œœ
625 Gstr. Dstr. Gstr. Dstr. Gstr.
“CLOSING REMARKS”
Thank you for purchasing my book, “THE NEW SIMANDL.”

It took me over 4 months to write, and it was something that
I had always wanted to do. The Simandl-Rabbath debate is a
classic in the bass world, and I hope to submit my
contributions to that debate with a book encompassing the
basics of both techniques. Another source of inspiration for
this book was the Storch etudes, which I studied in
graduate school. Those etudes are mind opening, and
effectively introduced the idea of “open strings as a free
space” to bass world. I found that my walking improved
tremendously as a result of studying the Storch etudes, and
it was a delightful realization when I found out that Ron
Carter derived many of his great bass lines in the 60s, at
least technically, from those etudes (check his bass lines
on “Sorcerer” and “E.S.P” for examples of how using open
strings in this way can open up the whole instrument). I
also found that practicing in this way minimizes pain
significantly. As a working bassist, tendonitis is my worst
nightmare, and I haven’t had tendonitis or anything close
since I started practicing this way. Also, be sure to use the
backing tracks to these etudes, made by the producer
Itamar Gov-Ari, they’re a lot of fun. CD out

Cole Davis - The New Simandl PDF

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Cole Davis - The New Simandl PDF

Uploaded by

Copyright:

Available Formats

Generated for #2343 Jamil Lima jamildnlima@gmail.

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

And here is the new method:

Old method, in 1/2 position:

New method, using the upper positions:

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

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

And here is the new method:

Old method, in 1/2 position:

New method, starting elsewhere and migrating to half position:

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

Old version, which stays in 1/2 position:

New version, which jumps around a bit:

131 Astr. Dstr. Astr. Astr.

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

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

Old method staying in 1st position:

New method using all the strings:

New method, starting on the A string:

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

Astr. Estr. Astr. Estr.

Old method staying in 1st position:

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

197 Estr. Astr. Dstr. Astr. Estr.

201 Astr. Dstr. Astr.

209 Astr. Estr. Dstr.

215 Dstr. Dstr. Astr. Dstr. Astr.

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

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

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

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

245 Estr. Astr. Estr. Astr.

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

263 Dstr. Astr. Dstr. Astr.

271 Estr. Astr. Estr.

Old method (1st position):

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

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

281 Estr. Astr. Dstr.

293 Astr. Estr. Astr. Estr.

Old method (1/1 shift):

In this example, the Old method is very difficult to execute, especially at

In this example, the Old method is very difficult to execute, especially at

367 Dstr.Astr. Dstr. Astr. Dstr.

372 Gstr. Dstr. Astr. Dstr. Astr.

383 Dstr. Gstr. Dstr. Gstr. Astr.Dstr.

392 1/2 pos.

392 Estr. Astr. Estr. Astr. Estr.

400 Dstr. Astr. Dstr.

412 Astr. Dstr. Astr. Dstr. Astr.

So there is a bit of a stretch in the Neüe method, but no shifting!

This to me is much easier, and it opens up the entire instrument.

Astr. G D G Dstr. Astr. Gstr. Astr. Dstr.

Dstr.Gstr. D G D Astr. Dstr. G Dstr.Astr. Estr.

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

453 Astr. Dstr. Gstr.Dstr. Astr. Estr. Astr.

465 Astr.E Astr. Dstr. Gstr. Dstr.

473 Astr. Estr.Astr. D Gstr. Dstr. Astr. Estr. A D Astr. Astr.

Old method (1/2 position):

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

504 Gstr. Dstr. Astr. Estr. Dstr.