SKU: PR.414412380

ISBN 9781491137956. UPC: 680160692644.

First published in 1930, Stephen De’ak’s two-volume Modern Method for Cello remains a timeless and beloved resource for new and developing cellists at every stage of practice and performance. A student of David Popper, De’ak presents a thoughtful and thorough method for beginning cellists with a detailed focus on fundamentals, including posture and balance of the bow and left hand. Unlike many other methods, the Modern Method spends considerable time developing note-recognition and tone production by isolating a skill or concept in a single exercise. These include open string and bow distribution exercises, as well as systematic left hand practice focusing on one or two notes at a time. This careful approach in the beginning allows the new player to reinforce important right- and left-hand skills before attempting performance pieces.Sequential scales and exercises in various keys and positions are supplemented with songs and tuneful etudes, allowing the player to apply practical technique to expressive performance. These etudes are both pedagogical and performance-worthy, rich with musicality and charm. The musical and technical concepts presented in this method can be learned in any order at the teacher’s discretion to best serve the student. Revisions in this new edition include additional instruction, clarification of fingerings with shifting indications, updated melodies, and a beautiful new engraving. The wealth of practice and performance repertoire in The New Modern Method for Cello, Volume 2 makes this book a valuable addition to every cellist’s library. Volume 2 offers training in higher positions and thumb position, advanced left-hand and bowing techniques, and musical exercises including 29 concert studies. These etudes, often heard in recitals, were designed by De’ak as the perfect stepping stone to Popper’s High School of Cello Playing.

SKU: BT.MUSM570366453

English.

'Brice Catherin, a cellist and a composer exploring the notion of the one-man-band concept, commissioned this work; this composition was subsequently the result of our collaboration. My aim has been to create a work where the cellist produces sounds using his full body: his hands (employing a variety of extended techniques on the Cello and external objects), his feet, his mouth (singing and playing the harmonica and flexible tube) and even his face on one occasion to muffle the strings. There are two central themes in the work: virtuosity and theatre, both strong, frequent features of my compositional oeuvre. After several meetings and experimentation with Brice, I chose asetup that enhances the musical scope without visually cluttering the stage. I am also using a rather unusual scordatura that not only changes the timbre of the instrument itself, but also helps create unique soundscapes that blend together with the sounds from the spring drums, the human voice (whistling, groans and other effects), a singing bowl, a harmonica and a flexible tube among others. The work is entitled Emmelia and there are two reasons for this: Emmelia derives from the prefix en (in) and the noun melos (harmony), thus meaning in harmony. The composition is structured and developed in clearly defined sections (noisy, harmonious, distorted, etc.), based on information revealed by a spectral analysis of an F1 spectrum on the cello (tuned a fifth below low C), played and recorded using a variety of attacks and triggering objects and methods. Emmelia is also the name of my baby daughter, who has been my constant inspiration since she was born.' - Evis Sammoutis.