Selections arranged for solo and duet lay the foundation for the position exercises in this method. Mooney gives ample opportunity to check tunings of various pitches by providing frequent opportunities to check tuning against open strings.
The pieces in this book have been specially designed to help you find certain important notes (I call them 'targets') on the cello fingerboard. The notes that I think of as targets have the same names as the open strings. Thatway, I can always be sure I have hit the 'bull's eye' by testing the fingered notes with an open string. These pieces will also help you to learn how certain other notes are easy to play once you have hit the target.
Position Pieces for Cello
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!
The bracketed numbers tell you the precise instrumentation of the ensemble. The system used above is standard in the orchestra music field. The first set of numbers (before the dash) represent the Woodwinds. The set of numbers after the dash represent the Brass. Percussion is abbreviated following the brass. Strings are represented with a series of five digits representing the quantity of each part (first violin, second violin, viola, cello, bass). Other Required and Solo parts follow the strings:
The Beethoven example is typical of much Classical and early Romantic fare. In this case, the winds are all doubled (2 flutes, 2 oboes, 2 clarinets and 2 bassoons), and there are two each horns and trumpets. There is no low brass. There is tympani. Strings are a standard 44322 configuration (4 first violin, 4 second violin, 3 viola, 2 cello, 2 bass). Sometimes strings are simply listed as "str," which means 44322 strings.
In the third example, we have a rather extreme use of the system. It is an orchestral work for piccolo, 2 flutes (1 of whom doubles on piccolo), 1 oboe, 2 clarinets plus an additional bass clarinet, 1 bassoon, 2 horns, 2 trumpets (plus an optional 2 cornets), 3 trombones, no tuba, percussion, tympani, 6 first violins, 6 second violins, 4 violas, 3 cellos, 2 double basses, Eb clarinet (as an additional chair, not doubled), 5 saxes (soprano, 2 alto, tenor & baritone) & a trombone soloist.
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!
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.
Position Pieces for Cello, Book 2 fills the pedagogical gap between the first book of Position Pieces and the two Thumb Position for Cello books in that it covers the fifth, sixth, and seventh positions. Position Pieces for Cello, Book 2 systematically introduces ways to find the correct location of each position and also to understand the various finger patterns required. As with Mr. Mooney's other books, this is accomplished in an enjoyable and creative manner through the use of cello duets. With titles like "Surfing Cellos," "Jumping Flea," and "The Happy Certified Public Accountant," these pieces are really fun for students to play! This book will prove to be an indispensable tool for intermediate level cello students.
The pieces in this book have been specially designed to help you find certain important notes (I call them 'targets') on the cello fingerboard. The notes that I think of as targets have the same names as the open strings. That way, I can always be sure I have hit the 'bull's eye' by testing the fingered notes with an open string. These pieces will also help you to learn how certain other notes are easy to play once you have hit the target.
"Upper second position" -Target practice and geography quiz -Names and numbers -Fanfare -Skating -The Elephant's Waltz -The Tired Tortoise -The Whale's Song -March -Sitting in the Shade -Bugle Call -Toy Soldiers -Lament -The Invisible Target -Pachyderm Parade
Fourth position -Target practice and geography quiz -Names and numbers -Church Bells -A Minor Melody -The Big Kangaroo -A Cloudy Day -Busy Bees -In a Hurry
"Upper" third position -Target practice and geography quiz -Names and numbers -The Troubadour -Hoedown -A Waltz -The Hippopotamus' Dance -The Heavy Highlander -Barcarole
Various positions -At The Ball -Sad Song -Walking Home -Ländler -Feeling Fine -The Irish Tenor -Melancholy -Jack Spratt Dances with His Wife -Playing in the Park -I Got the Blues, Baby
I've just finished playing "Allegro Appassionato" by Saint-Saëns and the first movement of Cello Concerto No. 1 in E Minor by Brahms. My teacher suggested I start playing Eduoard Lalo's Cello Concerto in D Minor as a next piece. However, I don't feel very comfortable playing in treble clef, as well as just higher positions in general. If anyone has any suggestions for "in between" pieces or etudes to work on that I would be very grateful.
The following are excerpts for the upcoming leadership auditions for violins, violas, cellos, and bass students for the ISO. Throughout the semester, leaders need to abide by the attendance policy and set a good example to the other orchestra members with their preparation, posture, and behavior. Please look for an email in your inbox with a Sign-Up Genius link to pick a time for an audition on either August 25th or 26th. Note that Violin Leaders will rotate between 1st and 2nd Violin leadership positions.
Cello and double basses also share many accessories. For example rock stops are small rubber tips for endpins; they're vital for keeping cellos and double basses from sliding around during performances. As for rosin most cellists and double bassists opt for darker softer types.
Musicians of orchestral strings should always have extra strings a quality bow and a cleaning kit that includes accessories like cleaner/polish a cloth peg compound chinrest key and a tension peg key. Mutes are also convenient accessories for orchestral strings. There are two types: practice mutes come in handy for musicians who live in apartments and want to hone their skills quietly. The second type is called a performance mute which in itself comes in two styles: one slides over the bridge's top and needs to removed when it's not used; the other can easily slide or roll up to contact the bridge when necessary. A wide variety of accessories for violins violas cellos and double basses are easily available to any musician who wants to stay on top of their orchestral string performance. Companies like Bellafina, Strobel, and D'Addario are household names in the orchestral world and respected for their high-quality bows mutes rosin cleaning kits and more.
"I earned a master's degree in cello performance in 1984 and another master's in music composition in 1986," Start said. "NIU was a big draw for string players at the time because the world-renowned Vermeer String Quartet was there. The Vermeer's cellist, Marc Johnson, was a wonderful teacher as well as an excellent cellist. I began composing music, learning early electronic music technology, working as a recording engineer, taking classes in film and multi-image slide projector programming, and I was part of the performance art group, 'The Neoteric Ensemble.' So, my time at NIU very much widened my musical and artistic interests and experience."Start noted that, if it were not for Professor Paul Steg's class in 20th century music composition techniques, she may never have started to compose music. 2ff7e9595c
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