An absolute must for modern cello lessons: Hot Cello is a varied mixture of pieces from pop, rock, blues and jazz music. Volume 1 is very easy and limited to the first position. Students are gradually introduced to technical and musical problems. The second part is intended for the teacher or advanced students. The pieces in Volume 2 are musically and technically more demanding and assume an ability to play in 1st-4th position.

An absolute must for modern cello lessons: Hot Cello is a varied mixture of pieces from pop, rock, blues and jazz music. Volume 1 is very easy and limited to the first position. Students are gradually introduced to technical and musical problems. The second part is intended for the teacher or advanced students. The pieces in Volume 2 are musically and technically more demanding and assume an ability to play in 1st-4th position

This volume gradually introduces the most important thumb techniques:

At first, the 4 finger patterns in thumb position are introduced systematically. The thumb first remains placed over the octave harmonics. Later, other thumb positions are added. At the end of the volume, the change from one thumb position to the other and the octave parallels are practised.

In order that the student does not miss out on the fun, each topic comes with 'tailor-made' pieces and arrangements of the author from classical, folk, rock, and jazz music. Many pieces also come with piano parts and mp3s for download. The programme is completed by many examples from the classical cello literature.

The author recommends using the comprehensive material in various ways. The order can be changed without any problems. Chapters or difficult passages can be skipped and practised later. This volume should be used over a longer period, yet can be occasionally laid aside for a while.

Ideal to complement, for example, Gabriel Koeppen's cello method (Schott, volume 1: ED 20841) or any other textbook.

German.

Finally a modern collection of folk tunes for violoncello! The songs come from England, Ireland, Scotland, Russia, Italy, France, Spain and the USA. Popular melodies such as 'Auld lang syne' and 'Oh happy day' are set in easy arrangements and can be played on various occasions, be it at home, at school, or in an ensemble. The arrangements can also be played with an additional second part.

The studies by Friedrich August Kummer are perfect for music lessons, particularly because of their accompaniment of a second violoncello. They are characterized by a very systematic arrangement, cleverly introduce the circle of fifths and offer exercises at all levels of difficulty.

The studies originally come from the appendix to Kummer's Celloschule fur den ersten Unterricht Op. 60. In this new edition, they are for the first time published completely in two volumes as 92 progressive studies. The present edition is based on the first edition published in 1839 (Verlag Friedrich Hofmeister, Leipzig) and has essentially adopted the original fingerings and bowing indications. For better readability, the number of fingerings has been slightly reduced.

Volume 1 (ED 22371) is intended for beginner and intermediate lessons. Volume 2 (ED 22372) focusses on the musical performance of the advanced pupil.

Friedrich August Kummer (1797-1879) was a pupil of Friedrich Dotzauer and Bernhard Romberg and later trained famous cellists like Julius Goltermann or Bernhard Cossmann.

Studies play an important role in musical instrument training. Gerhard Mantel's new edition 'Etuden uben' [Practising studies] (3 volumes) complements his previous successful book 'Cello uben' (ED 8714). The basics of cello technique are worked on in selected studies, with the focus being not only on the ability to learn a technically and musically oriented text within a reasonable time but also on the solution of certain problems typical of the cello. Vol. 1 covers aspects ranging from the orientation on the fingerboard via changes of position, vibrato and trills to changes of strings and double stops. Vol. 2 deals with fingerings, whole-bow stroke, dynamics, articulation and types of bowing, among others. The final volume contains studies on legato, arpeggios, chords, martellato, staccato, spiccato and changes of rhythm. The accompanying volume of commentaries (for all three volumes) describes in detail the methodological practising processes.

The combination of musical melancholy and instrumental virtuosity captivates both players and audience alike. 'Flamenco' comes from the Suite espagnole No. 1 by the rather unknown Spanish composer Rogelio Huguet y Tagell. Originally intended as a piano trio, the suite was eventually composed for violoncello solo. This fact certainly explains the numerous double stops and chord structures running through the entire piece, thus giving it a sonorous sound. Entire pizzicato passages are reminiscent of flamenco guitar sounds and lyrically lamenting passages in the middle section emphasize the typical flamenco character.

Sebastian Lee was born in Hamburg in 1805 and trained by the Romberg pupil Johann Nikolaus Prell. A soloist and teacher, he published his Cello Method Op. 30 in 1845 which is still available at Schott (ED 965).
His barely known anthology 'First Steps in Violoncello Playing' opus 101 contains 50 easy duets in the first position. The first cello part is easy to play while the second part is somewhat more demanding, yet still playable by pupils. A beautiful collection for beginner's lessons, with very melodious pieces covering all technical and musical aspects of cello playing.