Ebook CelloFastTrack

About the Cello Fast Track program ..............................................................................................
3
Introduction..................................................................................................................................... 4
Buying or renting a cello................................................................................................................. 4
Renting........................................................................................................................................ 4
Buying......................................................................................................................................... 5
The parts of the cello....................................................................................................................... 6
What makes a good cello? .......................................................................................................... 7
The bow ...................................................................................................................................... 8
Avoiding the rip-off .................................................................................................................... 9
What you need to start playing the cello....................................................................................... 11
Learning the cello as an adult ....................................................................................................... 12
Common questions about learning the cello as an adult............................................................... 14
Teaching children.......................................................................................................................... 16
Your goals to becoming a cellist................................................................................................... 17
Practicing times and motivation.................................................................................................... 19
Practicing .................................................................................................................................. 19
Motivation................................................................................................................................. 20
Getting fitted for a cello................................................................................................................ 21
Cello care ...................................................................................................................................... 22
Tuning ........................................................................................................................................... 23
Reading music for the cello .......................................................................................................... 23
Introduction to cello positions ...................................................................................................... 27
The note builder computer program ............................................................................................. 30
The Basics of Playing ................................................................................................................... 31
Seating and holding the cello.................................................................................................... 31
Right hand technique – the bow................................................................................................ 31
Holding the bow........................................................................................................................ 32
Left hand technique – the fingerboard ...................................................................................... 34
Playing in Tune – Intonation......................................................................................................... 35
Scale partner.............................................................................................................................. 36
Common problems for beginners.................................................................................................. 36
Hand and arm tension ............................................................................................................... 36
Scratches and squeaking sounds ............................................................................................... 37
The three steps of learning new music.......................................................................................... 38
Leaning your first piece of music on the cello.............................................................................. 39
The forward and backward extension ........................................................................................... 41
3rd position .................................................................................................................................... 42
Cello vibrato.................................................................................................................................. 43
Learning the cello on the fast track............................................................................................... 43
Considerations for self learning .................................................................................................... 46
Do I need a local private teacher?................................................................................................. 46
Where to go from here – continued learning ................................................................................ 48
Sheet music ................................................................................................................................... 49
Practice Chart................................................................................................................................ 60
© Copyright Blue Leaf Interactive 2

About the Cello Fast Track program
Congratulations on your decision to become a cellist! The methods and tools of the
Cello Fast Track program have been assembled to help beginner and intermediate cello
students play and enjoy the cello. Regular practice will further accelerate the
improvement of your playing skills and increase your enjoyment.

Introduction
I can still remember the first time I heard the cello when I was a small child. I was
watching television, and the evening news show was covering a short reunion of Prince
Charles and a classmate of his from grade school. During the interview, Prince Charles
tinkered with a cello and said that it was his favorite instrument from the class that the
two boys had attended. As he slowly bowed the cello, it produced a sound that was
simply mesmerizing to me. He was not playing any music. I just heard a slow, simple
note coming from our 1970s-style TV with its three-inch speaker. This simple
experience etched in my mind the desire to learn this instrument. There is something
about the sound of a cello with its earthy, low tone that can penetrate our bodies and
soothe our minds. The saying goes that “everyone loves the cello,” and I tend to agree
with this.
Learning to play music on the cello has truly enriched my life. I want you to experience
the same joy of the cello---minus the common misconceptions about what it takes to
play it. That is why I created the Cello Fast Track program. My goal is to help others to
start learning and to get playing as fast as possible.
Buying or renting a cello
Renting
When you first start on the cello, I recommend renting. This way, you don’t get stuck
with an instrument before you have had a chance to play and hear other cellos. If you
don’t have access to a local shop from which to rent, you can find a couple of good
online shops and have one shipped to you. I have found the shops listed in the
“upgrades and extras” section of the cello fast track computer application to be

dependable online stores with good quality cellos. These shops also have good quality
cellos for purchase on various budgets.
Buying
Don’t purchase cello “bundles” or “starter packages” online for $100-$300 (USD).
Instruments in this price range typically sound very bad. If you end up with a bad-
sounding instrument, it will most likely discourage you from playing and give you an
overall negative experience. I have seen some good cellos for sale online, but I just
want you to avoid buying a cheap one that will waste your time and money.
The main thing to consider when buying a cello is how well the instrument sounds to
you! Don’t let someone else tell you how much better a cello sounds if you simply can’t
hear the difference. Most decent cellos will give a nice tone when you play the G and D
strings (both of the middle strings). The way to better tell the difference between two
instruments is by playing the A string (the thinnest string) and the C string (the thickest
string). Cellos with less quality will have a very thin and metallic sound on the A string.
The A string on even the best cellos do have a thinner and slightly metallic sound as
compared to the other strings when played “open” (without having your fingers on the
fingerboard). What you are looking to avoid is a cello with a cheap, thin, rattling sound.
Trust your ear! Chances are that you are reading this because you have heard good-
sounding cellos from a recording or live. The C string should give a good, deep round
sound that projects loudly. When the C string is played on a budget or low value cello, it
will sound like the note is “closed up in a box” and muffled when compared to a better
cello. Remember that the sounds that are described above are best experienced when
you can play different cellos in the same room. Make sure you get to hear the cello as
someone else is playing it. Have someone simply draw the bow across the cello string
as you stand a few feet/meters away and listen for the sound that you like. Cellos sound
a bit different from different sides. Again, “trust what you like to hear.” Play as many
cellos as you can before you buy one.

The parts of the cello

What makes a good cello?
We can compare a cello purchase to the purchase of a luxury car. What makes a luxury
car, such as a BMW, valuable? Is it the powerful engine, the comfortable stitched
leather, or the beautifully designed interior? The answer is “all of the above.” Good
cellos are made when skilled luthiers (or instrument makers) take the time to give
attention to all of the parts of a cello and not just one. The longer you play, the more you
will notice the design, feel, and sound of a cello. Higher quality cellos will most often
sound or project louder than inferior cellos. Higher quality cellos can also be played
close to the bridge and still give a rich tone. A fine cello can also be inspected like a
nice piece of wood furniture. Look closely at the artistry, shape and stain of the cello.
Does the cello have sloppy carving marks or runny stain? Many professional cellists
enjoy buying older antique cellos that date back hundreds of years. These older cellos
have all the scars, dents, and scratches to prove their age. The cello community often
still debates the value and sound quality of old versus new. Most of the value of old
instruments comes from the fact that there are not many that have survived till today.
Many professionals say that today’s master luthiers can create cellos with equal tone
and quality. Many cellists that play very old instruments describe their cello like a
favorite pair of old jeans.
Yo-Yo Ma, the world-renowned cellist, plays a cello that is more than 270 years old and
has a value of $2.5 million USD. The good thing is that you don’t have to spend that
kind of money to buy a good cello. The online stores listed in the previous section have
quality cellos that don’t a fortune.

The bow
We often forget that the cello bow is an equal part of what makes the cello play and
sound well. If you are buying your bow separately, first select the cello that you want.
When you have selected a cello that fits your budget, then try different bows on the cello
and once again “trust your ears.” Select a bow that feels comfortable in your hands and
one that helps the cello sound even better when compared to other bows. Bows have
many different types of grips and materials that cover the bow stick close to the frog.
Brazilwood or pernambuco is used most often to create a quality bow. Many good
student bows are made from carbon fiber and make a good “standby bow” after
someone decides to move up to a nice pernambuco bow.
Different cello bows produce slightly different sounds when

played on the same cello.

Avoiding the rip-off
Believe it or not, there are many rip-off artists out there selling cellos for inflated prices,
just as in any industry. Keep the following points in mind when you buy:
• Painted fingerboards: The fingerboard (and tuning pegs) of a higher quality

cello is made from ebony, a natural black wood that is very hard. Low cost or
budget cellos will have fingerboards made from another wood painted black. Rub
your finger on the fingerboard or try to scratch at it with your fingernail. If you get
black paint on your fingers, then you are looking and a low cost or budget cello.
Budget cellos are typically valued at $500 US dollars and below.
A natural ebony fingerboard (above) has hints of

brown colors when viewed in bright light. Low cost
(non-ebony) fingerboards are painted with dark
black paint.
• Teacher has a great deal for you! Another dark secret of cello sales is the
teacher kickback. Some teachers direct students to a seller and get a kickback
from the seller after the student pays a high price for an average instrument. If
you have a teacher that insists you buy his/her recommendation, you may want
to ask if they are getting anything in return or avoid the option altogether.
• It sounded great in the shop. Shop owners may ask you to stand back and
hear the beautiful tone that their “great deal” cello has. Some dishonest sellers

will play one cello beautifully and then intentionally play the lower priced one that
you like and make it sound bad. Even a non-cellist can slowly play an open G or
D string with a bow. Have a friend play, and you decide what you like. If you’re
not sure, then ask about renting the one in question for a month.
• Press wood. Most budget and low cost cellos are not hand carved but made
from heated and pressed wood called “laminate.” The signature “F holes” of
violins and cellos are a great area to spot pressed wood. By looking at the edges
of the f holes you can spot layered wood. The top or front of a good cello is
carved from a piece of spruce and will not look like many layers of wood. Look at
the edge of the F hole. If it has “layers,” then the cello will sound muffled and
have a low volume when played. The front/top of a press-wood cello will also be
very smooth (due to the pressing) when compared to a true hand-carved cello.
The left side laminated cello top has the appearance of

many layers of pressed wood with black paint on the
inside edges of the f-holes. The above right side cello top
is carved from one piece of wood with some black paint on
the inside which is common with higher quality cellos.
• Painted Purfling. Purfling is the decorative borders that outline the cello. These
inlayed lines also serve a practical purpose. Purfling helps prevent a cello from
getting cracks in the spruce wood. Spruce wood is one of the major components
of a good cello, but it also cracks easily if dropped or subjected to large changes
in humidity and temperature. Budget cellos have painted lines or black stickers

rather than inlayed purfling. Look closely at the cello. If the purfling lines appear
to have no signs of being inlayed or carved in, you are looking at a bad cello.
With the purfling line you should see tiny, thin knife cuts and not just black paint.
Inspect the double black lines (purfling). If the lines appear to lie
on top of the wood, like a sticker, then you are looking at a
budget or low cost cello.
What you need to start playing the cello
In addition to a cello and bow you will need the following items:
• A case to protect your cello. I have found that the black foam-filled cases protect
a cello well and are very light.
• Rosin to rub on the cello bow hair.
• A cloth to clean off smudges and rosin dust after each practice.
• An electronic tuner.
• A metronome to provide a steady beat to practice with.
• An endpin holder to hold the cello endpin on the floor.
• A music stand. I don’t recommend getting a lightweight folding stand. Try a stand
with a heavy base to keep it from falling over.

Learning the cello as an adult
The comment that I hear the most from adults who want to learn the cello is “I would
love to play, but I never learned music as a child” or “…I stopped as a child.” I can’t tell
you how many times I’ve heard people say things to this effect with defeated tones in
their voices. It’s as if they believe they have lost their one-and-only chance to play and
enjoy music.
People tend to think that children have a better ability to learn than adults do, and this is
simply not true. The next time you buy something that requires following directions to
put it together, like a bicycle or a piece of furniture, try giving the directions to a six- or
nine-year-old with the remark that “children can learn better than adults, so would you
mind putting this together?” Or, better yet, ask a child to learn the new responsibilities
that you have at home, school, or work, and let’s see who learns faster. The advantages
to learning as an adult far outweigh the advantages of learning as a child. Children have
only one advantage when it comes to learning an instrument like the cello:
They have no idea that they sound bad when they first start.
Adults on the other hand, know exactly how we sound when we try to play an
instrument for the first time. Adults have grown up listening to professional music on the
radio or on CDs, and we set extremely high goals for ourselves of sounding “just like
that Yo-Yo Ma recording” when we first start. The truth is that over time we do sound
better and better, but often we are still critical of ourselves. I sounded as bad, at first, as
anyone does. Family members would close the door for the first two months that I
played. Within a few months, however, I started hearing complements. Others actually

enjoyed certain pieces that I played, and I was soon being asked to play with other
musicians---ones who learned as children.
I recall reading an article about the great cellist Rostropovich. He was asked to solo on
a piece that he had never played before, and he had no time to learn the music before
rehearsing it with other professional musicians. So he showed up for the rehearsal, and
the group started playing. When they got to the cello solo, Rostropovich sounded so
bad that the other musicians stopped playing and were sure that something was wrong.
After everyone had stopped, Rostropovich continued playing the solo over and over
while everyone else looked confused. Within a few minutes the solo which sounded
horrible started to sound like a true master! Rostropovich was unfazed by the fact that
he sounded bad; he knew that he would quickly get better.
I don’t claim to be as good as Rostropovich, but I can testify to the same learning
process. The first cello piece that I leaned was a very simple French song from a Suzuki
cello method book. It took me two weeks to play it and have it sound “not too bad.” It
took me another month to get to where I felt comfortable playing it for someone else, but
I still did not think that it was enjoyable for others. Another month later and I could play it
and really enjoy it. It took an additional month to play it with “musical emotion.” Then,
after playing for my first year, I could take any simple piece and play it in tune and with
lots of emotion just five to ten minutes after seeing it for the first time! Now almost every
week, when I play in the orchestra, I encounter pieces that I have never seen, and I
learn them in a few minutes. Of course, some pieces I see for the first time may take
longer, depending on their complexity and length. Music is a growing experience. What
was hard last month gets easier the next month as you continue to play. This is the
single most important lesson for adults: Adults must continue to play when they don’t
sound good because we will soon sound better.
As the weeks, months, and years pass, you will be amazed at how fast you will learn if
you don’t worry about sounding perfect at first. However, if you don’t continue learning
new pieces but, instead, continue to play the same one or two pieces because you want

to sound perfect, then you will get stuck and frustrated. We must swallow our pride
when we learn new cello skills, knowing that as we continue to play, we grow and get
better.
I would like to list some other advantages that adults have over children when it comes
to learning to play the cello:
• Adults have better time management skills. If we have 20 minutes to practice,

then we typically use it well. Children need much more reinforcement to stay
focused.
• Adults can set their own priorities. If we would like to stay up late or get up early
to play cello, then we do it.
• We don’t need to get permission to make cello investments. If we hear a new
piece of music that inspires us, we can just buy the sheet music without asking.
Children typically play the same lesson pieces over and over and can get bored
easier.
• Adults have a better ear. This helps us figure out why one part of a piece is not
sounding right.
• Adults have more “emotional intelligence.” We know that playing and practicing
lead to improvement in something that we desire.
• Adults have better problem-solving skills. Children may play for weeks or months
without knowing that they need more rosin or without realizing that they can try
playing a note with a different finger.
Common questions about learning the cello as an adult
Question: Can an adult learn to sound good on the cello?

Answer: Yes. Adults can learn to play well and to perform in public.

Question: How long does it take to learn to play the cello well enough that people
would enjoy listening to you?
Answer: This depends on how much you practice and on what you are attempting to
play in public. You can play in public after a couple of months if you are playing very
simple music to back-up a piano or guitar.
Question: How often should adults practice when they first start?
Answer: At least every other day for 20 minutes to an hour; the more the better.
Question: I read online that you must practice every day for two hours for years to learn
to play the cello. Is this true?
Answer: No. If you have a goal to be hired to play professionally in one of the top
worldwide symphonies and play extremely hard music and anything that anyone would
ask you to play, then this may be true. However, there are so many other beautiful, fun,
and enjoyable pieces of music for the cello that do not require you to give your life over
to the instrument.
Question: What challenges do adults have, compared to children, when learning to

play the cello?
Answer: As mentioned above, adults must accept that they will sound bad at first and
not be discouraged by this. Music, like life, is a growing experience.
Question: I don’t have a supportive family or household. I’m afraid to start playing; I can
just hear the unsupportive and rude comments now. What should I do?
Answer: Tell the household that you want to learn the cello, and you want their support.
Tell them that you know you will not sound good at first. Ask them not to make rude
comments about the sound, and set aside practice times on which they agree. If they
don’t support you, accept that they are being insensitive (which is their problem!) and/or
find another place to practice.

Question: I’m afraid that I will never be any good, so I’m afraid to start. What should I
do?
Answer: Don’t let fear keep you from your healthy desires. Imagine being years older
and never having given an honest effort to playing the cello. You will most likely think
about the cello for years to come every time you hear one. Believe me, once learned,
the cello is even more enjoyable in your hands than hearing it from stereo speakers.
Question: Is it hard to learn the cello as an adult?

Answer: Overall, no, when your goals are realistic. The hardest part for most is to turn
off the TV (and other time wasters) in order to learn new music. Once you get off the
couch and start playing and learning, you won’t want to stop because it is so much fun!
Teaching children
Teaching children a stringed instrument such as the cello does require some
understanding of the instrument itself. The methods and tools in the Fast Track program
can be used with children when a competent adult cellist is present for guidance. Adults
can set their goals and be naturally motivated. Children, on the other hand, need more
help and instruction when it comes to learning music. Both children and adults need to
set reasonable goals when starting something new. Before we can set goals for
children, we must understand their desires.
Our daily musical environment influences our musical growth. It will be the duty of
parents to influence the musical environment of a child. So before we can set learning
goals for children, we must ensure that we provide an environment that musically
nurtures a child. Children that only listen to pop music will be less likely to have the
desire to play the cello. They won’t have a fully developed mental impression of what

good cello music should sound like. If a boy listens to rock and roll most of the time, he
will most likely produce a harsh tone on the cello and have little desire to play. The best
thing that parents can do to start their children on the cello is to expose them to good
cello music on a regular basis. If you want your child to enjoy and play classical music
on the cello, then play Bach, Beethoven, and Bloch in your home regularly. If you want
your child to enjoy and play folk cello music, then play folk music and the like in your
home. Your child may or may not outwardly react to this unfamiliar musical culture, but,
if done regularly, he or she will be receiving training without even knowing it! Years ago,
my daughters would give me a hard time when I turned off the Hannah Montana to fill
the car with some soothing Bach. Now classical music is accepted as part of our
family’s musical culture.
Once we have a healthy musical environment, we can help set goals for our children.
Having goals helps determine the training, methods, and attention needed for success.
Cello goals can start at wanting a child to play simple songs for the family and go all the
way to wanting a child to be a classical soloist like Yo-Yo Ma. Obviously, the effort
required to accomplish each of these goals would be quite different.
Your goals to becoming a cellist
What’s not exciting about becoming a cellist? Cellists come in many different styles,
abilities, and skill levels. You don’t have to become a recording artist or land a job in a
professional symphony to be a cellist.
Below I have separated some musical goals for cellists into five groups, outlining the
time and effort needed to reach each goal. Understand that the time needed to meet
your goal will vary some based on your natural abilities and drive. These averages are
the times that I have found to be common after talking to many other cellists over the
years.

The first group is what I call the “Rhythm/Harmony Cellist.” One may want to simply
enjoy the cello at home or in small private musical groups and not have an immediate
desire to play publicly. At first you may not think that this is a considerable goal, but
don’t think too fast. You would be surprised at the number of cellists that consider
private playing at home and in small groups to be among the most enjoyable benefits of
being a cellist. This is a great goal to start with, and you can always set higher goals in
the future. Many amateur fiddle and violin players play simple music primarily in one
position and enjoy their instruments for a lifetime. Rhythm cellists are usually limited to
the popular musical keys of C, D, G, and F. These cellists have not obtained the skills to
play long, complex musical pieces and typically must practice one piece for two to three
weeks before being able to play it. With regular practice, most people can reach this
goal within two to nine months, depending on the amount of time they practice.
Second, we have the “Accompanying Amateur Cellist.” These cellists play harmony
for other musicians who are on piano, guitar, violin, etc. They may or may not have
used a cello teacher to learn. They play in public at festivals, churches, local coffee
shops, and private gigs. If this is your goal, be prepared for people to flock to you
between and after you play, telling you how much they love the sound of the cello. The
accompanying amateur cellist does not play many solos or take the front position in a
musical group, but they sure do get to have fun! Filling in a musical group’s sound with
the rich notes of a cello still gives me chills after many years. Accompanying amateur
cellists have not obtained the skills to play classical cello solos in public, but they can
play many types of music in tune and very well. With regular practice, many can reach
this playing level within four months to a year. Finding others with whom to play
regularly is necessary for reaching a performing level.
Third, we have the “Amateur Cellist.” They also play in public at festivals, churches,
local coffee shops, and private gigs. This cellist can play all of the music that an
accompanying amateur cellist can, with the added ability to play some solos very well.
The amateur cellist can also play some challenging classical pieces found in Bach’s

Cello Suites and other classical music. After playing at the accompanying amateur
cellist level for a year or two, one can start performing more complex cello music with
some solos. This level comes with continued practice and regular performances with a
small or large musical group, band, or ensemble.
Fourth, we have the “Professional Cellist” seen in many popular symphonies and
private weddings. The professional cellists have spent many years practicing, often from
an early age and with private lessons. They can typically play most of what they are
asked to play, but many can’t play some of the great (and challenging) cello concertos.
They can solo on the cello very well. These cellists have a classical training
background, and many have attended upper-level musical schools (conservatories) to
become very skilled on the cello.
Finally, we have the “Professional Recording Artist/Soloist like Yo-Yo Ma. These
masters on the cello come from the same background as the above professional cellists
with the addition of having practiced even more to enhance their natural musical ability.
They can play most anything that is composed for the cello, including the great cello
concertos.
Practicing times and motivation

Practicing
Customize your practice times to fit your life. I have had to change my practice schedule
almost every five to six months. At first, I practiced at night. Then I found that practicing
in the morning worked better. At other times, I actually drove to another building in the
morning to find a quiet place to practice. Now, years later, I’m back to practicing at
home at night. I recommend practicing for at least 30 minutes every other day as a bare
minimum. If you can practice for an hour, then that will help you get past the “beginner
stage” even faster. If your schedule permits daily practice, then that will be even better.

I do recommend taking one day off per week to give your mind and muscles a rest.
Break your practice times into smaller sections of five minutes. A blank practice chart
has been included towards the end of this book to help you track your dates, times, and
pieces of music. Note your practices and make sure that each one includes some
scales in the key in which you will be playing that day. When first starting, the key of D
will be used most often. Music played in the key of D will keep you in the “first position.”
Your first few weeks should include warm-ups in D major, followed by a beginner cello
piece included in this eBook. Then play any music for your own enjoyment at the
beginner level. Playing music that you enjoy is an important method for learning faster
and growing musically. I have included musical pieces that will give you a well-rounded
start, but you must also seek out music that will help you play in a style that you enjoy.
When I first started, I played most of the music that was included in my beginner books,
but it seemed that there was always some music that was not as enjoyable as the rest.
Make an effort to play each piece as you progress and stop playing the pieces that you
don’t enjoy musically.
Motivation
As much as I love the cello, I can say that some days it is hard to get motivated to
practice. I find myself on the couch after a long day, and I can’t seem to get up. I try this
“trick” on myself, and it often works. I think, “I need to practice for the performance this
weekend but don’t want to do a full thirty-minute practice.” I then tell myself, “Okay,
Kyle, then at least play one scale and that new music and be done for the day with a
ten-minute practice.” Before I know it, I’ve done the scale, started playing Bach, an hour
passes, and I can’t put the cello down! Other days, I just do the ten-minute practice and
call it a day. Your first two to four months will be the most important of all. This will get
you past the beginner stage to where you can produce a good tone and sound less like
a novice. As you work past the beginner stage, you will become more motivated. Don’t
try to cram a whole week’s worth of practice into one day. Regular practice every other
day or every day will build up your playing skills much better than cram sessions. With
regular practice, you will become better, and your motivation will start to form from new

musical experiences, playing new music, or practicing for a new show, gig, or just a fun
musical session with family or friends.
Getting fitted for a cello
Most adults will use a full-sized cello known as a 4/4. Smaller adults and children should
be fitted to a cello before buying or renting. Use the following steps to determine
whether a cello is the correct playable size:
1. Sit on the edge of a chair and keep your feet flat on the floor. Your knees should be
bent at a ninety-degree angle. If fitting a cello for a small child, try using an adjustable
chair to make sure that they have their knees bent correctly while having their feet on
the floor.
2. Adjust the endpin so that the top rounded part of the cello (or base of the
fingerboard) touches the chest at the sternum (or breast bone). The C string peg

should be close to the left ear. Your knees should touch the lower corner of the C bout.
3. Your hand should be able to easily touch the bottom of the fingerboard.
Cello care
Your cello should always be stored in a case and placed in a location where it won’t be
knocked over or stepped on. Wipe the rosin off the strings after each use. You may also
clean your strings with rubbing alcohol, but make sure that you don’t drip alcohol on the
cello when doing this, as it could damage the stain and finish of the wood. Set the cello
on its side when cleaning the strings to reduce the chance of dripping alcohol onto the
finish.
The front of the cello is made from spruce and will crack easily if your cello becomes too
hot, cold, humid, or dry. Keep your cello in an air-conditioned environment and never
leave it in an attic or basement. Purchasing a cello humidifier will help in dry seasons or
locations. An inexpensive humidifier made from a rubber hose filled with a sponge is
great investment for caring for your cello.

A humidifier will help prevent your cello from
cracking. It is first soaked in water and then
inserted into the cello f-holes.
Tuning
Tune your cello before playing. If your cello has not been subjected to extreme
temperature and humidity changes, it is likely that it will be in tune. Adjust the pitch of
the strings with the aid of an electronic tuner. Turn the tuner on and bow or pluck the A
string. The tuner will tell you if your note is flat, sharp, or in tune. Turn the tuning pegs
in the peg box to adjust the pitch. Most modern cellos have fine tuners attached to the
tailpiece. These tuners make it easer to tune for a more accurate pitch. Tune each
string, starting with the thin A string, then the D string, followed by the G string, and
finally the C string, which is the thickest string. As you progress on the cello, you will
begin to tune in “perfect fifths.” This will cause the C and G strings to be slightly lower in
pitch, as indicated by your tuner. Don’t worry about perfect fifths tuning when you first
start. Once you move out of the beginner stage, you can learn this tuning.
Reading music for the cello
If you don’t read music yet, don’t worry. Reading music for the cello is not hard at all,
once you understand the basics.

Below is a music staff or stave. The musical notes are placed on the lines and in
between the lines to show the musician which notes to play.
Below is the bass clef. Music for the cello is notated in the bass clef most often. When
the below symbol with the two dots is placed on the staff, we call it the bass clef.
You will also see a time designation or signature on the staff telling you how rhythms
are to be played. 4/4 is the most common rhythm and may also be designated by a C.
Reference the Cello Fast Track computer program for audio examples of rhythm to
understand how the beats are counted. You will find this in the “learning to read music”
section.

The lines on the bass clef staff (bottom to top) correspond to the notes G-B-D-F-A. An
easy way to remember these note positions is with the phrase "Good Boys Deserve
Fudge Always.” The spaces on the bass clef staff correspond (bottom to top) to the
notes A-C-E-G, and can be remembered with the phrase "All Cows Eat Grass."
The cello note builder computer program (located in the interactive tools) will help you
remember the notes on the bass clef and where the finger positions are located on the
cello. For your first few weeks you should focus on the beginner exercises and the first
position only. The cello note builder includes an advanced section for when you have
mastered the beginner test.
Musical notes placed on the staff are represented by different shapes that tell the
musician the duration (or length) to play them. A “rest” tells the musician to play nothing
(silence) for a length of time. Below are the common musical notations for those
beginning to read music. The Cello Fast Track computer program gives audio examples
of cello music using different notes and rests. Review the chart below and then go to the
“Learning to Read Music” section of the computer program to watch and count along
with the examples. Understand that counting the rhythm silently to yourself as you play
is one of the foundations of reading music.

On the musical staff you will also see symbols that represent the key signature. The
key signature is a series of sharp or flat symbols placed on the staff, designating notes
that are to be played one semitone (a half step) higher or lower than the equivalent
natural notes. Key signatures are written immediately after the bass clef symbol at the
beginning of a line of musical notation. The common key signatures for beginning cello
are C, D, G, and F. These keys are explained below.
If no sharps or flats are designated (as below), the key signature is “C” or “concert C.”
Next, the “Key of D” (below) contains a sharp symbol over F and C, meaning this key is
played with an F# and a C#.
The “Key of G” (below) contains a sharp symbol over F, meaning this key is played with
an F# whenever any of the notes are on the “F” line.

Finally, the “Key of F” (below) contains a flat symbol over B, meaning this key is played
with a B flat (Bb) whenever any of the notes are on the “B” line.
Once the key signature is shown, then all of the following notes are played using the
key signature. In the example below, the third note is played as an “F#” for the whole
musical piece, unless the composer writes in extra designations called “accidentals.”
Introduction to cello positions
The cello has what we call “positions.” Playing in each position involves moving your
hand and fingers up or down the fingerboard to play the appropriate notes. The cello
does not have frets as a guitar does, so cellists move their hands into the proper
positions to play the notes.

Even though the cello does
not have frets, the distance
between the notes is still
similar to that of the guitar.
Note how the frets on a
guitar become closer and
closer together as you move
down the neck. The notes on
the cello also get closer
together as you move down
the fingerboard.
Cellists often write fingering (or finger notations) onto a sheet of music with a pencil to
help them learn new music faster. Fingerings refer to which finger is used to hold down
a string to play a note.
Finger notations include:
“0” to designate playing an open string when not holding down a string with the left
hand.
“1” when using the index finger to hold down a note
“2” when using the middle finger to hold down a note
“3” when using the ring finger to hold down a note
“4” when using the pinky finger to hold down a note

Beginners on the cello start in “1st position.” First position gives you access to the
upper portion of the fingerboard and allows you to play notes across all four strings. The
1st position chart below includes the finger positions 1 through 4. Half steps (the
distance to the next musical note) are played by the next finger. B, which is played by
finger 1, is one half step to C, which is played by finger 2. Whole steps are played by
using the distance to two fingers. C is played by finger 2 and is a whole step to D, which
is played by the 4th finger.
While the 1st position is considered to be a beginner position, playing in the first position
still gives one access to many notes and the ability to play a wide array of music. The
beginner cello music in this book includes music that is played primarily in the first
position. Most beginners on the cello spend the first two to six months playing only in
first position. First position requires the longest stretch of the hand and fingers of all the
cello positions. You may feel that you can’t spread your hand wide enough at first, but it
will get easier as time passes. Even people with the smallest of hands and fingers get to
the point where they can comfortably play in first position with a properly fitted cello.

Find the D note in first position with your pinky. You may set your tuner to give an
audible D tone, if needed, to help match the tone. Another way to locate this note is to
have your pinky on D on the A string and, as you bow the open D string, you should
hear a “ringing” tone (see the tuning video for this example). Slide your pinky up and
down in the general area until you find it. When you bow this note, the open D string will
vibrate, causing a ringing tone, which will tell you that you have a perfect D note to
match the open D string. Mark this spot with small stickers or mail label strips that can
be cut to make lines. Mark the B note on the A string once you have found it with your
pointer finger (1). Some beginners may be able to naturally find the note. Others can
use the tuner again to give an audible B tone to locate it. Marking the B and D notes
with stickers is a common practice for beginners.
The note builder computer program

When I was first learning the cello, one of my teachers assigned a paper-and-pencil
exercise to help me learn the notes and positions on the cello. This exercise consisted
of viewing several different musical notes and writing in the correct finger positions for
the cello. I spent hours each week working on this and learned the cello positions well
from this paper test. Eventually, I memorized the notes on the cello corresponding to the
musical notes on the staff. I recall making many copies of the exercise over and over. I
used a lot of paper (an old medium) with this learning method.

Now you have a computerized version of a similar exercise. The cello note builder
program has a built-in study guide with added features. The program will notify you
when you get the correct or wrong answer by sound and will shuffle the notes on the
bass clef each time you start it. I added a timer and a basic scoring system to give you
something against which to measure yourself. You get one point for getting the note
right, and a point is subtracted when you select the wrong note on the fingerboard.
Use the study guide in the computer program to learn the finger positions and then test
yourself in the beginner mode. Don’t be concerned with the advanced mode until you
can play all of the songs included in this book and after scoring a perfect “24” in the
beginner mode in under 24 seconds.
The Basics of Playing
Seating and holding the cello
Always sit toward the front of your chair. Position the cello between your knees with the
cello resting on your chest (sternum). The neck of the cello is above your left shoulder,
and the C string tuning peg is just behind your left ear. Your chair should cause your
knees to be bent at 90 degrees. Don’t use a chair that is too high, which can cause the
edge of the seat to put pressure on your thighs. Both left-handed and right-handed
players will play this way, holding the bows in their right hands.
Right hand technique – the bow
The bow is what makes stringed instruments like the cello and violin produce their
unique and unmistakable sound. Rosin, which is stuck to the hairs of the bow, is rubbed

across a cello string, causing it to vibrate. This vibration travels from the string to the
bridge and into the body of the cello to produce a cello sound. Without the bow, stringed
instruments are basically fretless guitars and basses. Holding and using the bow
correctly will have the largest impact on your ability to produce a good sound.
Tighten your bow. Do this by twisting the screw at the end of the bow. Twist the screw
until the bow hair tightens and there is about a pencil’s width of space between the hair
and the stick. Don’t worry if the hair bends and touches the stick a bit when you play;
this is common.
If your bow hair is new, rub rosin on it back and forth ten to twenty times. If your bow
already has rosin on it, you may only need to rub rosin on it three or four times back and
forth. Keep in mind that if you put too much rosin on the bow, it will fall off the hair when
you start playing, and you can simply wipe it of the cello when you’re done. So, when in
doubt, put rosin on the bow, and always rosin before you play.
Holding the bow
Grab the cello bow as you would pick up a pencil from a flat surface. Let your pointer
finger rest on the grip. Some bows have thick windings for a grip (as pictured below),
and other bows have fine wires for grips. Keep your pointer finger on the grip, and keep
your thumb slightly bent.
Correct bow hold (thumb is bent) Incorrect bow hold (thumb not bent)

Don’t straighten your thumb against the stick. This will cause you to use your thumb to
press on the bow to transfer pressure to the strings. This often results in bow hand
tension.
The correct way to get the bow to apply pressure to the strings is to use the weight of
your hand, arm, and shoulder. Don’t use your arm and hand muscle power to press the
bow down hard onto the strings. Keep this in mind as you play. At first you will feel that
you must use your muscle power to push the bow down as you pull the bow across the
string. Using shoulder/arm/hand weight to bow will produce the smoothest, richest
sound, as opposed to using muscle power, which will produce a harsh sound and cause
your right side to become tired over a shorter period of time.
Bow direction is going to be either down or up as you play.
Musical notation for down bow is:
Notation for up bow is:
“Down bow” is played when you are pulling the bow back to the right side of your body.
Down bow has a stronger sound and is used to start most musical measures. “Up bow”
is played when you are pushing the bow to the left side of your body. Up bow has a
slightly softer sound compared to down bow.
When learning the cello, one should first play with the bow on open strings. Your mind
needs to get a feeling for the bow alone before the addition of the left hand on the
fingerboard. This is done by playing open notes. Start by placing the bow on the strings
with the frog about an inch-and-a-half from the C string.

Play the open string music exercises from the first page of the sheet music in this book.
Make sure to play using the whole bow length from “frog to tip.”
Your first day or two on the cello should include playing these open notes and playing
the D major scale using the following left hand technique.
Left hand technique – the fingerboard
The strings on the cello are held down properly by using a “bow and arrow” method.
Imagine that you are using your left hand to slightly draw a bow for shooting an arrow.
When you shoot an arrow with a bow, you don’t grab the bow string and squeeze it, you
pull it back with the tips of your fingers using your whole arm, and not just your hand.
Keep your thumb opposite your middle finger when playing.
Keeping your thumb opposite your middle finger

will help your hand stay in balance and help reduce
tension.

Try playing the D major scale with “pizzicato” or “pizz” (plucking without the bow). You
can see pizzicato explained in the “Morning Stroll” video.
D is played with an open D string

E is played with finger 1
F# is played with 3
G is played with 4
A is played on the open A string
B is played with 1
C# is played with 3
D is played with 4
Be sure to always play keeping the higher fingers down when playing a note. When
playing a note with the 4 (pinky finger), keep your other fingers down also (fingers 1, 2,
and 3).
Playing in Tune – Intonation
Regularly playing scales will help you to play more in tune. Bowing and playing in tune
may seem hard at first but will become easier as time goes by. Playing regularly with

others will also help your intonation. You will get to the point where you sound great
when you practice alone but will find that playing with others causes you to play a bit
higher or lower to sound “in tune.” This is due to the fact that playing with different
instruments (guitar, piano, or clarinet) causes a string player to “listen and adjust.” Keep
in mind that your cello is a new voice for you, and the more you “sing” with your new
voice, the easier it will become to play. Over time you will be able to play in tune very
easily without even thinking about it.
Scale partner
Listening to others as you play is a key part of learning the cello. Recordings have been
included for you to practice scales with, which will help with your intonation. Select the
music scale to practice. Then select the small scale for the scale partner. Practice the
scales and listen to the other instrument as you play. I recommend playing scales alone
most of the week to fine tune your finger positions and playing with the scale partner
twice a week.
Common problems for beginners
Hand and arm tension
Tension usually starts in one hand/arm and then is felt on the other side of the body in
the opposite hand/arm. If you are gripping the fingerboard too hard, you will experience
tension in the left hand first. If you continue to play and press the strings down too hard,
over time you will most likely feel tension in your bow hand also. Your body will naturally
try to compensate and “even things out.” Likewise, if your bow grip is too tight, then you
will likely feel tension in the left hand over time.

If tension feels the strongest in your left hand, then relax your grip while playing.
Remember that you don’t have to “squeeze” the fingerboard.
Tension in the bow hand often starts when someone tries to play the cello louder by
pressing the bow down harder on the strings. Proper bowing is accomplished by using
the weight of your arm, shoulder, and hand to glide the bow hair over the cello strings.
Bow hand tension can also start with an improper bow grip. Refer to the bow grip
section and image to check your bow grip if you are experiencing bow hand tension.
Scratches and squeaking sounds
Scratches and squeaking sounds from the bow are very common with beginners. With
practice, you will produce some beautiful sounds on the cello. When you first start,
however, you will most likely hear some nasty sounds. Bowing the string at an angle
other than a perpendicular 90 degrees can cause scratches and squeaks. Bowing too
close to the bridge can also cause undesirable sounds. The good news is that bow
scratches and squeaks start to go away as you progress out of the beginner stage. The
more you play, the more your mind and muscles will form “muscle memory,” and you
will naturally play with less and less squeaks.
I made an interesting discovery when I was creating the cello note builder program. I
needed to record a “wrong answer” sound to be played when someone clicked on the
wrong note. I decided that I wanted to record a cello squeak noise for this. Now, when I
first started, I made plenty of scratchy and squeaky sounds, so I was ready for a quick
and easy recording session. What I found was that my “muscle memory” had made it
difficult to produce those nasty sounds. I found this to be true for other cellists as well.
As you play, you are building memory patterns in your mind that make it easier and
easier to play the cello with beautiful results.

The three steps of learning new music
Learning new pieces of music on the cello can be very exciting when approached
properly. It can also be difficult if approached in the wrong way. Many beginners will try
to play a new piece of sheet music only to find that they can’t seem to put it all together.
New music on the cello should be learned by the simple three-step approach. First,
learn the rhythm of the music, second, learn the finger position without the bow
(pizzicato), and finally, play the music with the bow. If you try to play something totally
new with the bow as a beginner, your mind will be trying to do too many things at the
same time. Once you are no longer a beginner (after a few months, depending on the
amount you practice), you will be able to “sight read” basic cello music. Sight reading is
the ability to see sheet music for the first time and read it as you play. As the months
pass, you will be able to sight read more advanced music of your choice.
Let’s cover the three-step method:
• First: learn the rhythm of the music:

Before playing any notes, clap or tap out the rhythm of the music. Do this a few
times until you know the flow of the music.
• Second: learn the finger positions:

Know which fingers will be on which strings on the fingerboard to play the notes
and write the finger positions on the sheet of music. Pizzicato (pluck) the music
without the bow.
• Third: play the music with the bow:

Finally, play the music with the bow until you can play the whole piece without
stopping. You can now add new music to your repertoire!

Leaning your first piece of music on the cello
We are now going to use the three-step method to learn new music. Print “Up and
Down” from the sheet music section in this book and get a pencil. Even the most
advanced cellists use this method when leaning new, unfamiliar music. As you advance
on the cello, you will be able to play easier music just by looking at it, and you can use
this method when you need to learn more advanced music played in multiple positions.
First, clap and count out the rhythm to the music. “Up and Down.”
Second, now that you know the rhythm, write the cello fingerings on your sheet music
with a pencil. I have penciled in the first seven notes below.
Write in the remaining six notes on your sheet.
Now pizzicato this piece of music without the bow. Learning the music without the bow
will make it easier for your mind and hand muscles to play.
Lastly, once you can play the whole piece three times without stopping, play the sheet
music with the bow. Make sure that you start with the bow on the strings close to the
frog and not in the middle of the bow.

Practice this new piece until you can play it several times with the bow and without
stopping. The more you play, the more you will be able to correct any undesirable
scratches and out-of-tune notes. Once you can play it three times without stopping, then
you have learned it. Most beginners will work on simple, new pieces for a week or two
before they learn it. Using the bow will feel odd as a beginner. Your body is learning
new things. Music teachers report that learning music on a stringed instrument will
challenge your mind and cause new neuron paths to be used in your brain. What feels
weird and awkward at first is actually exercise for both the left and right sides of your
brain. These new exercises will not only make you better on the cello, they will sharpen
your mind!
This book includes additional music that has been specifically selected for beginners to
learn using the three-step method. Most are played in the first position, which will give
you access to a large range of notes as a beginner. I want to encourage you to attempt
to learn each one. Figure out the rhythm and write down the cello fingers of each piece
included in this book. Using this three-step method combined with regular practice will
increase your ability to learn new music faster. Don’t rush the three steps. If you try to
play with the bow as a beginner, without knowing the rhythm and fingerings beforehand,
you will very likely find yourself frustrated. If you give yourself time to learn, you will find
more enjoyment.

The forward and backward extension
Extensions give you access to additional notes on the cello without having to shift into a
totally separate hand position. The regular 1st position is displayed below. Note how
finger 1 is on B.
A backward extension is noted below with “X1” and gives you access to the row of
notes directly above 1st position (C#, Ab, Eb and Bb).

A forward extension is noted below with “X4” and gives you access to the row of notes
directly below 1st position (F#, C#, Ab and Eb).
Make sure to relax your hand when using extensions and don’t try too hard to keep all
fingers perfectly in place. The idea is to simply point your finger up for an X1 and slide
your hand down for X4 to play additional notes. The good news is that once your hand
can play in 1st position with extensions, all of the other cello positions (2, 3 and 4) are
easier because you don’t have to stretch your hand as far.
3rd position
Your first few months will be spent largely in 1st, 2nd, and 4th positions. When you feel
comfortable playing in 3rd position, you can start playing the “G Major Scale in First and
Fourth Position” sheet music as a practice piece. Of course, don’t use the “first and
fourth” fingering notes that are on the sheet. Write you own 3rd position fingerings on
your sheet.

Cello vibrato
The lush sound produced by the cello is greatly enhanced by vibrato. Vibrato is
accomplished by “wiggling” your finger up and down the cello string, which causes the
note that you are playing to vary in pitch. Vibrato should not be played often in your first
few months of playing. Your fingers need to first get used to where the notes are on the
fingerboard before adding vibrato. Over time, you can add vibrato to your playing, which
can add a wide array of musical expression.
To play vibrato on the cello, make sure that you use a loose left hand and use your
whole arm to move the note up and down.
Learning the cello on the fast track
One of the keys to learning the cello fast is to enjoy what you learn. Don’t overburden
yourself by playing pieces or songs that you don’t enjoy or ones that bore you. The cello
really shines when long, slow, easy notes are played. Take the time to enjoy the cello
with some or your favorite songs. There are thousands of songs that you can get for
free on the Internet and play when you first start. You can download free guitar tab
music from www.ultimate-guitar.com and play the root chord note to most any song on
the cello. See below for an example. The below “guitar tablature” or “guitar tabs” give
the beginner cellist a great option to enhance his/her enjoyment when first starting.
Playing slow “root chord” notes is a great way to mix things up during practice times
after practicing new cello music and playing scales.

To have rapid development on the cello it is important to work past the “beginner stage”
as quickly as possible. As I have said before, “We all sound bad when we first start.”
Practice as much as you can in the first two to four months to develop a good feeling for
the cello. After awhile, the cello will not feel so odd in your hands, and it will start feeling
more natural. You can enjoy the cello as much as anyone if you take it step-by-step and
enjoy the learning process. I recall my first few weeks after starting on the cello. It
sounded bad, and my lovely wife would ask me to play down in the basement. I couldn’t
blame her. No one sounds great when he first starts. Then I recall when I first got the
cello to produce those low, rich tones. I would play music for hours as my heart melted.
I could not believe that I was getting the cello to speak in such a way. A month or two
later my wife was telling me that my scales sounded good. After a couple more months,
I was asked to play in church. One of the keys to learning is to enjoy the learning
process and not to set unreasonable expectations for yourself. Don’t be hard on
yourself and know that your playing is making you better.
Keep the points below in mind to learn the cello as fast as possible:

• Take the cello note builder test at least three times a week to learn the finger
placement and notes of the cello.
• Break up your practice times into small five-minute sections (i.e., five minutes of
a musical scale, practice music from this book for five minutes, then play five
minutes of fun music of your choice).
• Record yourself playing once a month. Go back and listen to your older
recordings. You will be surprised at how much better you sound!
• In your first few weeks you will not sound good. Don’t let this stop you from
learning and playing. You will soon sound better and will enjoy it more and more.
• Don’t practice when you are tired or mad about something. It may very well
cause you to become discouraged.
• Learn a short new song or piece of music at least once a week, the more often
the better.
• Enjoy what you play! Don’t practice songs and music that continue to bore you.
Don’t give in to these common reasons to quit:

• “I don’t have enough time.”---Even playing only a few minutes every other day
can do wonders for your progress!
• “I don’t have anyone to play with.”---Everyone loves the sound of the cello. Keep
looking for groups to play with. Try craigslist.org or your local instrument shops
and ask friends if they know guitar players or piano players. You will be surprised
at how many others would love to have someone to play with, but they just don’t
look or ask.
• “I don’t think that I will ever sound good.”---You will sound better and better with
each day you play. Learning the cello is much like riding a bicycle; at first it will
be a challenge, and then, after you learn, you will play and not even have to think
about it! It will become natural. I used to make funny faces and twist my mouth
when I first started (my wife tells me ☺). Now I can smile and enjoy it!

Considerations for self learning
After learning the materials and skills in this program you may want to have someone
give you feedback on your technique and playing. You have many options to help you
progress. Consider those below if you want someone to give you feedback:
o Post videos of yourself playing online and ask other cellists to give you
feedback. This way you get cellists giving you tips for free!
o Post pictures of yourself online and ask other cellist to give you feedback.
You can ask “am I holding the bow correctly?”
o Ask questions on cello forums online. (Another freebie!)
o Find a cello teacher and pay for a single lesson. Teachers who will only
give lessons week after week are often only interested in getting paid over
and over. Good teachers are willing to help someone with one lesson if
requested.
Do I need a local private teacher?
One of the most common questions I hear about the cello has to do with learning to play
without a teacher. People want to learn the cello, and they are concerned about finding
a teacher in their area or about having to pay a teacher every week for years on end. So
the question goes, “Can I learn the cello without a local teacher?” The short answer to
the questions is “yes.” Having a dedicated cello teacher is not an absolute requirement
to learning and enjoying the cello. If needed, some lessons from a true teacher can help
if you feel that you are not progressing, but it is by no means a requirement if paying a
teacher or having access to one is not an option for you. So, if you don’t have the $80-
$250 (US dollars) a month to pay a teacher, or if you don’t have a cello teacher in your
area, then you can still learn to play the cello, play it well, and enjoy it. Unfortunately,

some cello teachers will tell you that you will ruin your chances of playing well unless
you pay a cello teacher week after week. I would go so far as to say that giving payment
over and over to any cello teacher who does not love to teach can not only drain you of
money, but also even delay your musical growth. Let me be clear on this: good cello
teachers who are truly interested in your growth can be a benefit to you, but if you don’t
have the funds for, or access to, a good teacher, then you can still learn the cello, play
beautifully, and really enjoy it. If you do get a teacher, make sure that you feel
comfortable with your choice and always understand that he or she works for you. If you
can only pay for lessons once a month, then say so. If he or she can’t do lessons once
a month, then find someone else.
If you decide to seek extra help from a local teacher, I recommend calling to have a
good 15- to 20-minute conversation about his or her teaching methods. Do your best to
find a student that has taken lessons from that teacher. Of course, you may find that a
teacher is highly recommended by another student, but then discover that you don’t feel
challenged or comfortable in your lessons. Don’t hesitate to find another teacher. Below
are some questions to ask a prospective teacher before taking a lesson:
• How long have you been teaching the cello? (Although 15 to 20 years of teaching
does not automatically make one a good teacher.) Also look for a teacher who
communicates well to you and makes you feel comfortable.
• How many students do you currently teach?

Having no students may be a sign that he/she does not really teach but is
“looking for extra money.” Having more than 25 students may be a signal that
he/she is really just filling time slots with bodies.
• Can I take half-hour lessons or lessons once every two weeks? (You may want
to ask this question after the first lesson.) A good teacher will be flexible if he/she
is to be a good fit.

• Do you teach non-classical styles like jazz, rock, and bluegrass? You may only
be interested in classical, but believe me, some non-classical playing on the cello
can be very fun and inspiring.
Once you select a teacher and start paying, remember that it is not wrong to request
changes to assignments, methods, and expectations. You are right to ask questions
like: “I really don’t enjoy this 2nd position practice piece, can we find another one?”
Or “Teacher, when you say ‘No!’ to me, can you please not raise your voice or not
say it in such a harsh way?” A good teacher is respectful of your reasonable
requests.
Where to go from here – continued learning
One of the beauties of music is that it has no end. The subject of music offers a lifetime
of enjoyment and learning. This is true of playing the cello. I still have my favorite pieces
of music to play on the cello, and I also enjoy learning new music. The orchestra in
which I play learns new music most every week. During the off-seasons when the
orchestra is not playing, I still try to learn new music to keep things fresh. Pablo Casals,
one of the most famous cellists, still practiced and played the cello well into his eighties.
When asked why he still practiced, he was quoted as saying, “I feel that I’m improving
some.”
I created the Cello Fast Track program to give you the information needed to get playing
as fast as possible, but learning does not stop here. I want to recommend sheet music
and DVDs to pick up once you have learned the music in this book.
• Dotzauer Violincello Method 2. The melodies and etudes (musical study

pieces) in Dotzauer are a joy to play. The Dotzauer method will provide
continued musical challenges that will enhance your soloing skills.

• Position Pieces for Cello (by Rick Mooney). This book will challenge you to
start shifting into other positions beyond first position. It includes many short
musical pieces in different keys.
• Crossing To Scotland: Celtic Music For Cello (Mel Bay Publications). This
haunting Celtic music is still enjoyable after years of playing.
• Bach’s Cello Suites for Solo Cello. This is considered a standard for any
cellist. I recommend buying Yo-Yo Ma’s or Janos Starker’s recording. Once you
get close to finishing Dotzauer’s Method Volume # 2, I would suggest buying the
sheet music for the Bach Cello Suites.
• DVD Chops & Grooves: Strategies for String Rhythm. This instructional video
by Darol Anger features cellist Rushard Eggleston. This is a must-buy when you
are looking to play fun, non-classical types of music.
• CDs by Crooked Still: Shaken by a Low Sound and “Hop High.” Cellist
Rushard Eggleston was with the band on the above two CDs. This contemporary
bluegrass (or Newgrass) has lovely vocals and innovative cello playing that will
inspire you. You may also sample songs from iTunes and other sites that sell
downloadable music.
Sheet music
The following pages were selected and/or created as part of the Cello Fast Track
program to give beginner cellists music to play for enhancing their skills. When you
decide to purchase more music, take note of cello music labeled “beginner.” Music
labeled “intermediate” is meant for those that can play all beginner music and includes
notes in other positions like 2nd, 3rd, and 4th. Don’t feel that you must play beginner
music perfectly until you move to intermediate music. It is common to play a note out of
tune here and there yet still be ready to move to the next stage of your cello studies.
Just make sure that you know where the first position notes are as you play, and be
sure that you can produce a good tone with the bow.

Practice Chart
Date Scales Lesson pieces/songs Just for fun Time Started -

music Ended


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About the Cello Fast Track program ..............................................................................................

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Buying or renting a cello

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Different cello bows produce slightly different sounds when

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• Painted fingerboards: The fingerboard (and tuning pegs) of a higher quality

A natural ebony fingerboard (above) has hints of

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The left side laminated cello top has the appearance of

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What you need to start playing the cello

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• Adults have better time management skills. If we have 20 minutes to practice,

Common questions about learning the cello as an adult

Question: Can an adult learn to sound good on the cello?

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Question: What challenges do adults have, compared to children, when learning to

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Question: Is it hard to learn the cello as an adult?

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Your goals to becoming a cellist

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Practicing times and motivation

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Getting fitted for a cello

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Reading music for the cello

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Introduction to cello positions

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Finger notations include:

“1” when using the index finger to hold down a note

“2” when using the middle finger to hold down a note

“3” when using the ring finger to hold down a note

“4” when using the pinky finger to hold down a note

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The note builder computer program

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The Basics of Playing

Seating and holding the cello

Right hand technique – the bow

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Holding the bow

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Bow direction is going to be either down or up as you play.

Musical notation for down bow is:

Notation for up bow is:

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Left hand technique – the fingerboard