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.
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.
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 Fauré's Elégie Conclusion Appendix: Non-Diatonic Scales and Arpeggios Bibliography
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 Fauré's Elégie Conclusion Appendix: Non-Diatonic Scales and Arpeggios Bibliography
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