Slurred string crossings

– sitting tall. Try not to lean over the cello. Think of supporting your cello with your sternum and a straight back
D major 8 per bow
– Upper half on the D string, make sure to fully striaghten the bow arm
– increase tempo
– when you’re increasing tempo, think more about string crossing
G major 4 and 8 per bow
– work on timing with the shift
– don’t stop the bow for the shift
– lighten up the bow for the shift and then sink back in again after the shift
D major arpeggio 1 and 3 per bow
– Think of rotating the forarm towards the bridge. No bend in the wrist when extending
– D Fsharp A
– Practice 1-4 extension without changing the arm shape. Create space in the hand
G major Arpeggio 1 and 3 per bow
– G B D: practice SAYING and PLAYING the notes at the same time
– practice and isolate 4-4 shift (D to G on the A string. 1st to 4th posiiton and back)
– C sharp closer to D (think 1st finger closer to 2nd finger in 2nd position)
– shifting exercise is helpful
– try starting in different places when practicing
– adding the bow: practice the shifts
– increase tempo with metronome
– dynamics
Whale Song
– think of same technique we use for extension: rotate forarm to bridge. No reaching with the 4th finger
– when shifting to 1st positon, shift further back
Minuet 2
– practice with accompinament
– perform for someone
Long Long Ago
– same as piece from book one, but it’s in a different key, and has a variation
– practice with C drone
– practice variation bowing without the left hand, just open strings with string crossings
– variation and opening should be in ther same tempo, and the variation will immediately follow the theme (opening)
– practice in rhythms
– practice on just one string ithout the left hand
– think of adding a little bit space and lift between the two ups. make sure they’re even
– add dynamics


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