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The Joy of Feuillard — A Sequential Approach to Teaching Bow Technique Part 2 — The Sequential Method Part 2 — The Sequential Method I believe that it is important for an applied cello teacher to have an organized and logical pedagogical system in order to ensure that intermediate level students are exposed to all the technical and musical information that they need. Just as a math teacher or an English teacher uses a syllabus to create a logical succession of tasks for a young student, the applied studio string teacher should have a clear methodology to insure that all the requisite material is covered and that the student builds a secure technique based on a solid foundation.
There is so much material for a young musician to learn, and if the intermediate level teacher is not well organized then some important material may be left out or forgotten.
Far too often string teachers neglect to cover important topics, thus leaving their students with major holes in their cello understanding and development. If not, then the student may be missing the solid foundation required to continue building technique, repertoire, understanding of style, endurance, memorization, concentration, performance experiences, and a career.
They just teach a piece and work on whatever technical issues happen to appear at the moment. I remember being shocked a few years ago when a Freshman college student came to me after having studied with the principal cellist of one of our major orchestras.
This student was proud of having worked with this excellent cellist for several years, but had no idea about all the essential elements that were missing in his playing and in his basic understanding of the instrument. Or even the Popper Op. This may be because excellent players often have forgotten how they themselves were taught. Certainly a lesson in which a master artist is working with an artist-level performer may fall into this category of improvisational or inspirational teaching.
If a teacher is responsible for the development of a student over a period of time, I think it is important for the teacher to have a clearly thought out plan for that student. The beginning teacher nurtures the romance of the instrument and the joy of music; the second teacher is the technician who helps to build technique and instill discipline; and the third teacher is the artist-teacher who is able to inspire the student to artistic heights and may be more of a coach.
This country has wonderful teachers in the first category, including in public school and Suzuki programs, who help to nurture young musicians. These teachers spread the joy of playing a string instrument, and provide the basic technical information that these young musicians need.
We also have fantastic artist-teachers who fit into the third category. These are teachers at major conservatories, as well as performers in orchestras, chamber groups and orchestras who serve as inspirational teachers and coaches. However I feel that we are lacking teachers who serve in the second category mentioned above. These are the teachers who guide a student through a healthy diet of scales, arpeggios, etudes and appropriate repertoire.
Their role includes building good work habits, demanding high standards, expecting consistency, and providing a thorough understanding of left-hand and right-hand techniques. These bowing variations are a perfect example of a logical and sequential approach to teaching bow technique.
It is set up in an organized manner as a kind of syllabus for the bow. Feuillard No. The next three pages Feuillard No. Understanding string crossings is one of the most important tasks for cellists. If players do not use the arm in an ergonomically correct manner, then string crossings in particular can become a major source of tendonitis. However as with any method it is up to the teacher to be able to present the material in a productive and consequential manner.
The teacher should be able to anticipate the issues involved, and have several different ways of solving the problems that may occur. The teacher needs to be able to demonstrate adequately. The teacher needs to be able to set high standards for the student.
And the teacher needs to know when to ask a student to repeat something, and when to move on. We expect our students to be disciplined and to practice efficiently and effectively, but similarly we have to be disciplined in how we best use our time with the student in the lesson.
Since most students come just once a week for an hour lesson it is vital that the hour is used to the fullest. For me a typical lesson will be divided into four parts: scales and arpeggios; bowing exercises; etudes; and repertoire. In the beginning of each semester I put more focus on the beginning parts of the lesson; as the semester continues there will be more attention on the etudes and repertoire.
Teachers have their own style of teaching, and their own approach to pedagogy and technique. However ultimately it is the responsibility of every teacher to cover all the necessary material in one way or another.
My goal in this series of blogs will be to demonstrate how I teach bow technique. I will describe the pedagogical intent for each variation, and use video examples from actual lessons with my pre-college students. This series is intended for teachers, for advanced players who wish to improve their own bow technique, and for amateur players who want to explore some of these concepts for themselves. In Blog 3 we will start with some fundamental techniques which cellists need to know before beginning the Feuillard.
Robert Jesselson can be reached directly at rjesselson mozart.
The Young Cellist's Method
Mashakar Connect to add to a playlist Added the There was a problem filtering reviews right now. For some reason I find it easy to learn from this book. One person found this helpful. ComiXology Thousands of Digital Comics. Add a short biography of you No description yet. Alexa Actionable Analytics for the Web.
Etudes du Jeune Violoncelliste (Feuillard, Louis R.)