![]() The end of the volume has an introduction to the three finger positions and tenor clef. It introduces shifting, harmonics, syncopation, and keys with higher positions. 4īased around duets, it begins by teaching second and third positions simultaneously, which helps the student feel the subtle finger spacing differences between the two positions. The Sassmannshaus Tradition, Early Start on the Cello, Vol. The duets between teacher and student also help with ensemble playing. This volume could also be used as a stand alone book to enable a young cello student to become fluid in the first position. Other new concepts are introduced such as ornaments, triplets, minor keys, and half position. the different half steps feelĭifferently in the hand). This will help the student with finger spacing issues on the cello (i.e. I like that it emphasizes half steps between the third and fourth fingers, first and second fingers, and second and third fingers. The third volume is comprised primarily of duets and reinforces concepts and finger patterns learned in volume two. Is meant to be a supplement to volume two. Like the first volume, the second volume probably is more suitable for younger cello students, not older or adult students. By the end of this volume the staff is at a standard size. This volume also begins with a staff that is slightly smaller than the first volume but still larger than the standard printed staff. It covers fourth finger as tonic, triads in C, F, and G major, dotted quarter notes, songs using second and third fingers, extensions, triads in E-flat, B-flat, and F major, sixteenth notes, alternating between normal and extended finger patterns, double stops, first finger as tonic, triads in A, D, and E major, and pieces in various keys and finger patterns. 2Ĭontinues to develop the young student's ability to read music. In short, it is a wonderful volume for very young cello students. This volume starts with simple rhythmic patterns on open strings and progresses through string crossings, third finger, the triad, first finger, string crossings, fourth finger, accidentals, scales on two strings, stroke patterns, slurs, and portato. From the first volume, it is clear that the emphasis of this series is on note reading from the very beginning of study. In fact, the upper age limit would probably be seven or eight years of age. However, due to the illustrations and the oversized staff and notes, I wouldn't recommend the first volume for older students or adult beginners. As stated on the cover page, it is "A cello method for children age four and up". Is beautifully illustrated by Charlotte Panowsky, giving it the feel of a children's book. ![]() ![]() I highly recommend that cello teachers of beginning to intermediate cello students have all four volumes of this series in their library. The result is a wonderful new method available for cello teachers. They also joined forces with cellist Michael Corssen to make the series available for cello, recently published by Bärenreiter in the spring of 2009. His son, Kurt Sassmannshaus, currently chair of the string department at the University of Cincinnati College-Conservatory of Music and Dorothy DeLay's teaching assistant for 25 years, has joined his father as co-author to make the series available in English. It became the most popular violin method in Germany. Series (four volumes), combining his knowledge of child psychology with a systematic approach to violin pedagogy. In 1976 Germany's Renowned violin pedagogue, Egon Sassmannshaus, published his Early Start on the Violin 1-4īy Egon Sassmannshaus, Kurt Sassmannshaus, and Michael Corssen. The books span different levels, from beginning through advanced. Here are some cello books that I recommend.
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