Cello Practice, Cello Performance

Marc Notes: Includes bibliographical references and index.; Most other works that instruct cellists in the art of playing their instrument come in two predictable forms - emphasizing either the left hand or the right hand or instructing string players in the use of both but separately. Wilson argues that the movements of the hands are vitally interdependent, supporting one another in any technical action. Table of Contents: List of Figures List of Tables Acknowledgments Introduction Part 1: Fundamental Principles Chapter 1: Whole-Body Cello Playing Chapter 2: Warm-Ups for the Fundamentals of Cello Playing Chapter 3: The Inherent Expressiveness of Good Intonation Chapter 4: Solutions to the Challenges of Cello Playing Chapter 5: Habits for Efficient Practice Part 2: Repertoire in Practice and Performance Chapter 6: Harmonic Intonation in All Major and Minor Keys Chapter 7: Composing Your Own Etudes Chapter 8: A Practice Session on Faure s Elegie Conclusion Appendix: Non-Diatonic Scales and Arpeggios Bibliography"Biographical Note: The New Zealand born cellist and writer Miranda Wilson has performed on five continents and made several broadcast and compact disc recordings. She is a professor of cello at the University of Idaho."Publisher Marketing: What does it mean to perform expressively on the cello? In Cello Practice, Cello Performance, professor Miranda Wilson teaches that effectiveness on the concert stage or in an audition reflects the intensity, efficiency, and organization of your practice. Far from being a mysterious gift randomly bestowed on a lucky few, successful cello performance is, in fact, a learnable skill that any player can master. Most other instructional works for cellists address techniques for each hand individually, as if their movements were independent. In Cello Practice, Cello Performance, Wilson demonstrates that the movements of the hands are vitally interdependent, supporting and empowering one another in any technical action. Original exercises in the fundamentals of cello playing include cross-lateral exercises, mindful breathing, and one of the most detailed discussions of intonation in the cello literature. Wilson translates this practice-room success to the concert hall through chapters on performance-focused practice, performance anxiety, and common interpretive challenges of cello playing. This book is a resource for all advanced cellists college-bound high school students, undergraduate and graduate students, educators, and professional performers and teaches them how to be their own best teachers."