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REPERTOIRE LIBRARY
Formal (“Classical”)
Historical Period
Renaissance
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Classical
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Opera
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Violin or Viola
Piano
Other
Popular
Traditional/Folk
Fiddle Tunes
Folk Songs
Light Classical
Films
Operettas
Shows
Vienna
Kreisler
J. Strauss
Others
Pop
Beatles
Ballad
Dance
Reggae
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Jazz
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Rock
Region
Germany and Austria
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France and Belgium
Russia and USSR
Central, East and Southeast Europe
Spain and Portugal
USA
UK and Ireland
Latin America
Instrument Combination
One Unaccompanied Cello
Cello Solo + Accomp
Two or More Cellos
Cello Duos
Cello Trios
Cello Quartets
Music for 5 or More Cellos
Other Duos
CELLOBLOG
Technique
Basic Principles
Tension/Relaxation
Anticipation (Preparation)
Strength/Flexibility/Stability
Body Language
Control/Overcontrol
The Contact Principle
Claws or Paws ?
The Invisible Thumbs
Seating Posture
The Chair
The Spike (Endpin)
The Shoulders
Left Hand
Miscellaneous Left Hand
Finger Spacings
First Finger
Fourth Finger
Fingering
Fifths
Contractions/Snakes
Harmonics
Natural
Artificial
Left Hand Pizzicato
Trills etc
Chromatics
Transposition as a Practice Technique
Cello/Hand Size
Extensions
Different Extd Postures
Shifting and Extns
Lighten the Load
Extns in Different Fingerboard Regions
Double-Extensions
Other Extns
Finger-String Contact
Tips/Pads/Elbow Height
Finger Pressure
Articulation
Positional Sense
Fingerboard Regions
Neck Region
Intermediate Region
Thumb Region
Shifting
The Glissando
Finger Choreography
Same-Finger
Assisted
Scale/Arpeggio
Shifting and the Right Hand
Shifting On Open String
Shifting to Another String
Whole-Hand and Non-Whole-Hand Shifts
Left Hand Warmup
Thumbposition
Repertoire Compilations
Doublestops and Chords
Shifting Doublestops
Left-Hand String Crossings
Vibrato
Right Hand
Pizzicato
Slow Pizzicatos
Arco/Pizzicato Changes
Fast and Mixed-Hands
Bowhold
The Wrist
Bow Changes, Starts, and Stops
Bow Starts
Bow Changes
Portato, Flying Staccato, and Hooked Bowings
Bow Speed, Pressure etc
Pressure
Speed
Contact Point
Bow Division
Hair Tension, Angle etc
Bow Trajectory
On String
In Air
The Retake as A Bowing Technique
String Crossings
2 Strings
3 Strings
4 Strings
Chords
Leaps
Bouncing Bow
Choosing Bowings
Bow Division
Hooked, Portato, Flying
Unbalanced Figures
Reverse Bowings
Tremolo
Right Hand Warmup
Coordination and Fast
Musical Language
Pitch (Ear Training)
Rhythm
Dotted Rhythms
Rushing
Rubato and Rhetoric
Tuplets and Strange Rhythms
Reading Problems
Pitch Reading Problems
Rhythm Reading Problems
Style and Epoch
Baroque and before
Classical
Romantic
Modern
Sound, Resonance, and Acoustics
Phrasing in Music
Articulations
Interpretation
Psychology
Phrasing
Rubato and Rhetoric
Articulation
Urtext?
Freedom-Obedience ?
Playing from Memory
Chamber Music
Miscellaneous
Tuning and Basic Warmup
Practice
Breathing
Pedagogy
Instrument, Bow and Setup
Amateur or Pro ?
Musician’s Injuries
Orchestral Playing
Interesting Websites
Bio
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REPERTOIRE LIBRARY
Formal (“Classical”)
Historical Period
Renaissance
Baroque
Classical
Romantic
Post-Romantic
Genres
Opera
Songs (Lieder)
Violin or Viola
Piano
Other
Popular
Traditional/Folk
Fiddle Tunes
Folk Songs
Light Classical
Films
Operettas
Shows
Vienna
Kreisler
J. Strauss
Others
Pop
Beatles
Ballad
Dance
Reggae
Other
Jazz
Bossa Nova
Rock
Region
Germany and Austria
Italy
France and Belgium
Russia and USSR
Central, East and Southeast Europe
Spain and Portugal
USA
UK and Ireland
Latin America
Instrument Combination
One Unaccompanied Cello
Cello Solo + Accomp
Two or More Cellos
Cello Duos
Cello Trios
Cello Quartets
Music for 5 or More Cellos
Other Duos
CELLOBLOG
Technique
Basic Principles
Tension/Relaxation
Anticipation (Preparation)
Strength/Flexibility/Stability
Body Language
Control/Overcontrol
The Contact Principle
Claws or Paws ?
The Invisible Thumbs
Seating Posture
The Chair
The Spike (Endpin)
The Shoulders
Left Hand
Miscellaneous Left Hand
Finger Spacings
First Finger
Fourth Finger
Fingering
Fifths
Contractions/Snakes
Harmonics
Natural
Artificial
Left Hand Pizzicato
Trills etc
Chromatics
Transposition as a Practice Technique
Cello/Hand Size
Extensions
Different Extd Postures
Shifting and Extns
Lighten the Load
Extns in Different Fingerboard Regions
Double-Extensions
Other Extns
Finger-String Contact
Tips/Pads/Elbow Height
Finger Pressure
Articulation
Positional Sense
Fingerboard Regions
Neck Region
Intermediate Region
Thumb Region
Shifting
The Glissando
Finger Choreography
Same-Finger
Assisted
Scale/Arpeggio
Shifting and the Right Hand
Shifting On Open String
Shifting to Another String
Whole-Hand and Non-Whole-Hand Shifts
Left Hand Warmup
Thumbposition
Repertoire Compilations
Doublestops and Chords
Shifting Doublestops
Left-Hand String Crossings
Vibrato
Right Hand
Pizzicato
Slow Pizzicatos
Arco/Pizzicato Changes
Fast and Mixed-Hands
Bowhold
The Wrist
Bow Changes, Starts, and Stops
Bow Starts
Bow Changes
Portato, Flying Staccato, and Hooked Bowings
Bow Speed, Pressure etc
Pressure
Speed
Contact Point
Bow Division
Hair Tension, Angle etc
Bow Trajectory
On String
In Air
The Retake as A Bowing Technique
String Crossings
2 Strings
3 Strings
4 Strings
Chords
Leaps
Bouncing Bow
Choosing Bowings
Bow Division
Hooked, Portato, Flying
Unbalanced Figures
Reverse Bowings
Tremolo
Right Hand Warmup
Coordination and Fast
Musical Language
Pitch (Ear Training)
Rhythm
Dotted Rhythms
Rushing
Rubato and Rhetoric
Tuplets and Strange Rhythms
Reading Problems
Pitch Reading Problems
Rhythm Reading Problems
Style and Epoch
Baroque and before
Classical
Romantic
Modern
Sound, Resonance, and Acoustics
Phrasing in Music
Articulations
Interpretation
Psychology
Phrasing
Rubato and Rhetoric
Articulation
Urtext?
Freedom-Obedience ?
Playing from Memory
Chamber Music
Miscellaneous
Tuning and Basic Warmup
Practice
Breathing
Pedagogy
Instrument, Bow and Setup
Amateur or Pro ?
Musician’s Injuries
Orchestral Playing
Interesting Websites
Sin Rumbo
Sin Rumbo:
literal unedited version
Sin Rumbo
: arranged and edited version
