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.

You can teach yourself to play the cello. This comprehensive, authoritative guide covers basics to Bach. Including 116 selections, it explains reading music, playing-by-ear and theory. Play-along CD.

Perhaps Dotzauer's most famous cello work is his 113 Etudes in four volumes. Masterfully prepared by him, this edition is a reprint of the authoritative G. Schirmer plate 26746 printed around 1917. This is the first volume in the series. 57pps, Extra note and staff paper in back for teacher annotations. Edition Fleury 2013. A must have for any student, teacher or cellist to have in his/her library.

(Berklee Guide). Learn the contemporary techniques and practices of the modern cello. The collection is a vital exploration of 21st-century cello techniques that every contemporary cellist should know when playing music outside of the standard classical repertoire. By exploring techniques such as chopping, pizzicato, improvisation, chords, ornaments, modes, polyrhythmic playing, and more, you will be prepared to play in a variety of contexts, including folk, rock, funk, jazz, world music and accompanying yourself while singing. Compiled and edited by Mike Block, this volume of etudes contains pieces composed by: Ashley Bathgate * Mike Block * Stephen Braun * Rufus Cappadocia * Rushad Eggleston * Erik Friedlander * Eugene Friesen * Natalie Has * Giovanni Sollima * Mark Summer * Jacob Szekley * Matt Turner * Jeffrey Zeigler.

This book introduces music education majors to basic instrumental pedagogy for the instruments and ensembles most commonly found in the elementary and secondary curricula. This text focuses on the core competencies required for teacher certification in instrumental music. The first section of the book focuses on essential issues for a successful instrumental program: objectives, assessment and evaluation, motivation, administrative tasks, and recruiting and scheduling (including block scheduling). The second section devotes a chapter to each wind instrument plus percussion and strings, and includes troubleshooting checklists for each instrument. The third section focuses on rehearsal techniques from the first day through high school.

Louis R. Feuillard (1872–1941) has become known chiefly as the teacher of Paul Tortelier who called him a man with an extraordinary educational instinct. His 'Daily Exercises' take up the most important aspects of the cello technique, such as exercises in neck and thumb positions, double stops and bowing exercises. It is particularly because of the logical structure of the exercises that they have been among the standard works of violoncello study literature since their publication in 1919.

An unprecedented exploration of Stravinsky's use of the piano as the genesis of all his music - Russian, neoclassical and serial.

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!

In preparing a book of etiquette for ladies, I would lay down as the first rule, "Do unto others as you would others should do to you." You can never be rude if you bear the rule always in mind, for what lady likes to be treated rudely? True Christian politeness will always be the result of an unselfish regard for the feelings of others, and though you may err in the ceremonious points of etiquette, you will never be impolite. Politeness, founded upon such a rule, becomes the expression, in graceful manner, of social virtues. The spirit of politeness consists in a certain attention to forms and ceremonies, which are meant both to please others and ourselves, and to make others pleased with us; a still clearer definition may be given by saying that politeness is goodness of heart put into daily practice; there can be no _true_ politeness without kindness, purity, singleness of heart, and sensibility.