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Cello Secrets: Over 100 Performance Strategies for the Advanced Cellist
Cello Secrets explains over 100 of the most helpful insider tricks cellists use to master the instrument. With each technique carefully explained and illustrated, the book serves as an accessible textbook for all advanced cello players, from talented teenagers to college students, to conservatory pre-professionals. This book guides advanced students through technical maintenance and performance preparation, helping them beyond what can be covered in lessons. Co-written by Brian Hodges and Jo Nardolillo, these tips grow from extensive study of the art of high-level teaching with many of today's leading pedagogues, and have been developed into strategies, tricks, and techniques that are taught in masterclasses and seminars around the country. The book
Insightful Information
Demystifying Cello Technique
Troubleshooting
Practical tips and advice
Experienced professionals talking from their own career
Cello Secrets organizes these ideas into a single book, and will have great value for private teachers and as a textbook in cello pedagogy courses. Professionals and skilled amateurs can use the text as a guidebook in improving their own skills.--Alan Weinstein, Associate Professor, Virginia Tech. Cellist, Kandinsky Trio
Insightful Information
Demystifying Cello Technique
Troubleshooting
Practical tips and advice
Experienced professionals talking from their own career
Cello Secrets organizes these ideas into a single book, and will have great value for private teachers and as a textbook in cello pedagogy courses. Professionals and skilled amateurs can use the text as a guidebook in improving their own skills.--Alan Weinstein, Associate Professor, Virginia Tech. Cellist, Kandinsky Trio
- GenresNonfictionMusic
190 pages, Kindle Edition
Published June 20, 2018
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February 13, 2022
Reading the first dozen secrets alone immediately helped my cello performance.
As an adult that was new to string instruments and little over one year into my practice, this book proved both practical and aspirational.
It's aspirational in the sense that I learned concepts while reading that were new to me. While some of these pertained to technique or theory beyond my current knowledge, it continues giving purpose and direction to my studies beyond practice— because there's more to learning than when strings are vibrating.
It should be noted that in cognitive science, there are three modes of consciousness which impact learning and applying technique: visual, audio and tactile. We each have all three, but mapping differs from person to person: conscious, subconscious and unconscious. I suspect that the authors are audio-conscious and visual-subconscious, so some techniques described will work well for some but not others unless adapted. For instance, the authors' recommendation of visualizing a mental overlay upon the fingerboard rather than using tape for beginners might not work for everyone, especially if tactile-conscious. Therefore, be versatile when applying recommendations. That said, try it their way first— giving it an honest effort— but adapt if necessary.
Not criticism, that's merely context to help other musicians get the most out of this material.
As an adult that was new to string instruments and little over one year into my practice, this book proved both practical and aspirational.
It's aspirational in the sense that I learned concepts while reading that were new to me. While some of these pertained to technique or theory beyond my current knowledge, it continues giving purpose and direction to my studies beyond practice— because there's more to learning than when strings are vibrating.
It should be noted that in cognitive science, there are three modes of consciousness which impact learning and applying technique: visual, audio and tactile. We each have all three, but mapping differs from person to person: conscious, subconscious and unconscious. I suspect that the authors are audio-conscious and visual-subconscious, so some techniques described will work well for some but not others unless adapted. For instance, the authors' recommendation of visualizing a mental overlay upon the fingerboard rather than using tape for beginners might not work for everyone, especially if tactile-conscious. Therefore, be versatile when applying recommendations. That said, try it their way first— giving it an honest effort— but adapt if necessary.
Not criticism, that's merely context to help other musicians get the most out of this material.
Displaying 1 of 1 review