Position Pieces for Cello


Book Description

Position Pieces for Cello is designed to give students a logical and fun way to learn their way around the fingerboard. Each hand position is introduced with exercises called "Target Practice," "Geography Quiz," and "Names and Numbers." Following these exercises are tuneful cello duets which have been specifically composed to require students to play in that hand position. In this way, students gain a thorough knowledge of how to find the hand positions and, once there, which notes are possible to play. Using these pieces (with names like "I Was a Teenage Monster," "The Irish Tenor," and "I've Got the Blues, Baby"), position study on the cello has never been so much fun!




Thumb Position for Cello, Book 1


Book Description

This book from Rick Mooney features easy classical music as well as folk songs, fiddle tunes and Mooney originals composed to address specific technical points. A second cello part throughout promotes a student's ability to hear and play accurately.




CelloMind


Book Description

CelloMind is a two-part pedagogical method book that focuses on intonation and left-hand cello technique. The coauthors of the book are Hans Jørgen Jensen, Professor of cello at the Bienen School of Music at Northwestern University and Minna Rose Chung, Associate Professor of Cello at the Desautels Faculty of Music at the University of Manitoba. Part I: Intonation. The mystery of intonation is revealed by defining and explaining the scientific principles that govern it. To know and understand how to combine the three primary intonation systems has never before been expounded in a methodology publication--and for good reason. Playing with exquisite intonation has mostly been reserved for those who possess a strong intuitive sense; however, CelloMind breaks down this taboo using a systematic approach with a highly attuned manner. The three systems of intonation that string players most commonly use today--equal temperament, just intonation, and Pythagorean tuning--are each explored and explained in great detail. All chapters in the book include many practical samples and listening exercises that bridge the gap between the theory and its application. The chapters on intonation conclude with practical examples from the following repertoire: "Intonation Performance Practice in the Bach Solo Cello Suites" and "Intonation Performance Practice with Piano." Part II: Left-Hand Technique. The left-hand technique chapters in this section complement the study of intonation by providing a solid foundation of skills for essential cello playing. The topics and exercises have been selected to cover a wide range of technical skills that include playing with a light left-hand touch, speed, coordination, balanced vibrato, agility, finger independence, and efficient shifting. Original exercises developed for students over many years have also been incorporated into these chapters, as well as studies from Julius Klengel, Bernhard Cossmann, Louis R. Feuillard, Jean-Louis Duport, Yakov Rosenthal, and Fritz Albert Christian Rudinger.




Thumb Position Review for the Cello, Book One


Book Description

This book uses 30 exercises to review basic finger patterns in thumb position on the cello. With a note chart at the beginning and minimal use of finger numbers, the exercises encourage note recognition. The books begins with studies in scale-like patterns of notes that are next to each other and progresses to studies in patterns of skipped notes in various intervals. With four distinct sections ("High 2nd Finger", "Low 2nd Finger", "High 3rd Finger", and "Low 1st Finger"), Thumb Position Review is an excellent supplement to Thumb Position for the Cello; Book One, Book Two, and Book Three.




170 Foundation Studies for Violoncello


Book Description

Compiled by Alwin Schroeder, a former cellist with the Boston Symphony Orchestra and an experienced teacher, this collection of 80 exercises constitutes the first book of a three-volume set. Schroeder drew upon his extensive experience to create original études for instructing students, and in this work he combines them with several others by his distinguished nineteenth-century European colleagues: Karl Schröder. Ferdinand Büchler, Friedrich Dotzauer, Auguste Franchomme, Friedrich Grützmacher, and Sebastian Lee. The carefully selected studies are arranged in order of increasing complexity, and Schroeder provides suggestions for fingering, bowing, and dynamics. Cello students and teachers will find these exercises a splendid resource for the improvement of technique and performance.




Double Stops for Cello


Book Description

Double stops provide excellent learning material for the young and advancing cellist in this Rick Mooney book. More than 60 familiar folk songs—many in the Suzuki repertoire—help the student learn skills such as hearing intonation, shaping the hand correctly, shifting, extensions, and preparing for future repertoire.




The First Hour


Book Description

A Cellist's Daily Technical Regimen




Tenor Clef for the Cello


Book Description

This book presents a systematic study of tenor clef for the intermediate cellist. The exercises teach one or two notes at a time, while corresponding pieces utilize the notes that were just learned. Much of the book focuses on the transition from bass to tenor clef on the cello, as well as the relationship between the two clefs. Teachers can use this book as a method for teaching the clef to their students, preparing them for tenor clef found in many intermediate and advanced cello pieces, including Saint-Saens' Allegro Appassionato and The Swan, and Vivaldi's Cello Concerto in E Minor.




Octaves for the Cello Book One


Book Description




Basic Thumb Position Studies for the Young Cellist


Book Description

These exercises have been written for the specific purpose of introducing cello students to the thumb position at the earliest practicable stage in their development. The material in this introductory volume retains the thumb on the octave harmonic. The supplementary material in Part II provides examples of musical value which may be interspersed with the materials of Part I.