Cello Playing for Music Lovers

Standards for measuring progress-Level One

 

CELLO-LEVEL 1

Performance  Requirements

  

 • Scales and Arpeggios

 Memorized

Metronome: Quarter = 60-69

 

Student chooses one from each category and its equivalent tonic arpeggio:

 1. One-octave major scale in G, or D (starting on open strings), or F.

 2. Two-octave major scale in C.

 

Bowing for scales: Separate quarter notes, or slur two eighths. Use half or whole bows.

Bowing for arpeggios: Separate quarter notes.

Half or whole bows for all.

 • Etudes or Pieces  

Two total showing different styles. At least one of the two must have 16 or more

measure without repeats.  Memorized.

 • Sight-Reading  

None

Recommended goals for Level 1

Good posture, good left-hand position and bow hold

Good intonation and correct rhythm

Pizzicato

Bowings: détaché, staccato, legato

Awareness of bow division

Meters: 4/4, 3/4, 2/4

Examples of Music Suitable for Level 1

Note: Teachers may choose any other works of comparable level.

 • Scale Books:

Charles Forbes: Cello Scales and Arpeggios (Galaxy/SCH)

Galamian-Jensen: Scale System for Cello (Galaxy/SCH)

Klengel: Technical Studies, Book 1 (SCH)

 • Etudes and Technical

Benoy/Burrows: The First Year Violoncello Method (PAX)

Dotzauer-Grant: Fundamentals of Violoncello Technique (Ludwig)

DELFeuillard: Method for the Young Violoncellist, Lessons 6-13

Grant: Beginners Guide to the Cello, Vol. 1 (Ludwig)

Krane: New  School of Cello  Studies (Spratt)
 

 • Pieces

Applebaum: Minuet from A. Magdalena’s Notebook (BM)

Applebaum: Minuet (BM)

Bartles: Seven Easy Pieces for Beginning Cellists (B&H)

Bay: Fun with the Cello (Mel Bay)

Etling: Solo Time for Strings (Alfred)

Fletcher: New Tunes for Strings (BM)

Grant: Easy Solos in First Position (Ludwig)

Schlemueller: Six Easy Concert Pieces in First Position, Op. 12 (CF)

Schlemueller: Six Easy Solo Pieces in First Position, Op. 14 (CF)

Squire: In Dreamland (C.F.)

Suzuki: Cello School, Bk 1 (Summy-Birchard)

Standards for measuring progress

Is there an objective way to measure one's progress?

Yes. I will list the stages one by one.

Note: This list, taken from the American String Teachers Association, was compiled long before my book was published. So that's why you won't find it recommended below.

CELLO-FOUNDATION GOALS: BEFORE LEVEL ONE 

Performance  Requirements

   • Scales and Arpeggios

 

Memorized

Metronome: Quarter = 60-69

Student chooses one scale:

One-octave D, G or C major scale, starting on an open string.

No arpeggio required.

Bowing for scales: Separate quarter notes

Half or whole bows for all.

 

 • Etudes or Pieces

 Two total. Each one must have 8 or more measures without repeats.

Memorized.

 

 • Sight-Reading

 

None

 Recommended goals for Foundation Level, Before Level  One

Good posture, left hand position and bow hold

Good intonation and correct rhythm

Use of first, third and fourth finger

Meters: 2/4 and 4/4

Examples of Music Suitable for Foundation Level

 Note: Teachers may choose any other works of comparable level.

 • Method Books:

 Anderson/Frost: All for Strings, early parts (Kjos)

Applebaum: String Builder Bk. 1, early parts (Belwin)

Feuillard: Method for the Young Violoncellist, Lessons 1-5

Grant: Beginners Guide to the Cello to p. 16 (Ludwig)

Fischbach/Frost: Artistry in Strings, (Kjos)

O’Reilly: String Rhythms, p 3-8 (Kjos)

Villani: Things to Know about the Cello (Latham)

  

 • Pieces:

 Grant/Donegan: 48 Folk Songs Part 1 (Ludwig)

Suzuki, Vol. 1 #1-9 (Summy-Birchard)

The Right Thumb

Charles Benedetti, an active reader of Cello Playing for Music Lovers, has written to tell me that, as he strove to get a richer tone, he pressed too hard on the bow and stressed out the muscles of his right thumb. Here’s another reminder that relaxation of the muscles of the hands is as critical as relaxation of the shoulders and arms. In fact, as you relax your right arm, it should become heavy, right? Now allow that relaxed heavy arm to fall onto the string. It is that relaxed weight which will give you a rich sound. I’m aware that this is easier said than done. Remaining relaxed takes much vigilance. However, it is very worth while.

 Two other bow holds were suggested to Mr. Benedetti by another cellist: one  is, to place the thumb under the frog rather than against the bow stick, or place it parallel to the bow stick in a baroque-style hold.

 I’m always pleased to hear how my readers are progressing and especially how the book is working for you. Keep in touch!