Course Syllabus

<p id="">Introduction</p>

<p id="">In this lesson, Lelchuk explains what warming up is and why we string players should do it. How, after all, do we approach the cello when we first sit down? What should be the very first thing we do? Lelchuk believes that with a methodical approach day after day, we will train our fingers and hands to be ready to tackle the challenges of a full practice session.</p>

<p id="">Trills</p>

<p id="">In this lesson, we learn about finger spacing in the first position. We learn about half steps and whole steps, and the importance of producing a full, rich sound, using the entire bow. We also learn about bow division, and why purposeful bow division is so important for solving many technical issues on the cello.</p>

<p id="">Shifts I</p>

<p id="">In this lesson, we learn about shifting by scale degree. Lelchuk emphasizes how crucial it is to plan shifts slowly and vibrate when possible to keep a loose and relaxed left hand.</p>

<p id="">Shifts II</p>

<p id="">In the second of the Feulliard shifting exercises in this book, we must learn to go longer distances on the cello. Lelchuk tells us the importance of hearing the note after the shift before physically shifting so that our ears can help train our hands. We also learn about releasing the arm weight and gradually gliding up the fingerboard.</p>

<p id="">Bowing Exercises</p>

<p id="">In this lesson on the famous Feulliard bowing exercises, we learn about smooth bowing, detached bowing, and many permutations and combinations. We also learn why it is important to start practicing passages starting up-bow as well as down-bow, to even out the two directions in the right hand.</p>

<p id="">Cossmann Studies</p>

<p id="">In this lesson, we study methods for achieving finger agility and speed. Lelchuk also teaches us a new different fingering, which aims to strengthen the pinky – something all cellists need work on!</p>

<p id="">Chromatic Excercises</p>

<p id="">The Aldo Pais chromatic scales on one string are very distinctive. Here, Lelchuk shows us ways a dense, slow bow can help achieve maximum clarity of the left hand.</p>

<p id="">Spiccato</p>

<p id="">The spiccato lesson is one of the central points of this entire course. Here, we go into depth on this classic exercise (whose authorship remains unknown) as we explore ways to loosen the right hand and produce a spiccato stroke that is controlled, even, and resilient.</p>

<p id="">Trill Exercises</p>

<p id="">The trill exercises aim to develop the weaker fingers of the left hand and work to make all the fingers even in what they can achieve when it comes to trills. We learn tips and tricks to relax the left hand yet produce fast, even trills between all fingers.</p>

<p id="">Thumb Position</p>

<p id="">In this lesson on thumb position, we learn about major and minor thirds as we work to build the shape of the hand. Lelchuk again stresses the importance of shifting slowly and hearing the glissando between positions to build up our muscle memory.</p>