Simandl-Plus^®

Simandl-Plus^® Workbook Sample | Simandl-Plus^® Workbook Sample en Espagnol

At the American School of Double Bass^® we teach many facets of bass playing. Musically, our aim is to help bassists extract from the music the interpreter and composer’s artistic vision with integrity and taste. Technically, we search for the most facile means to that end by addressing every aspect of body and instrument posture, the bow arm, and the left hand and arm. But, if someone were to demand to know what is the single most important and unique concept that we teach at the American School of Double Bass^®, I would have to say it is our approach to fingering.

The double bass has an enormous string length resulting in a much wider distance between the intervals than with the other stringed instruments. Consequently, the problem of fingering is much more pronounced with the double bass than with smaller stringed instruments. I have found that virtually every student bassist struggles to devise fingerings that are not only technically sound, but also musically effective. A shortcoming in this important fundamental should not impair the realization of artistic vision. Hence, a key focus of the American School of Double Bass^® revolves around this issue.
The traditional interpretation of Simandl-style fingering is the notion that the "ideal” fingering is one that requires the fewest shifts and clings as close to the fingerboard nut as possible. This approach was undoubtedly the most beneficial in Simandl’s day, due to the coarse and rough gut strings set rather high off the fingerboard. But, with the advent of the louder, smoother, and more responsive steel strings, set just a few millimeters away from the fingerboard, the idea of minimal shifting and hovering near the nut is dated. In fact, it handcuffs the player, creating a key obstacle to producing a consistently more elegant musical result. We are long overdue in updating our technique to fully exploit this technological advance in the double bass.

Simandl-Plus^®

Accordingly, we teach a system of fingering that we call Simandl-Plus^®. It recognizes that the fundamental fingering intervals of traditional Simandl are constant in "closed hand” technique, but it withdraws from the old concept of remaining close to the nut and having as few shifts as possible. The Plus part of Simandl-Plus^® affords bassists more fingering choices, empowering them to take command over their left-hand technique by deliberately choosing when in the music, where on the instrument, and which finger to shift to, based on:

• Rhythm (the rhythm of the music and the rhythm of the shifts)
• Melodic gestures (phrases)
• Tempo
• String crossings

Inventing a fingering is one of the initial steps that a bassist should take when studying a new piece of music. Even with this early step, Simandl-Plus^® is primarily concerned with musical considerations.
What is revolutionary about this approach to fingering is that it is not radical – it does not ask you to re-tune the bass - it does not have you divide the entire bass in only six positions - you will not have to alter the set-up of your bass in order to play excessively high on lower strings. Using Simandl-Plus^® will look pretty much the same as traditional fingering, only it will sound and feel better, and in many cases, will be much easier to play.
Certainly, Simandl-Plus^® tends toward more frequent shifts, and more shifts to higher positions than traditional Simandl. But because it takes into consideration the rhythm and phrasing of the music, and more significantly, the rhythm of the shifts, the shifts will be more fluid and evenly spaced. Ironically, the older technique of staying close to the nut often forces still more frequent short and erratic shifts, more frequent string crossings, and places a heavier burden on the weaker, higher numbered fingers.
To phrase it in more of a sports metaphor, the Simandl-Plus^® concept opens up our playing field and allows us to be more on the offense rather than the defense. There are more positions to exploit, more "useable” notes, more "useable” strings, and more interpretive choices. In the end, the physical considerations of the double bass are minimized, even exploited, helping us to overcome the fear of shifting.

Fingering Strategies

The innovation we call Simandl-Plus^® is codified by fifteen specific Fingering Strategies, and a clear and efficient method of notation. These fifteen strategies are subdivided in "sets” of two or three strategies each, grouped according to the parameter they address: rhythm, melodic gestures, tempo, and string crossings, as well as "money” notes/lower numbered fingers, and "transitional” fingers. As with any set of strategies, one must acknowledge their hierarchy of importance and be flexible in knowing when to abandon which strategy. However, I guarantee that finding a fingering that follows all of the applicable strategies will get you much closer to the ultimate goal of realizing the composer’s and interpreter’s artistic vision.

All fingering strategies assume the use of "closed hand” (traditional Simandl 1-2-4) unless otherwise noted.

Melodic Gestures and Rhythm
1 Have at least two notes per position. (Rests and open strings count as a note.) — This strategy can be abandoned in lyrical playing, especially in thumb position.

2a When a melodic gesture (a series of pitches before it changes direction) ends on a stable beat (or on a stable subdivision of the beat), it is almost always best to shift on a mobile beat (or on a mobile subdivision of the beat).

2b When a melodic gesture ends on a mobile beat, (or on a mobile subdivision of the beat), it is almost always best to shift on a stable beat, (or on a stable subdivision of the beat).

Because almost all melodic gestures end on a stable beat or on a stable subdivision of the beat (in classical music, at least), it is almost always best to shift on a mobile beat, or on a mobile subdivision of the beat.

"Money" Notes and Lower Numbered Fingers
3) Use lower numbered fingers (1 & 2) when possible, especially in lyrical playing.

4) Use the second finger for "money" notes. Though the second finger is preferable, the first finger can be used on "money" notes as well. (See "Function of each of the fingers".)

— It usually works well with lyrical playing in thumb position to use the second finger (or the first) for every note.

String Crossings
5) Avoid using the same finger across two strings, even with perfect fourths (especially in lyrical playing.) Exception: When alternating back and forth across two strings.

6) Avoid playing two (or more) open strings in a row.

7) In scalar passages, play at least two notes on a string before crossing to a new string. (A rest counts as a note.)

8) If practical, choose a fingering that allows a string crossing on adjacent strings, rather than one that requires skipping a string.

Tempo
9a) In lyrical playing, avoid open strings and "open hand"* fingerings, opting for more shifts.

9b) In fast playing, use more efficient fingerings: use less shifts, and when you do shift, travel the shortest distance possible; use open strings, and "open hand"* fingerings.

10) You may use an open string only if the note is shorter than a beat, and if the open string does not create an unnecessary string crossing. (Also, see Fingering Strategy 6.) However, in moderately slow or slow tempi, a note may best be played closed instead of with an open string, even if it is shorter than a beat.

Triangulation of Fingering Systems^®
11) You can use the "closed hand"** fingering for almost all slow to moderately fast passages in the "neck register".

12) Use "open hand"* fingering system only in: a) extremely fast passages; b) when you want a passage (of any speed) to be clean (free of portamanti); c) when a passage hovers around a third; and d) to reverse the stable beat/mobile beat arrangement of shifts.

13) Use thumb position in, of course, the "thumb position register". But, you may also use the thumb below the first octave harmonic.

Transitional Fingers
14) In the "closed hand"** fingering system, use the third finger rather than the fourth finger higher than a two ledger-line E on the G-string (and on the same "fret" for all other strings). Notes on the "E fret" may be played with either the third or the fourth finger.

15) Use the second finger rather than the third finger higher than a treble clef top space E on the G-string (and on the same "fret" for all other strings). Notes on this "E fret" may be played with either the second or the third finger.

Fingering Notation Suggestions:

(All fingering notations appear over the notes. Alternate fingerings may appear below the notes.)
1) Indicate a fingering number only for a note that requires a shift.

2) If it is helpful to indicate a fingering for a note that does not require a shift ("reminder fingerings”), enclose that fingering in parentheses.

3) String indications should be notated with a letter (G, D, A, or E, not roman numerals) over the fingering number.

4) Indicate all open strings with an "o".

5) Indicate "open hand"** fingerings by placing a bracket over the fingering and the notes that are contained in that position. Ex.:

6) To "bridge" one finger across two strings when playing a perfect fourth (or minor sevenths across three strings, or minor tenths across four strings), indicate the finger number followed by two parallel lines over the notes that require the "bridging" fingering. Ex.: 2 =====

7) When playing a perfect fourth across two strings (or minor sevenths or minor tenths) with two different fingers, but not shifting (guitar style), draw two parallel lines between both fingering numbers. Ex.: 1 ===== 2

8) When playing a perfect fourth across two strings (or minor sevenths or minor tenths) with the same finger, (not bridging nor playing with two different fingers in one position) indicate both fingerings within parentheses and without the parallel lines.
Ex.: (2         2)
* Also called "extension", "4-finger", or "Franke system" fingerings.
** Simandl (1-2-4) hand position.
©2000-2004 Basso Profóndo/Mark Morton. All Rights Reserved.

Download the Fingering Strategies PDF here.

Benefits

• More fluid left-hand technique
• Easier string crossings for both the left hand and the bow
• A consistent approach to fingering
• More homogenous tone quality
• More explicit melodic gestures and phrasing (to both the player and listener)
• Greater security in accuracy of intonation
• More expressive, vocal-style playing

Workbook

Learn more about Simandl-Plus® in this 14-page excerpt, including answer key, from Dr. Mark Morton’s workbook.  To download, please click here.

Triangulation of Fingering Systems

One of the most important foundations of the American School's left hand technique is the Triangulation of Fingering Systems.

Closed Hand

Most players have been thoroughly grounded in what we call closed hand technique. Franz Simandl’s famous New Method (which is not "new" at all — it was first published over a century ago) is still the leading proponent of this system. In the "closed" technique the left hand spans a whole step (on one string) which requires the hand to stay compact and move quickly. This system works well for about 90% of playing situations. Problems arise in the other 10%. There are passages that don’t lend themselves to musical success by using just this one technique. The old school said: "Here are the fingerings... just play the passage over and over, and faster and faster, until you get it right!"

All of us have been subjected to this "beating your head against the wall" and have wondered if there were better ways to achieve success. Advanced players eventually do find ways to fill this last 10% gap. Certainly, there have been many fine players who have had full careers and never used anything except closed hand technique. This singular approach, however, does not provide the left hand with options so necessary to the bassist of the 21st-century.

Open Hand

In searching for alternative fingering systems to meet musical challenges, the first one usually discovered is the open hand technique. This fingering system is also known as "extension fingering", "four-finger technique", or the "Franke system", and appeared in method books in the United States as early as 1886.

This fingering system places a half-step between each of the four fingers, making the hand span a minor third (on one string). This added half-step is extremely advantageous, especially in fast passages, because it makes it possible to play diatonic passages across the strings in any key without shifting at all! As a result, "open-hand" technique is winning more and more followers.

Open hand should be used very sparingly - 5-7% of the time. There are only four situations in which Open Hand should be used: 1) in extremely fast passages, 2) when a passage hovers around a third, 3) when you want a passage of any speed to be clean (free of portamenti), and 4) to reverse the stable beat/mobile beat arrangement of the shifts. Also, where on the bass you can use Open Hand is dependant on the size of the player's hand. Those with small to medium hands can only use Open Hand in the middle range and above; those with larger hands can use it in the lower positions as well.

Thumb Position

Thumb position, of course is nothing new, but let’s not be afraid to use the thumb below the octave harmonic! Also, Thomas B. Gale has devised a practical codification of thumb positions, not by their location on the fingerboard, but rather by the distribution of whole or half-steps between each of the fingers.

It all boils down to this: When you start playing Mozart’s Symphony No. 39, it’s a heck of a time to find out you need to know something about four finger technique and playing in thumb position below the octave harmonic!
This is one of the important strengths of the American School of Double Bass^®: If the Triangulation of Fingering Systems is going to be used in achieving musical results, they should be introduced much earlier than they traditionally are, and should be taught as basic skills of the instrument, not just tossed in with little preparation when they are needed. Let’s examine now the most important, and the most frequently used point of the triangle: the "closed hand" technique, or the "Simandl system".

There is an immutable truth to the Simandl system of fingering that all modern bassists recognize: The left hand is best used when spanning a whole step between the 1st and 4th fingers, with the half-step between being accommodated by the 2nd finger. There’s no question that this distribution of intervals is the most advantageous for the vast majority of the time when playing the "neck register" (orchestral range).
Simandl-Plus^® and the Triangulation of Fingering Systems are fundamental teaching concepts at the American School of Double Bass^®.