New School of Cello Studies, Book 1. Preliminary Grade

CONTENIDO:

Notes on the Studies:

1 Whole bow.
2 Whole bow. Smooth.
3 Whole bow.
4 Middle of bow. Smooth.
5 Whole bow. From letter A with half the bow.
6 Middle of the bow. Can also be played from middle to point.
7 Whole bow when played slurred. Middle of bow when divided.
8 Use the whole bow for the groups of 4, and about half for the mixed groups.
9 Middle of bow, or middle to point.
10 Wrist exercise. To be played in the middle, and also point of bow.
11 Exercise on rhythm. Special attention to be paid to the alternating groups of quavers and triplets.
12 To be played in the middle of the bow.
13 To be played slowly at first, using the whole bow for the quaver, and playing the semiquavers alternately at the point and heel. When playing up to time, the quaver can also be practised staccato.
14 Exercise in tone-production.
15 Ditto, using whole bow on the crotchets.
16 Exercise on mixed bowing. Travel up to the heel for the beginning of each bar, and use about one-third of the bow.
17 Exercise on rhythm. Special attention should be paid to the rests.
18 Study on mixed bowing. Start the groups of three notes at the heel, and play the other groups in the middle.
19 The quavers to be played quite staccato, the semiquavers as smoothly as posible (middle of bow).
20 The triplets to be played in the middle of bow, always returning to the middle after the long notes.
21 To be played very slowly, using the whole bow for each group of two notes.
22 Wrist exercise. To be played at the point as far as letter A, from A to B in the middle, and from B with the whole bow.
23 To be played very smoothly and evenly, using whole bow.
24 Middle of bow.
25 Special attention to be paid to tone production; play the detached quavers at the heel. At letter A, use the whole bow for the first quaver.
26 With use of the extended position. Use the whole bow and pay attention to tone when crossing over the strings.
27 Wrist exercise. Use the middle of bow for groups of three notes, and the whole bow for groups of six.
28 Middle of bow.
29 Use the whole bow, and attend to intonation when changing position.
30 Whole bow.
31 The detached crotchet to be played quite short using the whole bow.
32 The quaver before the semiquaver scales to be played staccato, with the whole bow. The other quavers should be smooth, near the heel.
33 Middle of bow, quite legato.
34 Attend to tone. Play the quaver near the heel, and use whole bow for the crotchets.
35 Staccato study. To be played at the point.
36 To be played at the point. Grace notes as short as possible.
37 Middle of bow, using as much for each of the separate notes as for the three tied ones.
38 Middle of bow, with loose wrist.
39 Middle of bow.
40 Ditto.
41 To be played forte, in the middle of the bow, using as much as possible.
42 Middle of bow. Triplets very even.
43 To be played very slowly at first, using the whole bow. The first note in each group very short. When played faster half the bow should be used.
44 Using about a quarter of the bow at the point. The rhythm should be the same as in No. 43 (as if there were a rest between the quaver and semiquaver).
45 Very smooth, in the middle of the bow.
46 Middle of the bow.
47 Ditto.
48 At point. The variations of bowing to be played as follows: (1), whole bow; (2), half bow, middle to point; (3), V at point and r1 at heel; (4), middle.
49 Cross the strings very smoothly.
50 Wrist exercise. To be played at the point.
51 To be played at the point, producing the first note short and crisp and using little bow.
52 Study in the extended position.
53 Use the upper half of the bow with plenty of tone, playing the whole study staccato. This study should also be played in separate bocas throughout.
54 Play the first note of each bar very short, using about one-third of the bow.