The methods created for instrument education aim to help students gain and develop their psychomotor skills. Due to the systematic structure of the methods, these methods are also widely used in instrument education fields. The data sources of the research consist of the 1st Book of the New Method for the Double Bass method, which is widely used in double bass education. The 1st Chapter of the method was examined in line with the scope of the research. This study is descriptive in nature and the content analysis model, one of the qualitative research methods, was preferred during its execution. The data of the research was obtained by using “the document scanning” technique. In this study, the double bass playing positions and techniques in the section were examined; the content of the method in terms of education, the extent to which it covers the right and left hand techniques required for playing the double bass; the technical and musical features of the exercises and etudes were investigated. The New Method for the Double Bass method written for the double bass, was written by Franz Simandl (1840-1912), born in Bohemia and one of the most influential double bassists in the history of the instrument. Although more than a century has passed since his death, the method is still used as a standard study of technique and hand positions.

The New Method for the Double Bass method, Book 1, Chapter 1 contains a total of 155 exercises. The method begins with an introduction to the parts of the double bass. At the beginning of the chapter, there is information about the student’s position while playing the double bass, how to hold the bow, how to pass the bow, tuning the double bass and the signs used for the bow. It was written with the "Semitone" approach, and all positions are explained through this approach. The notes themselves to be used for each position and the enharmonics that may appear on the staff are introduced. In the introduction of the new position, exercises were written separately for each string, where all strings were used in transition, only the notes of the new position were included, and exercises where previous positions were included in the use of the new position. Only eighth, crotched, dotted crotched, minim, dotted minim, semibreve and dotted semibreve note values are included in the exercises. It was written with the aim of practicing only the positions in the left hand. Right hand techniques are not included in this section. No information is given about the dynamics and their application. There is brief information about the 6th Position regarding the flageolet sounds. Other flageolet sounds are not included. There is no metronome use or tempo references. It is seen that 3/4, 4/4, sebare, 3/2 and 6/8 time signatures are used. Only Major Scales are included in the position introductions. There are no arpeggio studies in the book.

 The etudes and exercises applied to left hand techniques in the first part of the book aim at the basic holding position of the left hand. These etudes ensure the acquisition of intonation skills and their correct application with tonal studies consisting of intermittent and consecutive sounds.Inaddition,thetechnicalinformationrequiredforleft handtechnique, such as the use of positions both alone and by transitioning with each other, is also discussed in detail in the book. The aim of the first part of the book is to ensure that a student who has just started playing the double bass can understand the features of the instrument within a certain logical framework. When evaluated in this direction, the exercises written in the "Half Position" approach do not pose a problem if they are not melodic. The detache bow technique was used until all Major scales and positions were learned. Since the exercises in the book are written in a gradual manner, from simple to complex, it is recommended that the studies be followed in order. In line with the data obtained by analyzing the exercises and etudes in this method, which standardizes most of the basic techniques still used today, it is aimed to ensure that the method is used effectively by instructors. It is thought that in double bass training, accompanied pieces and melodic etudes of equal difficulty should be included along with the achievements in this method. This book, in which position information is given in a very detailed and effective manner, is a valuable resource in the double bass literature.