Chamber Music Cello
SKU: CF.BF129
Cello Warm-ups in
Thumb Position.
Composed by Alfredo
Piatti, Antonin Dvorak,
David Popper, Edward
Elgar, F. Grutzmacher,
Franz Joseph Haydn, Georg
Goltermann, Jean Breval,
Libby Freidman, Luigi
Boccherini, Marion
Feldman, and Pietro
Antonio Locatelli. Edited
by Marion Feldman. Score
and part(s). With
Standard notation. 40
pages. Carl Fischer Music
#BF129. Published by Carl
Fischer Music (CF.BF129).
ISBN 9781491153321.
UPC:
680160910823.
Cello
Power is a series of
books designed to be used
to expand the cello
student’s
facilityand knowledge of
the instrument. The books
are structured to focus
on the advancedmaterials
that appear in our cello
literature. Most
important are the
exercises and myfurther
recommendations on how to
work on them. The process
is first to digest
thefundamental of each
and thereby to enable one
to build a solid
technique in
preparationfor the
difficult passagework
ahead. An example are the
double-stop excerpts,
which arebroken down into
two-string bow patterns
to aid in intonation and
to clarify the spacingfor
the left hand.Books 1 and
2 are planned to fill the
gap left vacant by lack
of materials covering,
ina progressive order,
the transition from the
introduction of the thumb
position into
astudent’s studies
and the work on the much
more difficult
application of this
informationinto studies
by Popper, Grützmacher
and Piatti. Of course,
then there are the
ensuingrepertoire demands
of the concertos of
Dvořák and
Saint-Saëns and such
like.Book 3 is aimed at
developing a sure and
secure technique and
facility in the lower
areaof the cello. This
includes material to help
make the fifth, sixth and
seventh positions
lessawkward for the
student. The goal is to
aid in the ability of the
student to become
moreable to apply this
technical comfort to the
attainment of a more
nuanced and
emotionallyfulfilling
musical performance on
the cello.
Cello Power
is a series of five books
designed to be used to
expandthe cello
student’s facility
and knowledge of the
instrument. Thebooks are
structured to focus on
the advanced materials
thatappear in our cello
literature. Most
important are the
exercisesand my further
recommendations on how to
work on them. Theprocess
is first to digest the
fundamental of each, and
therebyto enable one to
build a solid technique
in preparation for
thedifficult passagework
ahead. An example are the
double-stopexcerpts,
which are broken down
into two-string bow
patterns toaid in
intonation and to clarify
the spacing for the left
hand.Books 1 and 2 are
planned to fill the gap
left vacant by lack
ofmaterials covering, in
a progressive order, the
transition from
theintroduction of the
thumb position into a
student’s studies
and thework on the much
more difficult
application of this
informationinto studies
by Popper, Grützmacher
and Piatti. Of course,
thenthere are the ensuing
repertoire demands of
concerti by
Dvořák,Saint-SaÃÂ
«ns and such like.Book 3
is aimed at developing a
sure and secure technique
andfacility in the neck
area of the cello. This
includes materials to
helpmake the fifth, sixth
and seventh position less
awkward for thestudent.
The goal is to aid in the
ability of the student to
becomemore able to apply
this technical comfort to
the attainment of amore
nuanced and emotionally
fulfilling musical
performance onthe
cello.
Pietro Yan
