georg's new cello method

Georg's Little Music Library

Georg's New Cello Method Volume 2

Section: The Extensions up (#)

Systematic step by step Cello Method

* carefully measured steps * everything explained in detail * suitable as online video tutor - links shown are interactive on

tablet, phone or computer * beautiful cello duos

handwritten by Georg Mertens

Georg's New Cello Method - Volume 2

For online video tutor click here - https://www.patreon.com/georgcello Volume 2 - Section: The Extension back (b)

51a Exercise for the extended position back (Bb) 51 Dona, Dona (Trad.) 51b Finger Separation Exercise 51Ac Accompaniment to "Dona, Dona"

52 Choral: Christus, der uns selig macht (J.S. Bach)

53 Spagnoletto (C. Negri)

54 Passamezzo (Phalese)

55 Chorea (Hungarian Trad.)

Volume 2 - Section: The Extension up (#) A Tips for how to use the Cello Method B How to Practice - Some useful Tips C Chart of Note Values

56 Exercise to move fingers & thumb together 57 Scale in D major over 2 octaves - various bowings 58 Canon in D (Pachelbel) 59 Minuet in C (Petzold / Bach) plus 68 Accompaniment to No 59 - Minuet in C (Petzold / Bach) (please use the "Old Cello Method" for No 60 onward until revised)

Both Extensions Half position 2nd position 2nd position extended high 3rd position The low 3rd Position 3rd position extended 4th Position

© Georg Mertens, Katoomba, Australia 2021 - www.georgcello.com

For videos of the Cello Method Pieces see: https://www.patreon.com/georgcellocopying, publishing


A - TIPS on how to use the Cello Method Online video tutor recommended - https://www.patreon.com/georgcello

There is a minimum fee from $2 per month to access patreon. For non-beginners I recommend to watch all videos at least once from the start,

because essential information is given on the way and is sometimes not repeated later.

1) Play every piece at least once through

2) Once a piece has no mistake, it can be crossed out (through the number) and doesn't need to be played again. Of course any piece can be kept to play, but it doesn't need to be played.

3) If after playing a piece through you really dislike it, you can cross it out (and never play it again!)

Each section in the method has several pieces addressing the same musical or technical issues. Not every single piece needs to practiced.

We learn more and faster by playing what we like and cutting to a minimum, what we don't like.

4) At least one piece in each section should be completed. The sections show as a group in the index

6) Mark favourite pieces (heart or sticker). I suggest creating a folder with just favourites.

7) I recommend to start every practice with a "warm up piece" - one of the favourites - and keep it for the term. I recommend to learn the warm up piece by memory.

I learned musically and technically most on pieces I could play anyway without mistake and by memory.

Once we know a piece very well, we can focus on tiny details, which we discover only after we can take playing the notes correctly for granted - then we can polish to perfection.


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B - How to Practice - Some useful Tips 1) I recommend strongly to have the cello always unpacked, ready to play, bow ready next to it, music on a stand or accessible, open on the page to start.

2a) First watch the video, play everything through, watch again and correct.

2b) If having lessons, I recommend playing after the lesson everything once through at home. - Why? We have two mind sets: the one is the home mind set, the old way of playing - the other is the teachers place set.

One day later 50% is lost and the old way creeps in. Some students write information down after the lesson or record part of the lesson. Watching the video several times replaces these former ways.

3) Start every practice with a slow scale (any), 3 or 4 beats per note. This scale warms us up, including sitting correctly, spike length ideal, tuned well, bow hold, bow control, bow level and direction good, sound and intonation good. This one scale saves us from being shocked by our first piece!

4) Following should be our warm up piece.

5) Now starts our variable practice program.

6) I find it important that every practice has some little goal: after this practice I want to play this bar / this section safely or much better. In 5-10 minutes we can achieve something - a practice doesn't need to be always half an hour plus.

7) We learn by repetition - that's why we practice. The fastest method of learning is therefore to make no mistake at all! That requires drastically slowing down, focussing well and observing all details. Despite the slow pace, rhythm and bowing have to be correct from the very beginning - or we have to relearn.

8) If it just doesn't sound right on a day, we might put the cello on the ground, walk a circle through the room and sit down again; often it will sound better!

9) If anything hurts - stop and take a break, mention it to your teacher or send a message. Sometimes when something hurts, like the thumb or the arm - a break of 5-10 seconds lets the pain fade away. Take this tiny break as soon as the pain occurs - then start where you stopped, not from the beginning.



C - Chart of Note Values (longer to shorter)

NOTES: RESTS: = 4/4 note, whole note or semibreve, 4 beats (the numbers 1 2 3 4 underneath are how we count the beats) = 1/2 note or minim, 2 beats

= 1/4 note or crotchet, 1 beat

= 1/8 note or quaver, 1/2 a beat, 2 in 1 beat (counting: 1 & 2 & 3 & 4 & )

= 1/16 note or semiquaver, 1/4 of a beat, 4 in 1 beat

= 1/32 note or demisemiquaver, 1/8 of a beat, 8 in 1 beat Every other added line will half the value again.

DOTS: In the dotted note the dot lengthens the note by half its value: = dotted minim, 3/4 note, 3 beats

= dotted crotchet, dotted qurter note, 1 and 1/2 beats long


THE EXTENSION UP (#) For online video tutor click here - https://www.patreon.com/posts/49338326/

In the Extension up the 1st finger remains where it was in the unextended 1st Position. All other fingers need to reach one semitone (like one finger) further in order that the 4 can reach the sharp (#) and that every other finger can play in tune. The thumb needs to shift together with 2,3 & 4. 3 takes the position of the former 4 in the unextended Position.

Extension Unextended Extension back (b) 1st Pos. up (#)

( N O T E N A M E S here for A S T R I N G ) 1 Bb 1 1 B 1 2 C 2 2 C 3 C# 3 3 C# 2 4 D 4 4 D 3 D

56 A Comparing the Extensions back & up moving all fingers & thumb together

[the arrow up indicates to move 1,2,3 & the thumb up]


https://www.patreon.com/posts/49338326/

56 B Comparing the Unextended Position with the Extended Position up

The last note in 56 B, the G# appears in line 6 of No 59

57 The Scale in D major D major has 2 sharps (#). Accidentals - sharps or flats - are always written in the same order. The first sharp is always F# and if it is the only sharp it indicates the keys of G major and E minor. The second sharp is always C# and in the key signature it is always together with F#. If the key signature is F# & C# it indicates the keys of D major and B minor.

Georg's New Cello Method - Volume 2 https://www.patreon.com/posts/49338326/

57 A - E Varieties of practising scales

A I recommend to start every practice with a slow scale observing and correcting intonation and sound quality particularly the beginnings and ends of each note

B Observe a full sound for every bow.

C One bow per par. Each new finger should slightly hammer, like dropping onto the string.

D Some of my students loved this pattern. Again, hammer slightly every new finger, like dropping

E Seven in one bow, fast but not rushed, even speed


Georg's New Cello Method - Volume e

https://www.patreon.com/posts/49338660/

58 Canon in D by Pachelbel Arr. G.M.

The Cello 2 (C 2) is probably the most famous cello ground bass.

C 1

C 2



59 Minuet in C Petzold / Bach

Every bar starts with a down bow: - For accompaniment see No 68


(No 68) Accompaniment to Minuet in C (the knowledge of playing 1/2 position is required)

Georg's Little Music Library - here a selection

Cello solo - (1-10 indication of difficulty) G. Mertens - 5 Preludes for the Love of the Lower Strings [4-7] G. Mertens - Variations on Sakura, Sakura [6-7] J. Dowland - Melancholy Galliard [7] V. Sojo - Cantico from 5 Pieces from Venezuela [7] J. Massenet - Meditation [8] G. Mertens - Variations on Maienzeit [8] G. Mertens - Blue Mountains Rainforest Sonata [8-9] M. Marais-Mertens: Variations on La Folia {9} G. Mertens - Jenolan Cathedral Ciaconna [9] G. Mertens - Spanish Romance [9] G. Mertens - Cadenza to Haydn Cello Concerto C maj 1st mov. [9] I. Albeniz - Asturias [9] G. Mertens - Tango Celloguitar [10]

2 Cellos J.S.Bach - 8 Chorals [1-4] Traditional Shakers - Simple Gifts [3] F. Cutting 1580 - Greensleeves Variations [3] 8 Beautiful Renaissance Dances [3-7] E. Satie - Gymnopedie 1 (1 or 2 cellos) * [4] J.S.Bach - Lute Suite No 1 ( [5-8] Saint-Saens The Swan with Bach Prelude I [6] G. Sanz - Pavanas & Canarios [7] M. Giuliani - Variations on La Folia [7-8] E. Granados - Intermezzo from Goyescas [8-9]

Cello & Guitar G.F. Handel - Aria "Lascia Ch'io Pianga (2 cellos / cello & guitar) D. Scarlatti - Sonata K32 (cello or shakuhachi & guitar/cello) [4] L.v. Beethoven - Sonatina (cello & guitar or 2 guitars) [5] A.Vivaldi - Sonata no 5 E minor [5-6] J.S.Bach - Arioso (cellos & guitar, 2nd cello) [5-6] G. Caccini - Ave Maria [5-6] The 3 cello pieces from the Royal Wedding [6-7] N. Paganini - Cantabile [8]

Violin & Guitar El Condor Pasa - cello (or violin / flute) & guitar [5] La Cumparsita - (violin or cello & guitar) [5-6] The Old Gypsy - (violin or cello & guitar) # [5-6]

See also Georg's New Cello Method, including over 70 Cello Duos! www.georgcello.com/sheetmusic.htm

georg's new cello method

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