undamenta s o Violoncello Techniq e Volume 1 The First and Half Position
b
Francis Gran
Anewmethod based on the celebrated schools of
--.
Dotzauer Romberg Lee and Kummer .
Francis Grant Cello Series
FundamentaIs·of Violoncello Technique .
.
Volume 1
by
The First and Half Position
Francis Grant
Anew method based on the celebrated schools of
Dotzauer.Romberg.Lee, and Kummer Preface Fundamentais ofVioloncello Techniq1fehasbeen4esignedto.providea
modern and practical approachto the art of cello playing. Althoughitconiáins a generous ainourit of originalmaterial,it draws heavily upon the incomparablé pedagogicalIirerature of a number ofsmasterteachers from the niaeteenth cemury. J. F. Dotzauer (1783-1860), Bernhard Romberg (1767-1879), Sebastian Lee (1805-1887), and Friedrich Kummer (1797-1879) were among the most successful of lhe virtu0s0 players who, at the height of their performing careers, devoted a large partoftheirenergies toteachirig arid the writing ~f studies for their instrumento
With· only mino r editorial changes, the celebr~fed' "schools' of these writers have constituted the major part of beginning instructional material f~r the •.cello up to the present day. Fundamentals ofVioloncello Technique is essentially a cornpilation of the best-and mos! eff~çtive q::cerpts from anumber of such works. Arranged in progressive sequence.jt eliminares sllperflous material,;el1ipI1asizes the need for physical developmemof the hands and, perhaps most importanr of all, moves toward the goal of preparing the student for modern technical demands. With these objectives in mind, Ihave atternpted to create a modern method for the cello using the most va1uable material of proven wonh,organiz;ed within a context that iscor;sigent with contemporary ideas and practices. "("';':"
Francis .,Grant was ~,mernber of the
,
Aboutthe Editor' ClevelandOrché~tra clWíng tg~ years
when it was conducted by Nikolai :ftJ~dl~6~i~eorPt~.Stf9:1 playing,' he,.devoted hisfllll time ro:reaching and thestudyof'peiform'âncepr<);cüeé-s oréàrlynúlsic QI1'thecel1o and theyiola:d~ gathpa. Solo ka ensemb1e récitai~ ~f these instnul1e~t; have r~unded out ; performance' career that culminat~d in the writing and editing of nllme~otispeciagogical~orks.:His extensivo experi~pce in teachinghas resulted inthe . _pub licatiort of st~qy'~1)ia,.~eri~$ .that<l:réb6thprácHs#l-l:a:Ild:eff~êti velnt~~:~evel<?pp1ery.t OfYOUlígCel!ists. . . '0""
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SI G N S and A B B R E V I A T I O N S
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a sernitone
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81 -.:;::.
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TECHNICAL THE FOLLOWING
SUPPLEMENT FINGER
DRILLS
SHOULD
BE PLAYED
ON ALL
STRINGS
A
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B
.
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.
c
. D
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39 ALL BOWING EXCERCISES
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n
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OF THE BOW
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40 INTRODUCTION
TO
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STOPS
Andante H
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2
3
OF THE BOW 15
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