Kartman - An Artist's Guide To Cello Technique

An Artist's Guide to Cello Technique
Building and Maintaining Professional Level

Cello Technique With a Daily Regimen
Stefan Kartman
For Jeannie, Jonah, and Bah - Still my best teachers.
©2021 by Stefan Kartman. All rights reserved.

No part of this publication may be duplicated, reproduced, or transmitted in any form,
including scanning, uploading, or electronic sharing, without the expressed written
permission of the author, Stefan Kartman
Contents
Preface 4
I. An Artist's Guide to Cello Technique 5

What is the difference between professional technique and artist level technique
II. Summary of Application of this Guide 9

General concepts and principals to be aware of when using this guide
III. Some Examples for Repertoire Based Use 13

How to use exercises from the guide to improve your repertoire
Examples of use with a passage from Haydn's C major Cello Concerto
IV. Open String Exercise (6:00-8:00 minutes) 21

Develops feel for string resistance in all parts of the bow
Develops legato direction changes in all parts of the bow
V. Vibrato Exercises (8:00 minutes) 23

With acceleration rhythms (6:30)
Develops the ability to choose and control speed of vibrato
Vibrato speed changing exercise (1:30)
Develops control over vibrato speed and finger change combinations
VI. String Crossing Exercise (4:00 minutes) 27

Weight transfer from finger to finger across strings
VII. Intonation Meditation (5:30 minutes) 31

Movement from position to position and simultaneous balance of hand
Develops familiarity with first through third positions in two finger combinations
VIII. Hexachords (2:00-14:00 minutes) 37

Six-note shifting patterns
Develops familiarity with half position through fourth position in three-finger combinations
IX. Chromatic Thumb Position Exercise (3:30 minutes) 55

Six-note finger spacing patterns in thumb position
Develops familiarity with the most common finger intervals used in upper register passages
of standard concertos and other advanced repertoire
X. Rhythmic Practice Chart 61

Two and three-note practice rhythms for use with left hand finger dexterity passagework
XI. Galamian Style 24-Note Major Scales (2:30 minutes each) 65

Develops familiarity with major and melodic minor scales while working with
alternating duple and triple subdivisions
Conclusion 73
Preface
The first time (1984) I tried to put together a recital with works of several famous composers was for me both
exciting and terrifying. As I tried to prepare each piece to my satisfaction it seemed as though my ability to
maintain the others would slip away. Focusing on one problem meant neglecting others. It felt like holding
several tigers by the tail. Loosening my grip on one unruly beast to hold onto another was courting disaster.
At that time, I wasn’t experienced enough to understand that there were some consistencies in the types
of problems I was trying to solve in each of the pieces. Eventually I realized that, if in addition to giving all
of my tigers the love and attention they deserved, I also gave them a well balanced diet, they might behave
themselves.
During my formal training, some of my teachers assigned études and caprices of Duport, Schroeder, Popper,
Piatti, Gruetzmacher, Lee, Klengel, and Kummer. Others assigned daily technical exercises comprised of
finger patterns of Feulliard, Cossmann, Galamian, and Starker.
I can’t say I understood the rhyme or reason of the way these studies were assigned to me, and it seemed a
daunting amount of material to be learned outside of my own primary interest of the repertoire I was
performing at the time. Sometimes I avoided the assignments and sometimes I dutifully prepared them, but
it wasn’t until I became an experienced teacher that I really understood how to judge their potential specific
value or to use them in a precise way to study and maintain my own playing.
When I first came across a one-page sheet of daily practice routines by the eminent violinist Tibor Varga
during my student days, I hardly noticed its potential importance. At the time I selected a small segment of
the page devoted to half and whole step finger spacing and adapted it for my own use as a thumb position
exercise.
There is a slightly more elaborate version of the exercise in this volume entitled “Chromatic Thumb Position
Exercise”. This exercise thoroughly covers all of the combinations of whole and half steps that are typically
used in the standard repertoire for cello in a particular range and takes no more than three and a half
minutes of practice time. It's one of several in this book that I practice every single day that helps to maintain
my best performance level.
In order to be included in this volume, the exercise had to fulfill two main requirements: useful as both a
diagnostic and study tool, and relatively small time requirement. The longest exercise is “Hexachords” at
fourteen minutes, but that exercise doesn’t have to be performed from beginning to end. Each starting point
occupies two pages and takes about two minutes to perform from any given pitch ascending and descending
with two variations. Most of the exercises are designed to be chopped up into smaller sections and used
starting from different pitches, positions, or strings.
One can mix and match exercises based on technical challenges in currently studied repertoire, perform the
exercises from “Open String Exercise” through the “Chromatic Thumb Position Exercise” for general
maintenance, or concentrate on any one exercise to develop proficiency in a specifically challenged area of
technique.
Once you know all of the exercises and understand their function, you can select exercises to design a daily
warm up routine of any length from five minutes to 45 minutes to suit your current needs. It goes without
saying that there is a right and wrong way to practice any technical routine and that the exercises won't repair
an incorrect technique. They are designed to highlight the problems and give a specific and focused medium
in which to study and repair inefficient technique.
I. An Artist's Guide to Technique on the Cello
What is the Difference Between Professional Technique and Artist Level Technique
Professional cellists are expected to be sensitive artists with the capability of producing
all of the tone colors and expressive potential of the instrument. There must be more to
an artist's technique on the cello than the basics of good intonation, rhythm, and general
tone production.
We must determine what goals are beyond the basics and find a daily regimen that helps
us to maintain our ability to easily perform to the highest expectations of our craft to re-
main relevant to other professional artists in our discipline and in the music profession.
6
An Artist's Guide to Technique on the Cello

"Technique is always in service to the music..." Harvey Shapiro
Mr. Shapiro was a great teacher for me. The first time I heard him perform, I was struck by how right and convincing his musician-
ship was. He was a natural musician with great instincts. At times he would say, "I had better teachers than you will ever have." One
could take that as a statement of humility and I think he really believed it, though I couldn't imagine a better teacher.
His technique on the instrument was as he stated, "in service" to his musical goals. As he played the most difficult passages from
the standard solo, concerto, and chamber music repertoire, his ease with the instrument was breathtaking to us as members of his
class at Juilliard. I remember slaving over passages only to arrive for my lesson and have him play them without practicing in a
way that made me feel that I had only seen the tip of the iceberg in my practice room. In addition to playing them with beautiful
sound and intonation, he also made them seem so natural and musical.
I think that music making and the corresponding techniques on our instrument have suffered from a certain amount of commer-
cialism. One can see in the business end of our profession how things have changed over the years. As students at Juilliard, we
didn't realize what a luxury it was to study pieces in the kind of depth that Mr. Shapiro demanded.
That kind of study doesn't happen as often anymore with students who perform at a high level. Orchestras choose the musicians in
their ranks by committee and typically rehearse their concerts less than a week before performing them.
Soloists have become accustomed to rehearsing once or twice with an orchestra before their performances, packing their bags on
the day of the performance to rush to the next rehearsal in another city or country the following day. With the exception of some
formed professional groups, chamber music is often rehearsed once or twice before live performances on the radio or in the con-
cert hall by musicians that don't even live in the same city.
If audience members are aware of technique at all, the first thing most think of when they hear that a cellist has a fine technique
is that he or she can play very fast. Musicians might add big tone, great intonation and rhythm, consistency, beautiful sound, big
dynamic range and a few other things. Accomplished professional musicians, when they choose to spend time talking about it at
all, might add things like awareness of form, use of tone color to achieve effective phrasing, the ability to adapt convincingly to the
style called for in the music and by the other players in the ensemble, and others.
No matter how firmly we believe as teachers that our way is best, there is certainly more than one technique suitable to artistic
goals on the cello. However, there are many more ways that don't work well than there are ways that work well. As teachers, we
have a duty to steer students towards the ways that will serve them best as accomplished professional musicians.
That said, let's look at the partial list of goals from audience members, musicians, accomplished professional musicians, and add a
few from teachers of accomplished professional musicians.
We'll start with some of the basics mentioned above...
• Play very fast

• Play very loud or soft
• Great intonation and rhythm
• Consistency - no mistakes, flubbed shifts, patchy sound, etc.
• Beautiful sound
Even these few goals are already a tall order when you consider the many subsections that could be added to each of them and that
there are examples in each of these areas that can be found in our heroes far surpassing our wildest dreams of success. Even so,
when teaching at the college or conservatory level, in our time, there are students who could be said to have mostly fulfilled many
if not all of these goals.
7
Lets add a few to strive for when we work with students of this level. Please bear with me as some of these
are more difficult to describe...
• Control over use of vibrato speed

• Perfect combination of vibrato width and speed, bow speed, pressure
• Control over the many articulations and decays possible with stringed instruments
• Command of the many virtuosic bow strokes and articulations
• Competent use of a variety of shifting techniques
Finally, lets add some attributes we wish to see in our heroes. Those musicians we admire and would
gladly pay for tickets to hear in concerts or buy their recordings so that we can enjoy their performances
again and again...
• Convincing storytellers
• Passion and poetry
• Flawless concentraton
• Knowledge of the form, harmony, and style of compositions
• The ability to combine such knowledge with artistic performance
Every student has some natural proclivities that allow them to learn certain of these goals more quickly than others. It is very rare
to find a student that is talented in all or none of them. In my experience, all of the above goals can be taught and improved in any
student. What varies from student to student, are the rates at which they progress toward each of the individual goals.
At any level of teaching, we may be single-mindedly pursuing any one of these goals, several of them, or occasionally all at once.
Because the amount of information we share with students is so immense, and because each of the goals can be so difficult for
students to achieve, it is very easy to leave gaps in their technique.
As teachers of an Artist's Technique, we have a responsibility to fill these gaps as we find them which means we have to have tools
to expose them. I have been fascinated to find students that can "Play very fast" but have no control over their spicatto. Similarly, I
have found students who have a "Beautiful sound" but don't vibrate on certain notes at all for very simple technical reasons, stop-
ping them from achieving that "Subliminal control" and "Convincing phrasing".
Daily Exercises
Every determined teacher at some point develops on their own or finds existing raw technical material that exposes and potentially
improves these inconsistencies that are detrimental to success in the latter groups of goals.
In such material, it is important that they include as many aspects as possible within the designed timing of the exercise that might
be used in a musician's professional life. One can work on bow changes at the frog and tip until they are absolutely great, but this
will of course make everyone even more aware of the shaky one in the middle or upper third.
The nicer your overall vibrato is, the more people will notice when you suddenly don't vibrate just before (or after) every shift, or
whenever you have an extension, or whenever you have a half step that is very close in the upper register, or at string crossings.
Surprisingly, I have seen all of these from cellists with otherwise quite well developed techniques.
Balance in practice is an important aspect to be considered when creating or choosing daily technical exercises for yourself or your
students. One can write a page or two of open string exercises. Students may practice them with specific goals and improve many
aspects of their bow technique, but it is important to have a shorter version that is maintenance friendly. In other words, it should
be possible to do this exercise every day, have enough time to do exercises that emphasize other important aspects of their tech-
nique, and still practice repertoire so that they can apply the things learned during the daily technical exercises.
II. Summary of Application of This Guide
General Concepts and Principals to be Aware of When Using This Guide
The exercises in this guide can be used in two ways.
As a general daily routine, they can promote awareness of what I would call technique
gaps or inconsistencies and provide the opportunity to improve the weak areas.
The exercises can also be altered to fit the specific challenges one finds in the repertoire
one is currently preparing or studying.
The origin, theory, and practice of the exercises in this book are unified by the following
principles.
10
Summary of Application of This Guide
Most of the exercises provided in this guide can fulfill a specific function when used to strengthen a technical challenge within
one's study/practice repertoire. The exercises can also be used in a general daily regimen to provide security and confidence in
most areas of cello technique. Playing from the "Open String Exercise" through the "Chromatic Thumb Position Exercise" should
take approximately 45 minutes once they have been memorized and brought to a certain level of mastery. However, each of the ex-
ercises individually should be studied with a fine pedagogue who understands their function and value before attempting to place
them into a daily technical regimen.
Used as a general daily routine, these exercises can be performed as written, but should also be used in rotation to maintain con-
fidence in all areas of the instrument. For example, the "String Crossing Exercise" on page 28 is written in 4th position, but could
also be used in 1st, 2nd, and 3rd positions.
"Hexachords" can be started from any of the pitches notated from pages 38-51 in this guide, but could easily be adapted to six note
combinations in thumb position with 1st, 2nd, and 3rd fingers. The text reference at the end of the "Hexachords" section on page
52 gives a visual representation of the spacing between fingers in the exercise. Read from bottom to top of the stack of fingerings,
one could apply the patterns to any note on any string in half through 4th positions and beyond.
After memorizing the finger spacing patterns, one should rotate the starting point every few days to keep the quality of intonation
in all registers at a high level. One can also alter the sequence of fingers as suggested on page 53 of the same exercise to build confi-
dence shifting to and from different fingers as well as developing balance of the hand in different finger combination sequences. It
is especially helpful to use combinations that one might be experiencing in one's repertoire.
Performed in its entirety, "Hexachords" takes 14 minutes, but focusing on three starting notes (six pages and six minutes) allows
concentration on a certain area and can be rotated throughout the week. This exercise was originally concieved to start from 3rd
position and move through 4th position as a concentration of the sometimes awkward shifting around the bout of the cello (over
the shoulder and up into thumb position).
The "Intonation Meditation" could be performed on the G and D strings instead of as notated on the D and A strings and so on.
Scales
I consider scale routines and systems as a larger developmental project rather than as a daily regimen. All the 24-note scales, per-
formed from beginning to end without stop would occupy more than an hour of practice time. Practicing only one or two might
offer a couple of shifting combinations and thumb position finger spacing sets. An hour spent on scales is more than most cellists
can afford to practice on raw technique without the variety or technical skills presented in this guide or the focused concentration
in each area of technique.
That said, there are many valuable aspects, technically and conceptually, that are contained in Galamian's method, the 24-note
scales occupying only one section of his two volumes. If for no other reason than the alternating duple/simple and triple/com-
pound subdivisions that are necessary to play the 24 note system with a metronome, it has great pedagogical value. Notice that I
borrow the same rhythms for the vibrato exercise - evidence that I use the scales to teach other concepts in this guide.
There is a fine transcription of the whole of Galamian's violin method to the cello created by a fine teacher who has produced many
exceptional cello students named Hans Jensen, a student of Leonard Rose who was a colleague of Ivan Galamian's at the Juilliard
School. It is a fine example of a developmental tool for students and worth a look for students and teachers alike.
I have used different fingerings from those in Professor Jensen's transcription for pedagogical reasons, to experiment with some
non-standard uses of thumb position, and to reduce the number of shifts to hopefully make possible greater velocity. I started us-
ing fingerings like these during my studies with Harvey Shapiro. He seemed to be able to play almost any fingering with great ease.
I realized later that there were certain fingerings that suited the hand better than others.
Especially, I noticed that he would use his 4th finger in certain combinations with thumb. Though I had seen fingerings like this in
Gruetzmacher editions in the upper register, I had never seen it used in 1st through 4th positions.
11
Then I saw Mr. Shapiro showing a student an unusual fingering in Beethoven's Opus 69 A major Sonata...
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At the time I couldn't understand why to attempt a fingering like that when a quick reach back with the 1st finger could also sound
pretty good. I didn't realize that "pretty good" wasn't at all what he was attempting. He used this fingering to make the kind of lega-
to string crossing that wasn't possible with the reach back 1st finger. Even with large hands, most cellists would have to shift and
cross strings at the same time.
Was it inconvenient to try to find thumb vibrato to match the other fingers and was my lack of experience with thumb position
along with 4th finger going to make my life difficult as I tried to get the thing in tune? Sure, but experience with that combination
was a matter of seeking it. Same with vibrato on the thumb.
So I introduce the concept on a few of the scales. Because it is at least an unusual combination, I dont include it with the chromatic
thumb position exercises, but practicing it with those patterns will generate enough security to open up some new fingering possi-
bilities for advanced players.
Vibrato
I recommend using vibrato on the intonation exercises in this guide. I used to be shy to say this to other teachers because practice
for intonation with vibrato is not a universally accepted idea and many fine teachers recommend practicing intonation without vi-
brato to hear the purity and ringing of centered intonation. Nevertheless, there are a couple of important challenges when teaching
without use of vibrato that I feel are unnecessary.
I have heard many students practice their intonation diligently without vibrato and then play out of tune when they added it back
in. In these cases, I believe the students achieve some sense of security by gripping tightly, or by refusing to allow movement in
the arm, shoulder, or torso that might be sympathetic to the goal of helping them to play with relaxation. Ultimately the tightness
affects their ability to achieve beautiful sound and consistent accuracy. Also, there is something to be said for practicing in condi-
tions as much like performance as possible.
I don't accept the rational that students are trying to hide their bad intonation by vibrating. If one can't hear the pitch properly with
vibrato the problem is the vibrato and should be addressed. Another important consideration is that vibrato is the best way to dis-
cover specifically where the problems in one's technique are. Without vibrato, you don't have that audible indication of the degree
of tightness or comfort in the playing or specifically where the problem exists.
Some typical reasons for tightness are lack of balance in the left hand, squeezing the thumb, tightness in the bridge of the hand,
awkward motion from one string to another, through extensions or shifts, and others with which teachers who read this are well
familiar. Handled properly, vibrato can be a great teacher in discovering that something might be amiss in the left hand technique.
III. Some Examples for Repertoire Based Use
How to Use Exercises From the Guide
to Improve Your Repertoire
The exercises in this chapter are examples of how to alter the exercises in this guide to
specifically suit your repertoire.
Using an excerpt from a few passages from the exposition of Haydn's C major Cello Con-
certo, the exercises following will improve intonation and confidence in the upper register
melody and facility in the passagework leading to the first orchestral tutti.
The examples adapted in this chapter are meant to show a path to adapting the exercises
to other technical passages from the standard repertoire.
14
Some Examples for Repertoire Based Use
In addition to designing a useful general daily technical practice routine, excerpts from this guide may be tailored to help polish
specific passages from a cellist's repertoire.
A piece in the standard cello concerto repertoire commonly studied by cello students in their teens through undergraduate years
- the Haydn C major Cello concerto - offers passages with challenges in technical areas that might be supplemented by selections
from the following exercises...
Consider the first page of Haydn C major Concerto - 1st movement - Moderato
Students who are relatively new to thumb position melodies and passage-work are usually challenged
by measures 36-47. Specifically beauty of sound and intonation in the melody and facility and
intonation in the passage-work.
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œ œ œ is a good
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& œ13 # œ œ œ œ œ # œ 13 œ œ œ œ œ œ32 œ # œ œ œ œ œ 32 œ # œ œ œ
œ
3
& œœ œœ NN œœ œœ œ œœ œœ # œœ œœ œœ # œ œœ œœ N œœ œœ œœ N œœ œœ œœ œœ ## œœ œœ œœ œœ
&
& œ œ13N œ œœ œ œ œ # œ3 œœ œœ œœ œ œ N œ3 œ œœ œ œ œ œœ32 # œ œœ œœ œ

1 1 2 2
& œœ œœ NN œœ œ œœ œœ œœ # œœ œ œ # œ œœ œœ N œœ œœ œ N œœ œœ œœ œ ## œœ œ œ œœ
1 2
3 3
& œ œ31N œ œ œ œ œ œ31 œ œ # œ œ œ œ32 œ œ N œ œ œ œ23 # œ œ œ œ

3 3
œ œ œ œ œ œ œœ
& œ œœ N œ œ œ œœ œ # œ œ # œ œ œ N2œ œ œ N œ œœ œ # œ
N œ œ œ # œ œ œ œ œ N œ œ œ œ œ 32 # œ œ œ œ
œ
& œ œ13 œ œ 31 œ 32 œ
1 1 2
Nœ œ œ œ œ œ N œ œ œ œ œ
& œœ œ N œ œ œ œ œœ # œ œœ œ # œ œ œœ œ œœ œ N œ œ œœ œ ## œœ œ œœ œ
&
œ N œ œ œ œ œ œ œ # œ œ œ œ œ N œ œ œ 2 #œ œ œ œ
œ
3
3 II 3 3
& œ 13 œ 31 œ
I
œ the œ spacing
œ œœ on bothœ theœ Dœand œœ œœ Nœœ œœ œœ N œœ œœ
& œ œ Nœ
2
# œ # œ œœ ##œœ œœ œœ œœ
And finally, mix and alternate the A strings to gain competence with both...
œ œœ
N œ œ œ N œ œ œ
2
œ œ œ œ œ œ œ œ #œ œ œ œ
1 1 2
& # œ3 œ œ œ
II
œ œ
I
&I œ œ N œ œ œ œ IIœ œ œ œ # œ œ œ œ œ œ N œ œ œ œ # œ œ œ œ
3
œ N œ œ œ œ œ œ œ Nœ œ
3
&œ œ œ œ œ œ œ #œ œ œ œ
3
œ œ # œ
In Measure 39, similar techniques may be used with the finger spacing required for the 2nd and 3rd beats of the measure.
1 Ÿ
m. 39-40
4 1 4
& 4 œ œ #œ œ œ œœ œœ œœ œœ œœ
3 1 3 2
œ œ. œ œ œ œ œ
œ œ
œ
œ. œ. œ. œ. œ. œ.
Using techniques6 from the daily exercises, one can compose a useful étude that focuses specifically on the
4
& 8 œ byœ the œ œ œHaydn œ œ œ inœmeasures

œ œ #36-38.
œ œ It's
œ œnot much
œ œ ofœ a œstretch
# œ œ to realize
1 3
challenges presented # œ melody œ # œcomposed

that the same process
I could be used for measure 39.
4 3
Following are& œ examples œ œ # œ œforœtheœ specific
œ œ purpose
œ œ œof #working
œ # œtheœintonation
œ œ of
1
two
# œ œ œ œ œ
of etudes composed
measures 36-38 and measure 39...
œ œ
2 3
&
1
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
16
≤ ≤ 3 ≤
0 2
≤
m. 36-38 3
?4 Ó œœ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ nœ
3 2 2 2
2 1 2 3
4 &œ
II II I
& 68 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3
&œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3
2 3
& œ #œ œ œ œ œ œ œ œ œ œ œ #œ œ œ #œ œ œ œ
1
œ œ #œ œ œ
II
& œ œ #œ œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ #œ œ œ
3
œ œ œ œ œ œ
2
& œ œ Nœ œ œ œ œ #œ œ œ Nœ œ œ œ œ œ œ #œ
1 1 2
3 3
œ œ œ #œ œ œ #œ œ œ œ
3 3
& œ œ Nœ œ œ œ œ œ œ œ œ Nœ œ œ
œ œ œ œ œ œ
& œ œ Nœ œ œ œ œ #œ œ œ Nœ œ œ œ œ œ
œ #œ
1 2
1 2
œ œ œ #œ œ œ œ œ œ
& œ œ Nœ œ œ œ œ œ œ œ Nœ œ œ #œ
3 3 3 3
& œ œ Nœ œ œ œ œ Nœ œ œ œ œ
2
œ #œ œ œ œ œ œ œ #œ œ œ œ
1 1 2
I II
& œ œ Nœ œ œ œ œ œ œ Nœ œ
3
œ œ œ œ œ œ #œ œ œ œ
3
œ œ # œ
17
1 Ÿ
m. 39-40
4 1
4
& 4 œ œ #œ œ œ œ
3 1 3 2
œ œ. œ œ œ œ
œ œ
œ œœ œ
œ œ œ . œœ œ . œœ œ .
œ œ. œ. œ.
6
4
& 8 œ œ #œ œ œ œ œ #œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ
1 3
I
4 3
& œ #œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ #œ œ #œ œ œ œ œ
1
2 3
&
1
II
& œ
3 2 1
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3 3 1 2 1 3
& œ œ #œ œ œ œ œ œ #œ œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ
1 3 4 1 2 4
I
4 3 4 3 2 3 4 1 4 3 1 3
& œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ #œ œ
1 3 4
&
1 2 3 3 1 4 2 1 3
II
&
4 3 4 3 2 3 4 1 4 3 1 3
& œ œ #œ œ œ œ œ #œ œ œ œ œ
1 3 4 1 2 3 3 1 4 2 1 3
I œ œ œ œ œ œ œ œ œ œ œ œ
II
4 3 4 3 2 3 4 1 4 3 1 3
& œ œ #œ œ œ œ œ œ œ œ #œ œ
œ œ œ œ œ œ œ œ œ œ œ œ
18
Hopefully, now that it has been demonstrated that an exercise or étude can be built around a specific passage by using portions of
the exercises in this guide, one can see other possibilities.
For example: in measures 41-42 many of the same techniques can first be used to build familiarity with the finger spacing.
Measures 41-42
On the 1st beat of measure 41, the "Cromatic Thumb Position Exercise" can again be used as a model for the finger spacing, this
time with the 6th set on both the D and A strings. Beat three would use the 8th set. The 1st beat of measure 42 would again use a
combination of two sets with the 6th and 5th sets on the D and A strings respectively, to secure the intonation.
However, further steps may be taken in this case to build facility, velocity, and coordination between the left and right hands to
make the notes of the passage even and consistent. One may select rhythms like the ones included in the "Rhythmic Practice
Chart" section on page 63 of this guide for this purpose.
In selecting rhythms for use in practice of passagework, it is important to use several rhythms from the chart to emphasize dif-
ferent groups of long and short notes. This allows one to discover sluggish or tight combinations that might occur typically with
extensions, shifts, awkward combinations, and string crossings, but might also expose other technical anomalies.
Care should be taken to choose the rhythms and combinations most appropriate to each individual passage.
Measure 41 is a passage that features separate bow strokes in detaché or spicatto. Simple two note combinations are often a good
starting point, but not in this case. The two-note combinations with separate bow strokes would place longer strokes in one direc-
tion with no compensating longer strokes in the opposite direction, requiring some recovery on the short notes to maintain the
same placement in the bow.
Long 1st note

2 Note Rhythms
Long 2nd note
Though the simple two-note rhythms are not the best choice in this case, their alternate combinations can be better used. By alter-
nating the long 1st note and long 2nd note patterns, the innate working out to the tip that would occur in the long first note pattern
or its inverse in the long 2nd note pattern remove the distraction of having to jab at certain notes to maintain bow placement.
1st plus 2nd note
2 Note Combinations
2nd plus 1st note
Though the simple three-note patterns don't fit the rhythmic grouping of the passage, they are inherently useful in a passage with
all separate bows if one is capable of conquering the hemiola-like effect of imposing three-note patterns on a four-note passage
because they naturally solve the bow displacement problem by alternating long upbow and downbow strokes.
Long 1st note
3 Note Rhythms
Long 2nd note
Long 3rd note

19
Following is the passage at measure 41 with the simple three note patterns...
Long 1st note
Long 2nd note
Long 3rd note
In using combinations of rhythmic patterns, one should also follow the same guideline of picking combinations that allow for alter-
nating downbow and upbow strokes to keep the bow in the best place for detaché. For example, combining a long 1st note with a
long 2nd note would create the same distractions as the simple two note patterns in a detaché passage - two long downbows and no
long upbows to recover.
Long 1st note plus
long 2nd note
However, the combination of long 1st and 3rd notes yields a usable pattern...
2 long notes 4 short notes
Long 1st note plus
long 3rd note
We may use this combination of rhythmic patterns as a starting point. The identifying feature of this combination is two long notes
next to four short notes. By starting with the two note - four note kernel and then moving the pattern over by one note again and
again, we can practice all the possibilities for an appropriately thorough exercise for the passage.
20
There is a new technical element in the final passage of the first page worthy of some special attention.
Measures 46-47
The move from 4th position up to thumb position, as in the 1st beat of measure 46, is a particular technical event that
is sometimes awkward and cumbersome when students are new to moving above the bout of the cello. This is an area
that concerns many young cellists and even a few seasoned professionals.
For a concentrated look at that specific area of the fingerboard, one may play the 9th page of the "Hexachords" exer-
cise (page 46 of this guide) through the end of the exercise.
"Hexachords" has a text reference at the end of the exercise on pages 52-53. This reference shows the different pattern
combinations possible before and after the shift, as well as ascending and descending in six-note patterns, but the pas-
sage in measure 46 ascends in a seven note pattern on the D string with a 134 in 4th position up to a 4 note combina-
tion with the thumb on D natural. With some slight alterations to accomodate the upper 4 note pattern, one can adapt
any of the ascending/descending possibilities.
Here are four examples from the finger patterns list on page 53 of this guide...
(Note parenthesis for altered combinations)
hA 134 s ϙ123 iZj 321ϙ s 431 h(I) 143 s 1ϙ32 i(T) 23ϙ s 431
hZd 421 s 321ϙ iL ϙ123 s 431 hQ 214 s 312ϙ i(O) ϙ213 s
Once the intonation and finger spacing security are acheived, one could continue to develop the facility of the passage
with rhythm work as shown for measures 41-42.
Hopefully, the preceding examples from Haydn's C major Cello Concerto will give you enough ideas to begin forming
exercises from your own repertoire that can be enhanced by using some of the elements of this guide.
IV. Open String Exercise
For Bow Speed, Stability, and Division
Legato Direction Changes in All Parts of the Bow
This Exercise...
Is designed to help develop control of speed and pressure with the bow by first remaining con-
stant. The exercise is not necessarily appropriate for specific use in repertoire since variations in
speed and pressure are more the constant than the variant in dynamic use of color and volume to
produce musical phrases. However, practicing the constant gives one a secure base from which
experimentation in use of the bow to produce various tone colors can be explored.
This is a similar concept to practicing with a metronome. Once tempo and subdivisions are secure,
rubato can be added to shape phrases. Without a secure feeling for tempo, rubato doesn't add
anything special to the general chaos.
In selecting an appropriate pressure, speed, and proximity to the bridge, care should be taken to
maintain the same amount of pressure, speed, and proximity throughout every part of the bow
from the frog to the tip. This must be accomplished without undue tension in the thumb and
forearm.
Careful attention should be given to how the pressure is maintained from the back and pectoral
muscle through shoulder, elbow, forearm, wrist, fingers, and thumb so that an equal proportion of
effort works through the whole chain of sound production.
Its always better to let the arm weight rest on the members of the chain appropriately propor-
tioned to the part of the bow being used. For example...
Less thumb pressure close to the frog along with balance toward the back of the hand (fourth
finger) helps the hand to rest and rediscover the correct proportion of effort in each of the muscle
groups throughout the bow stroke.
Squeezing from trigger muscles as opposed to the base muscles in the hand and between thumb
and fingers should be avoided in applying the arm's weight to the string.
22
Open String Exercise
q »§º
?c ≥ ≥ ≥ ≥ . . ≥ ≥ ≥ ≥ . ≥
use 1/4 bow use whole bow
Œ Œ Œ Œ . . Œ Œ Œ Œ .
at frog
œ œ œ œ œ œ œ œ w
≤ ≤ ≤ ≤ ≤ ≤ ≤ ≤ ≤ ≤
no stop string - lift bow stop string
? .. Œ
at tip
Œ Œ Œ .. .. Œ
at tip
Œ Œ Œ .. .. Œ Œ
at tip
œ œ œ œ œ œ œ œ œ œ
?≤ Œ ≤ . ≤ .. ≥ ≥ ≤ ≤
leave bow on string - retake no stop string - lift bow stop string lift bow
Œ . ..
œ œ w ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ w
?≥ ≥ ≤ ≤
use lower 1/2 bow use upper 1/2 bow
j j ..
use 1/3 bow use 1/3 bow
œ. œ. œ œ œ. ˙ ˙ œ. œ œ œ. œ. w
≥
at frog use whole bow at tip
? .. j .
. . . .
.
j
use 2/3 bow use upper 1/2 bow
˙. œ œ œ. œ. œ œ ˙. ˙ œ œ œ œ ˙ œ œ œ œ w
? .. ≤ ≥ ≥ ≥ ≥
use 1/4 bow
.. .. Œ Œ Œ Œ ..
use 1/4 bow
œ œ œ œ
use lower 1/2 bow
˙ œ œ œ œ ˙ œ œ œ œ w at frog no stop string - lift bow

use 1/4 bow
Continue
Continueon
oneach
eachstring
string
In this exercise, bow speed, pressure, and proximity to the bridge should remain constant. On whole notes,
In this
the bowexercise, bowthe
should pass speed, pressure,
quarter, and three
half, and proximity to the
quarter bridge
mark should
as the remainclicks
metronome constant.
eachOn wholenote.
quarter notes,
the bow should pass the quarter, half, and three quarter mark as the metronome clicks each quarter note.
When starting notes with rests in between, clear but non-accented beginnings of notes are the goal.
When starting notes with rests in between, clear but non-accented beginnings of notes are the goal.
Bow changes should be smooth without extra dynamic bulges before or after the change.
Bowgoal
The chamges should be
is to maintain smooth
the withoutofextra
same feeling dynamic
resistance bulgesthe
through before or after
change the change.
of direction.
The goal is to maintain the same feeling of resistance through the change of direction.
Reduce the amount of repetitions as competency increases to finish the exercise in a shorter time
asReduce thebeamount
this will of repetitions
one of the as competency
first warm-up increases
exercises you do andto finish
you willthe exercise
want in others.
to get to a shorter time.
This should be one of the first warm up exercises and you will want to get to others
V. Vibrato Exercises
With Acceleration Rhythms
and Individual Finger Speed Changes
Develops Control Over Speed of Vibrato
This Exercise...
Is designed to help develop equal control of speed of the vibrato in all fingers and throughout the
three zones of vibrato along the string length. It should therefore be practiced in fourth position,
first position, and in thumb position and on different strings.
While the slowest of the Galamian rhythms will likely not be used for vibrato in most standard
cello repertoire, it is the first speed to practice as it establishes the sine wave like curve shape of the
pitch of the vibrato, stretches the flexibility in the first knuckle and pad of the finger, and initiates
balanced use of the appropriate muscle groups for use in a vibrato that successfully moves parallel
to the string length.
The thumb should remain in contact, but with light pressure and should never be used to squeeze
the strings down to the fingerboard. Look for the knuckles to move parallel to the fingerboard
without forearm rotation that alters the finger's striking angles.
Three Zones...
In fourth position, the fingers naturally approach perpendicular to the string and forward of the
shoulder if the elbow is in an appropriate location. The vibrato speed can be controlled best by us-
ing the bicep muscle to push and pull in the required rhythm while the thumb, knuckles, and pads
of the fingers are timed sympathetically to the motion initiated in the forearm. Finger pads will be
more active than knuckles in this position.
In first position the fingers also approach perpendicular to the string. There will be no pushing
with the bicep muscle as in fourth position. Rather, the forearm will float above the upper arm
which controls vibrato speed more by rotation than by pushing. The pads of the fingers will still be
dominant in using the arm's motion to shape the pitch.
In thumb position, the fingers will be approaching the strings at an angle. This allows and requires
the knuckles above the pads of the finger to become more active. The bicep muscle again produces
both the width and the speed of the vibrato.
In the "Vibrato Speed Changing Exercise" care should be taken to insure that the vibrato chang-
es occur exactly together with the dropping or release of the fingers without delays. Look for the
knuckles to move parallel to the fingerboard without forearm rotation that alters the finger's strik-
ing angles. The purpose of this is to study the momentum that carries forward through to the next
finger in the case of dropping a higher pitch finger, or release backwards in the case of lowering
the pitch.
24
Vibrato Exercise
With Galamian Rhythms
mm=60
Start with 1st finger in 4th position (E natural). Do the exercise with all fingers in 4th position. Then move to 6th posi-
tion and do the exercise with thumb through 3rd fingers. Finally 1st through 4th fingers in first position.
Perform this exercise with noticible pitch change, though perhaps not the half-steps notated on the music staff.
The angle of the hand should remain stable with little or no rotation of the forearm. Pitch change should occur with a
smooth motion along the string length and flexibility in the fingertip and first knuckle as if the hand is shifting back and
forth along rails which are parallel to the strings.
25
Vibrato speed changes should be perfectly coordinated with the finger changes.
A slight feeling of vibrato carrying forward or pushing into an ascending finger (ex. 1st to 2nd finger) and pulling back
when descending and removing the upper finger (ex. 2nd to 1st finger) but never alterring the angle of the hand to the
string.
Always try to drop and lift the fingers from the base joints rather than rotating the forearm forward to drop or lift
them.
VI. String Crossing Exercise
Left Hand Weight Transfer From
Finger to Finger Across Strings
This Exercise...
Is designed to help develop smooth weight transfer between the fingers as they move from one
string to another. Anomalies to be avoided are delays in the beginning of vibrato as one moves
from finger to finger and string to string, awkward shapes in the fingers, thumb, or hand that
interfere with relaxed motion, and any general feeling of tightness in fingers or hand that accom-
panies the weight transfer.
Helpful hints...
Use rotation from the waist up to help follow the fingers and hand as they cross from string to
string so that the fingers don't have to radically alter their relaxed shape. A corresponding differ-
ence in thumb placement should accompany this move as well.
Concentrate on really transferring weight from finger to finger without holding other fingers or
the thumb tightly. It is not necessary to hold fingers down as pitch ascends. This is in fact, conter-
productive to the purpose of this exercise in transferring weight. Concentrating on the coordina-
tion of movement between the thumb and the fingers can help this functionality as well.
Smooth easy motion from string to string in the bow with corresponding smooth easy motion in
the left shoulder, elbow, and waist should be the goal. The timing of the two sides should be uni-
fied and comfortable.
This exercise may be performed in other positions - notably first and thumb positions - depend-
ing on what repertoire is currently being practiced, or where deficiencies in intonation or uneven
vibrato have become evident.
28
String Crossing Intonation Exercise (4:00)
Moderato q »¡ºº
≥œ œ 1 2 ≤ œ œ
1 2
? 44 œ b œ œ b œ œ b œ œ b œ
œ bœ œ bœ œ bœ œ bœ œ bœ œ bœ
2
1
œ2 œ œ œ
b œ b œ b œ b œ
1
? œ œ bœ œ bœ œ bœ bœ bœ œ œ œ
œ bœ œ œ
2 1
œ1 # œ œ œ3 œ œ œ œ œ #œ
3
œ œ
1
? œ œ œ œ œ œ œ œ œ œ œ œ
3
1
# œ3 œ œ œ œ œ #œ œ
1
? œ œ œ œ œ œ 1
œ œ œ œ œ œ
œ œ œ œ
3
œ œ œ œ4 œ œ œ œ œ œ
4
œ œ œ œ œ œ
1
? œ œ œ œ
1 4
b œ b œ
1
œ œ
œ4 œ1 œ œ œ œ œ œ
? œ œ œ œ œ œ œ œ
bœ œ bœ œ œ œ œ œ
4 1
œ # œ œ # œ4 œ # œ œ #œ
4
# œ # œ
1
? œ #œ œ #œ # œ # œ œ œ
1 4
œ œ
œ œ œ œ
1
# œ4 œ # œ # œ # œ # œ #œ œ
1
? œ œ #œ œ #œ œ 4 1
#œ œ #œ œ œ œ
œ œ œ œ
# œ2 # œ # œ œ3 # œ œ œ œ #œ #œ
3
# œ # œ
2
? #œ œ #œ œ #œ œ #œ œ
3
#œ œ #œ œ
2
29
# œ3 # œ œ œ #œ œ #œ
2
? #œ œ #œ œ #œ œ
2
œ #œ œ #œ
œ #œ
3
#œ
œ # œ # œ œ # œ œ œ œ œ
2
# œ œ œ
1 1
? œ œ œ œ œ œ
œ œ œ œ œ œ
2 2
1
œ œ # œ # œ œ œ œ œ œ œ œ
1
œ
2
? œ œ œ œ œ œ œ œ œ
1
œ œ œ
2
#œ œ Nœ œ
bœ œ bœ œ bœ œ
4
?œ œ
2 2
bœ œ bœ bœ b œ œ
4 4
b œ
2
bœ
œ œ4 œ œ
œ bœ œ œ œ bœ
2
? bœ œ bœ bœ œ bœ œ bœ bœ
bœ
œ œ œ œ
œ b œ œ b œ œ œ œ œ œ œ œ
3
œ
1
? bœ œ bœ œ bœ
1
2 3
4
bœ œ bœ
œ œ œ œ
œ œ œ œ œ œ1 œ œ œ
3 1
3
? œ œ œ œ œ œ œ
3
b œ bœ œ
1 3
œ
1
œ œ œ œ # œ œ œ œ œ œ œ œ œ
4
œ
3
œ œ
3
? œ œ œ œ
4
1
bœ œ œ bœ
3
# œ œ œ # œ
? bœ œ œ œ œ œ œ œ œ œ œ œ œ œ
4 3
œ
4
œ
3
? œ œ bœ œ œ œ œ œ œ œ #œ w
bœ œ œ œ
4 3
œ
VI. Intonation Meditation
Movement from Position to Position
and Simultaneous Balance of the Left Hand
Develops Familiarity With First Through

Third Positions in Two-Finger Combinations
This Exercise...
Is designed to help develop balance in the left hand during moves from first through third position
by working with various two-finger combinations. The idea is to find the appropriate angle in the
forearm and wrist to accommodate a relaxed position between two fingers during the move from
position to position.
It is hoped that one can discover these appropriate slight differences in the forearm's posture to
accommodate both the intonation and facility between the new fingers in the new position. There
will likely be slight differences in these motions from one cellist to another, as proportion between
finger lengths is never exactly the same from one person to another.
However, there are certain common themes...
Combinations between 4th and 3rd fingers tend to be friendlier with the forearm rotated slightly
back. This helps the striking angle of the 3rd finger to remain closer to the 4th finger for closer
half-steps. The same can be said of posture friendly to 1st and 3rd fingers and 1st and 2nd fingers
excepting extensions between 1 and 2.
Combining 4th finger with 2nd or 1st fingers however, will be more relaxed if the forearm is slight-
ly turned forward toward the 4th finger. This includes extensions with the same fingers.
In experimenting with these very slight deviations in the angle of the forearm, one will likely no-
tice some corresponding different feelings in the distances of the shifts at first.
For example...
A move from the combination of 3 and 4 in the lower position, to a move in a higher position with
extension 4 to 1, will likely feel like a slightly farther distance to shift with this method. On the
other hand, 3 and 4 in the upper position to 4 and 2 in the lower position will feel slightly shorter.
The purpose of these slight deviations is not to confuse or destabilize, but to promote relaxation
and facility on the instant of arrival in the new position.
If, after the shift, there appears to be a second motion to extend or otherwise place the next finger,
and there is a corresponding delay in the placement of that finger, something went wrong during
the shift. Play the grace notes on the beat and as quickly as possible. Vibrate immediately in the
new position.
32
Intonation Meditation (5:30)
œ œ b ˙˙3 bœ
œ ˙ œ œ b ˙˙3 bœ
œ ˙ œ œ b ˙˙ bœ ˙
œ œœ n ˙
4 4 4
œ œ #˙ œ œ n˙
4 4 4
? c #œ œ #œ œ œ œ
3 3 2 1
≥ ≤
4
œ œ b˙ bœ œ ˙ ˙ ˙ œ œ ˙ œ œ ˙ œ œ œ b˙
3 4 3 4
3 4 3
?œ œ ˙ œ œ b˙ ˙ ˙ w w w
3 4
bœ œ ˙ œ œ bœ ˙ œ bœ œ ˙
4 3 4
>r
œ œ ˙ œ œ ˙ œ œ ˙
4 4 4
>r
3 4
>r
4
3 3 3 3 3
4 3
? w œ
4 3 4
bœ #œ bœ
w w w w w
>r >r
œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ ˙ ˙
4 4
>r >r >r

3 2
4 4 3 3 1
4 4 3 3 1
4
?w œ nœ bœ bœ
œ bœ
w w w w ˙ ˙
œ œ b ˙2 bœ ˙3 œ œ b ˙2 bœ ˙2 œ œ b˙ bœ ˙
3
œ œ œ œœ n ˙
4 3
? #œ œ ˙ œ œ #˙ #œ œ ˙ œ œ n˙ œ œ ˙
4 4 4
3 1
≥ ≤
œ œ b ˙˙ bœ œ ˙ œ œ œ b˙
4 2
˙ ˙ œ œ ˙ œ œ ˙
2 4 2 3
4 3
?œ œ œ œ b˙ ˙ ˙ w w w
>r
3 2 3
œ œ ˙ œ œ ˙ œ œ ˙
>r
4 2 3
>r
3 4 3 3 3 3
2
? w œ
2 3 4 4 2 2 4 3 4
bœ #œ bœ
w w w w w
>r >r
œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ b >œr ˙ ˙ ˙
3 3
>r >r
4 2 2
?w œ
2
nœ bœ bœ
œ
w w w w ˙ ˙
œ b˙ bœ œ ˙ œ b˙ b œ œ ˙42 œ œ b ˙˙ b œ œ ˙14
2 2
? # œ œœ ˙ # œ œœ ˙
4
œ œ #˙ œ œ n˙ œ œ n˙
4
œ œ
3 1 3 1
33
≥ ≤
4
œ œ b ˙˙ bœ œ œ œ b˙
1
œ œœ b ˙˙ ˙ ˙ œ œ ˙ œ œ ˙
4 1 2
1 4 3
?œ œ ˙ ˙ w w w
1 2 1 2
2
>r
4
œ œ ˙ œ œ ˙ œ œ ˙
>r
2
4 1 4
>r
3 3 3 2
1 3 4 1
? w œ
bœ #œ bœ
w w w w w
>r >r
œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ ˙ ˙
2
1 4 2 1
>r >r >r
2 4 1 4
?w œ
1
nœ bœ bœ
œ bœ
w w w w ˙ ˙
œ œ n ˙˙2 œ ˙ œ œ ˙˙2 nœ ˙ œ œ ˙˙ nœ ˙
4 4
œ œœ # ˙ œ œœ n ˙ œ œœ ˙
4 4 4 4
? #œ œ #œ œ œ œ
3 3 2 1
≥ ≤
4 2
œ ˙ nœ œ ˙ ˙ ˙ œ œ ˙ œ œ ˙ œ œ œ ˙
4 2 4
? œ œœ ˙
2 4 3
œ œ b˙ ˙ ˙ w w w
2 2 4
œœ ˙ œœœ˙ œœœ˙
4 4
>r
œ œ ˙ œ œ ˙ œ œ ˙
>r
4 4
2
4
2
>r
3 4 3 2 3 3 4
4
?w œ
œ #œ œ
w w w w w
>r >r
œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ ˙ ˙
4
2 4 2
>r >r >r
2 4 1 4 1 4
?w œ
nœ œ œ
œ bœ
w w w w ˙ ˙
œ ˙ œ œ ˙43 œ œ ˙˙1 n œ œ ˙42 œ œ ˙˙ n œ œ ˙14

3
? # œ œœ ˙
4 3
œ œ #˙ #œ œ œ œ n˙ œ œ œ œ ˙
3 1
≥ ≤
4
œ œ ˙˙ nœ œ ˙ œ œ œ ˙
3
˙ ˙ œ œ ˙ œ œ ˙
1 4 4 1
3
?œ œ œ œ b˙ ˙ ˙ w w w
34
3 1 1 3
œœœ˙ œœœ˙ œœœ˙

3
>r
4 4
>r
œ œ ˙ œ œ ˙ œ œ ˙
3
4 1 3
>r
3 3 1 3 3 4 1
œ œ
?w w w w w
#œ
w
>r >r
œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ ˙ ˙
1
>r >r >r
3 1
2 4 1 4 3
4
?w œ
1
nœ œ œ
œ bœ
w w w w ˙ ˙
œ ˙ œ ˙ nœ œ œ ˙˙ nœ
œ œœ # ˙˙ œ ˙ ˙
2 2
? # œ œœ ˙ # œ œœ ˙ œ œ œœ ˙
4
œ œ n˙
4 4 4
œ œ
3 1 3 1 2 1
≥4 ≤œ1
œ ˙ nœ œ ˙ ˙ ˙ œ œ ˙ ˙ œ œ œ ˙
4 1 2
? œ œœ ˙ w œ
1 4 3
œ œ b˙ ˙ ˙ w w
2 1 2
œœœ˙ œœœ˙ œœœ˙

1
>r
2 1
œ œ ˙ œ œ ˙ œ œ ˙
>r
1 4 2
1 2 1
>r
3 4 3 3 3
4
œ œ
?w w w w w
#œ
w
>r >r
œ ˙ >r
œ œ ˙ œ œ ˙ >r
œ œ ˙ œ œ ˙ >r
˙ ˙
2 2
1
?w œ
2 4 1 1 4 1 4
nœ œ œ
œ bœ
w w w w ˙ ˙
œ œ n˙ œ ˙ œ œ n˙ nœ ˙ œ œ ˙ nœ ˙
4 4
œ œœ # ˙ œ œ œœ ˙
4
? #œ œ ˙ #œ œ ˙ œ œ ˙ œ œ ˙
1 4 1 4 4
3 3 2 1
≥ ≤
1
œ œ ˙ nœ œ œ œ ˙
4 1
˙ ˙ ˙ œ œ ˙ œ œ ˙
4 4
1 4
œ œœ b ˙
4 3
?œ œ ˙ ˙ ˙ w w w
1
4 1 1 4
4
>r
4
>r
4 4 1
œ œ ˙ œ œ ˙ œ œ ˙
3 4 4
1
>r
3 3 1 4
œ œ
?w œ
3
#œ
w w w w w
35
>r >r
œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ ˙ ˙
4 1 4 1
>r >r >r
4 4
œ œ
2
?w œ
1 4 1
nœ œ bœ
w w w w ˙ ˙
œ œ n ˙˙ œ œ ˙ œ œ n ˙˙ nœ ˙ œ œ ˙˙ nœ ˙
3 3
œ œ œœ ˙
4
œ œ #˙ œ œ ˙
4 4 4
3 1 1
3 2 1
≥4 ≤
œ œ ˙ nœ œ œ œ ˙
1 4
œ œœ b ˙˙
˙ ˙ œ œ ˙ œ œ ˙
1 3
3
?œ œ ˙ ˙ ˙ w w w
3
>r >r
1 4 3
1
œ œ ˙ œ œ ˙ œ œ ˙
3
1
>r
3 4 3 3 3 4
œ œ
?w œ
#œ
w w w w w
>r >r
œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ ˙ ˙
3 1 3 1
>r œ >r œ >r
2
4 1
4 1
4
?w œ nœ
w w
œ
w w
bœ
˙ ˙
œ œ # ˙˙ œ œ ˙ œ œ # ˙˙ #œ ˙ œ œ # ˙˙ #œ ˙
4 4
œ œ œœ ˙
4
œ œ #˙ œ œ n˙
1 4 1 4 4
3 3 2 1
≥ ≤
œ œ # ˙˙ #œ œ œ œ #˙
œ œœ b ˙˙
˙ ˙ œ œ ˙ œ œ ˙
1 4
1 4 3
?œ œ ˙ ˙ w w w
#œ œ ˙ œ œ #œ ˙ œ #œ œ ˙
4
>r >r
1
œ œ ˙ œ œ ˙ œ œ ˙
3 4 1
>r
4 1
3 4 3 4
#œ #œ
3 4
? w œ
#œ
w w w w w
>r >r
œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙
4 4
1 1
>r >r >r
1 4 1 4
#œ #œ
?w œ
2 4
nœ œ bœ
w w w w
VIII. Hexachords
Six-Note Shifting Patterns
Develops Familiarity With Half Position Through

Fourth Position in Three-Finger Combinations
This Exercise...
Is designed to help develop smooth shifting from position to position, embracing many different
finger combinations and interval sets within the hand. This Hexachords exercise is highly adapt-
able to creating other more specifically tailored exercises that can be used to improve repertoire.
I have provided a beginner's set of finger sequence variations, but as stated at the end of the exer-
cise, there are 900 possible alternating combinations when you consider a six-note pattern ascend-
ing and descending.
Understanding this methodology, it is easy to spot passages in repertoire that might be improved
using the exercises.
In diatonic, pentatonic, whole tone, and the three forms commonly used in minor modes, consec-
utive half steps are not used as often as combinations of single half-steps with one or more whole
steps in sequence. So the hexachords included here have corresponding interval sets.
In the scale like shifting pattern and the two variations provided, shifting occurs...
Ascending from 4 to 1 Descending from 1 to 4

These combinations provide some variety, but are only a starting point.
Once you have mastered the shifting distances and finger intervals, use the number patterns (per-
haps in consultation with difficult passages in your repertoire) that are listed on page 53 at the end
of the "Hexachord Exercise".
There is also a handy interval chart on page 52. The intervals in the exercises can all exist within
the circle of fifths if you include melodic minor until you get to four whole steps in a row. For this
reason, notating them involves double sharps and flats which can be confusing to read, especially
when transposing to another string. It also takes many pages in this guide.
One can however use the pattern provided on the single page 52, reading from bottom to top of
the number stacks, start from any pitch, and the exercise will be identical to the ones notated from
pages 38-51 with fingering variations depending on the position. However, one should be consis-
tent in where on the instrument you begin to use 3rd finger instead of 4th finger (as in sets above
6th position) and when you bring the thumb up into thumb position.
38
Hexachords
From Bb-E - Six Notes With Two Variations (14:00)
q. = 78
ed
b œ bœ nœ œ œ œ œ œ bœ bœ bœ bœ bœ bœ nœ œ œ œ œ œ bœ bœ bœ bœ bœ bœ œ œ nœ
12 41 34
?6 b œ
8
œ œ œ bœ bœ bœ bœbœ bœ nœ œ #œ #œ œ œ bœ bœ bœ bœ bœ bœ nœ #œ œ œ #œ œ bœ bœ bœ
12 41 2 4
bœ bœ bœ #œ œ œ œ œ #œ bœ bœ bœ bœ bœ bœ bœ bœ bœ bœ bœ bœ bœ bœ bœ
12 4 12 4
b œ bœ bœ bœ bœ bœ bœ bœ bœ bœ bœ bœ bœ bœ bœ bœ bœ bœ bœ bœ bœ bœ bœ bœ
?
bœ bœ Nœ bœ bœ œ bœ bœ bœ bœ bœ bœ bœ bœ bœ Nœ bœ bœ œ bœ bœ bœ
12 4 1 34
? b œ b œ
bœ bœ bœ bœ œ bœ bœ œ bœ bœ bœ bœ bœ bœ bœ bœ œ Nœ œ œ bœ bœ bœ bœ
12 4 1 2 4
b œ bœ bœ bœ nœ nœ bœ œ œ bœ bœ bœ bœ bœ bœ œ œ bœ bœ œ œ bœ bœ bœ
?
bœ bœ bœ bœ bœ bœ bœ bœ œ bœ bœ bœ œ bœ bœ bœ œ œ œ bœ bœ œ bœ œ bœ bœ bœ bœ
1 34 12 4
? b œN œ
39
bœ bœ bœ bœ œ bœ bœ œ bœ bœ Nœ bœ bœ œ bœ bœ œ bœ
bœ bœ bœ œ bœ nœ
1 34 1 34
bœ bœ œ bœ bœ œ bœ œ bœ
bœ œ bœ bœ œ bœ
bœ œ bœ bœ œ bœ bœ
œ Nœ
1 34 1 2 4
œ œ bœ bœ œ bœ œ bœ œ nœ bœ œ œ bœ bœ œ bœ œ bœ œ œ bœ bœ œ œ bœ œ bœ
? b œ b œ
œ Nœ bœ œ bœ bœ œ bœ œ œ bœ bœ œ œ bœ bœ Nœ bœ bœ œ bœ œ œ œ œ bœ bœ œ bœ
1 2 41 34
? b œ
bœ œ bœ bœ œ œ bœ œ œ bœ œ Nœ œ œ bœ œ œ bœ bœ œ œ bœ œ Nœ bœ œ œ bœ œ œ
1 2 41 2 4
œ œ bœ œ œ bœ bœ œ œ bœ œ œ bœ œ œ Nœ œ œ œ œ œ œ œ bœ bœ œ œ œ œ nœ
1 2 4 12 4
œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ bœ œ œ œ #œ œ œ #œ œ œ œ bœ
1 2 4 1 34
? b œ b œ
œ œ œ œ #œ œ œ #œ bœ œ œ œ œ bœ œ #œ œ œ #œ œ bœ œ œ bœ œ œ œ #œ #œ
124124
? b œ
#œ #œ œ œ œ œ œ œ #œ #œ œ #œ #œ bœ œ œ œ œ bœ #œ #œ œ œ #œ #œ bœ œ œ
? b œ b œ
40
œ œ bœ œ bœ bœ œ bœ œ œ œ œ œ œ bœ bœ œ bœ bœ œ œ œ œ
12 41 34
? œ
(2:00) Start from B
b œ œ œ b œ œ œ œ œ bœ œ œ œ œb œ œ œ
œœœ b œ b œ œ œ œ œ œ œ bœ œ
12 41 2 4
? œ
bœ œ œ œ œ
œ œ œ œ œ bœ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
12 4 12 4
? œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ
œ œ œ œ œ
? œ œ œ œ œ
12 4 1 34
œ #œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ
? œ œ œ œ œ #œ
œ #œ œ œ œ œ œ œ œ œ #œ
#œ #œ #œ œ œ œ #œ
œ œ œ œ œ #œ
12 4 1 2 4
œ #œ #œ œœ œ œ œœ
#œ #œ œ œ #œ #œ œ œ #œ œ œ œ œ œ œ œ œ #œ
1 34 12 4
? œ œ œ
œ #œ œ œ œ œ œ œ œ #œ œ #œ œ œ œ œ œ œ œ #œ œ œ #œ œ œ #œ œ
1 34 1 34
? œ œ œ
œ #œ œ œ œ #œ œ œ #œ œ œ #œ œ œ #œ œ #œ œ œ #œ œ œ #œ œ œ #œ œ
? # œ œ œ
41
#œ œ œ #œ #œ #œ #œ œ œ #œ œ œ œ #œ œ #œ #œ œ #œ #œ œ œ #œ
1 34 1 2 4
? œ
œ #œ œ #œ #œ œ œ # œ # œ
œ #œ œ œ #œ #œ œ
#œ œ œ #œ œ #œ
#œ œ
1 2 41 34
# œ # œ œ œ #œ œ œ #œ œ #œ #œ #œ #œ œ œ #œ œ œ #œ œ œ #œ #œ
?œ
#œ #œ œ #œ #œ #œ #œ œ #œ #œ œ œ #œ #œ œ #œ #œ œ #œ #œ œ #œ #œ
1 2 41 2 4
? œ
#œ #œ œ # œ # œ œ œ # œ # œ #œ œ #œ #œ #œ #œ #œ #œ #œ #œ #œ
# œ #œ œ
1 2 4 12 4
? œ
œ #œ #œ #œ #œ #œ #œ #œ #œ œ #œ #œ #œ #œ œ #œ #œ #œ #œ #œ #œ œ #œ #œ
?
# œ œ œ bœ bœ œ œ #œ #œ # œ œ bœ œ œ bœ œ œ #œ #œ
1 2 4 1 34
# œ # œ
?œ œ œ
#œ #œ œ bœ œ œ œ œ bœ œ #œ #œ œ œ
œ œ œ œ #œ
# œ
124123
œ # œ #œ œ
?
When shifting, leave thumb at the base of the neck until B#/C
œ œ œ œ œ œ œ #œ #œ #œ #œ œ œ œ œ œ œ œ œ #œ #œ
# œ
? œ #œ
42
bœ bœ nœ #œ œ œ #œ œ bœ bœ œ
œ œ bœ bœ nœ #œ œ œ #œ œ bœ bœ
12 41 34
? œ
(4:00) Start from C
bœ bœ œ œ #œ nœ œ #œ œ œ bœ bœ œ bœ bœ nœ #œ #œ #œ #œ œ bœ bœ œ
12 41 2 4
œ bœ bœ nœ #œ #œ œ #œ #œ œ bœ bœ bœ bœ œ #œ #œ nœ œ #œ #œ œ bœ bœ
?
b œ b œ œ bœ bœ bœ bœ œ bœ bœ b œ b œ œ bœ bœ œ bœ bœ œ bœ bœ
12 4 12 4
? œ œ œ
bœ bœ œ bœ bœ œ œ bœ bœ œ bœ bœ œ bœ bœ œ Nœ
bœ bœ œ œ bœ bœ
12 4 1 34
œ
?
œ bœ bœ œ bœ œ œ bœ œ œ bœ bœ bœ bœ œ bœ œ œ œ œ bœ œ bœ bœ
?
œ œ œ œ bœ œ œ œ œ œ œ bœ bœ
bœ bœ œ œ bœ œ œ bœ bœ œ
12 4 1 2 3
? œ
bœ bœ œ œ œ œ œ œ œ œ bœ bœ œ œ bœ œ bœ
bœ bœ bœ œ bœ œ
1 34 12 4
œ
?
œ bœ œ œ bœ bœ œ bœ bœ œ bœ œ bœ œ œ bœ bœ œ œ bœ bœ œ œ bœ
?
43
œ bœ œ œ bœ bœ œ œ bœ œ œ œ bœ œ œ bœ œ œ bœ œ œ bœ œ
1 34 1 34
? œ
bœ œ œ bœ œ œ œ œ bœ œ œ bœ œ œ bœ œ œ
Nœ œ œ œ bœ œ
1 34 1 2 3
? œ
œ œ œ œ œ œ œ œ bœ
œb œ œ œ œ œb œ œ b œ œ œ œ œ œ œ bœ œ œ œ œ œ
1 2 41 34
bœ œ œ œ bœ bœ bœ bœ
œœ œ œ œ œ œ œ œœ œ œ œ œœ œ œ œ œ œ œ œ
?
œ œ œ œ œ œ œœ œ œ
1 2 41 2 3
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
?œ œ œ œ œ
œ œ œ œ œ #œ œ œ œ œ
œ œ œ œ œ œ œ# œ œ œ œ œ œ# œ œ # œ œ œ œ œ
1 2 4 12 3
œ œ
œ œœ œ #œ #œ œ œ œ œ œ œ #œ #œ œ œ #œ #œ œ œ œ œ œ œ #œ œ #œ
1 2 4 1 23
œ
?
#œ œ #œ œ œ œ œ œ œ œ #œ #œ #œ #œ œ œ œ œ œ œ œ #œ #œ #œ
124123
#œ #œ #œ œ œ œ œ #œ #œ #œ #œ #œ #œ œ œ œ œ œ œ #œ #œ #œ #œ #œ #œ œ œ œ
œ œ
?
44
# œ œ œ œ œ bœ bœ œ œ œ œ #œ #œ œ œ œ bœ œ œ bœ œ #œ œ œ œ œ #œ bœ œ œ
12 41 34
?
(6:00) Start from C#
œ œ bœ #œ œ œ #œ œ œ œ œ œ œ œ œ œ œ #œ #œ œ œ œ œ œ œ œ œ #œ œ œ
1 2 41 2 3
œ œ œ œ œ œ œ #œ œ œ
œ œ #œ œ œ œ œ #œ œ œ #œ œ œ #œ #œ œ œ #œ œ
1 2 4 12 3
? # œ
#œ œ œ #œ œ œ œ œ #œ œ œ #œ #œ œ œ #œ œ œ #œ œ œ #œ #œ œ
1 2 4 1 23
œ #œ #œ œ œ œ œ œ #œ œ #œ #œ
œ #œ #œ œ nœ #œ #œ #œ #œ #œ œ œ
?
#œ #œ œ #œ œ œ #œ œ œ #œ #œ #œ #œ #œ #œ œ œ #œ #œ œ œ #œ #œ #œ
12 4 1 2 3
#œ #œ #œ #œ œ œ œ œ #œ # œ # œ #œ #œ # œ # œ
#œ œ œ #œ #œ œ #œ œ
œ
1 34 12 3
œ œ #œ œ œ œ œ #œ #œ œ œ #œ
#œ #œ #œ œ #œ #œ œ #œ œ #œ œ #œ
?
#œ œ œ #œ #œ œ #œ #œ œ #œ #œ œ œ #œ #œ œ œ
#œ #œ #œ œ #œ #œ #œ
1 34 1 23
?
45
#œ œ #œ #œ œ #œ œ #œ #œ œ # œ # œ # œ # œ œ
#œ #œ œ #œ #œ œ #œ #œ
#œ
1 34 1 2 3
#œ #œ #œ œ #œ #œ œ #œ #œ #œ #œ #œ
#œ #œ #œ œ #œ #œ #œ #œ #œ #œ œ #œ
?
#œ #œ #œ #œ #œ œ #œ #œ #œ #œ #œ œ œ #œ #œ #œ #œ œ
#œ #œ #œ #œ #œ #œ
1 2 41 23
#œ œ #œ #œ #œ #œ #œ #œ #œ œ #œ #œ #œ #œ œ #œ #œ #œ #œ #œ #œ #œ #œ #œ
1 2 41 2 3
#œ #œ #œ #œ #œ #œ #œ #œ #œ #œ #œ
?
#œ #œ #œ #œ #œ #œ #œ #œ #œ #œ #œ #œ #œ
# œ # œ # œ # œ # œ # œ bœbœ œ œbœbœ bœbœ œ œbœbœ bœ œbœ œbœbœ œb œb œb œ œb œ

1 2 4 12 3
œ bœ bœ bœ bœ œ œ b œ b œ
bœ bœ œ bœ bœ œ œ œ
bœ bœ œ œ œ bœ
1 2 4 1 23
bœ
?
bœ œb œ œb œ œb œ œ b œ b œ b œ œ œ b œ nœ
bœ œbœ œ œ œ œ bœbœ œ bœ bœ œ œ œ
124123
nœ œ œ œ œ œ œ œ
b œ b œ b œ œ b œ œ œ œ œb œ œb œ œ b œ b œ œ œ œ œ b œb œ œ
? B
46
b œ œ b œ bœ ∫œ ∫œ bœ bœ œ bœ œ b œ b œ ∫œ bœ bœ ∫œ bœ œ bœ
12 41 23
Bœ œ œ œ
(8:00) Start from D
∫œ bœ bœ b œ ∫ œ bœ bœ bœ bœ œ
B œ bœ œ bœ œ bœ œ œ bœ œ bœ bœ bœ œ
12 41 2 3
b œ bœ bœ bœ bœ bœ œ bœ œ bœ bœ bœ bœ bœ bœ bœ bœ œ b œb œ
œ œb œ œ œ
12 4 12 3
B œ b œ œ œ œ
bœbœ œ œ bœbœ œbœbœ œ œbœ œ bœ œ bœ bœ œ œbœbœ œbœ œ

B bœ œ œ œbœ œ
b œ œ œ œb œ b œ œ œ œ b œ œ œ œ b œ œ b œ œ œb œ œ œ œb œ œ b œ œ b œ œ œ
12 4 1 23
B œ
œ œb œ b œ œ b œ œ
12 4 1 2 3
œ œ œ œ œ œ œb œ œb œ œ œ œ œ œ œ œb œ
B œ œ œ œ œ
œ œ œ œ œ œ bœ œ bœ bœbœ œ œ œ bœ
B œ bœ œ œ œ œ œb œ œ œ œ œ bœ
1 34 12 3
œ œ
œ b œb œ œ œ œ œ b œb œ œ œb œb œ œ œ 1 34 1 23œ œ œ œb œ b œ œ œ œ œ
B œ œ œ œ œ
œ œ œ bœ œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ bœ œ œ œ
B œ
47
œ œ œ œ œ œ œ œœ œ œ œœ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ
1 34 1 2 3
B œ
œ œ œ œ œ œ œ œ #œ œ
œ bœ bœ œ œ #œ œ
œ #œ œ œ
bœ œ
1 2 41 23
B œ
bœ œ #œ bœ œ œ œ œ bœ œ œ #œ œ
œ œ œ # œ œ œ œ œ #œ œ œ
1 2 41 2 3
œ œ œ #œ œ œ œ œ œ œ œ #œ œ #œ œ œ œ œ œ
B œ œ #œ œ œ
œ œ œ œ œ œ œ #œ #œ œ œ œ
œ œ #œ œ œ #œ #œ œ œ #œ œ #œ
1 2 4 12 3
# œ œ œ # œ œ # œ œ œ œ # œ # œ œ œ œ # œ œ
1 2 4 1 23
# œ # œ # œ œ
B œ œ œ œ
œ #œ #œ #œ œ œ œ œ
B œ œ #œ œ #œ #œ #œ #œ œ #œ œ #œ œ œ #œ #œ
#œ #œ œ œ œ #œ œ œ #œ #œ #œ #œ #œ #œ #œ #œ œ œ œ #œ œ #œ #œ #œ
124123
B
Bring thumb up
# œ #œ #œ #œ œ œ #œ #œ #œ #œ #œ #œ œ œ #œ
B œ #œ œ
48
bœ bœ œ œ #œ œ bœ œ œ bœ œ #œ #œ œ
Leave thumb back
œ # œ œ œ # œ œ œ
12 41 23
B #œ #œ #œ
(10:00) Start from D#
# œ b œ œ œ œ œ b œ # œ # œ œ œ œ œ œ œ #œ œ # œ œ œœ
œ œ œ œ
12 41 2 3
B #œ #œ #œ #œ #œ
œ œ œ #œ œ #œ œ œ œ œ œ œ œ œ # œ œ # œ # œ œ œ
#œ #œ #œ #œ
12 4 12 3
œ œ #œ #œ œ # œ œ # œ œ œ #œ œ œ #œ œ #œ œ œ œ #œ #œ œ œ œ #œ
B # œ # œ #œ #œ #œ
#œ œ œ #œ #œ #œ œ œ #œ #œ œ #œ #œ #œ œ
œ #œ #œ #œ
B #œ œ #œ #œ #œ #œ #œ œ #œ
12 4 1 23
#œ œ
# œ #œ œ #œ œ #œ #œ œ #œ #œ #œ #œ #œ #œ #œ #œ œ #œ #œ #œ œ #œ #œ #œ #œ #œ #œ #œ #œ œ
12 4 1 2 3
B
Bring thumb up
# œ # œ # œ # œ # œ # œ # œ # œ # œ #œ œ œ œ œ #œ #œ #œ #œ
œ œ # œ
1 34 12 3
B # œ # œ # œ
Leave thumb back
# œ # œ œ œ # œ œ œ # œ # œ œ œ # œ # œ œ œ # œ # œ # œ #œ œ
# œ # œ # œ # œ # œ
1 34 1 23
B # œ # œ # œ # œ # œ
œ #œ #œ #œ #œ œ #œ #œ œ #œ #œ #œ #œ#œ œ #œ #œ #œ #œ œ #œ #œ
B #œ #œ #œ#œ #œ #œ #œ #œ
49
# œ #œ #œ #œ #œ #œ #œ #œ #œ #œ #œ #œ #œ #œ #œ
# œ #œ #œ #œ #œ #œ
1 34 1 2 3
B # œ # œ #œ
Bring thumb up
#œ #œ #œ #œ #œ #œ bœ bœ bœ bœ bœ œ œ
# œ # œ #œ #œ #œ bœ œ œ bœ bœ
1 2 41 23
B # œ
Leave thumb back
œ b œ bœ bœ bœ bœ bœ œ œ bœ bœ bœ bœ bœ bœ bœ bœ œ œ
B bœ œ bœ œ œ
œ œ bœ bœ œ œ bœ bœ œ œ œ œ
bœ bœ œ œ bœ bœ bœ bœ bœ œ œ
1 2 41 2 3
B b œ
Bring thumb up
œ œb œb œ b œ b œ œ œ œ œ bœ œ œ bœ œ œ œ bœ bœ œ œ œ œ bœ
1 2 4 12 3
B œ b œ b œ œ b œ œ
œ œ bœ bœ œ œ œ œ bœ œ bœ œ œ bœ œ bœ œ œ bœ œ œ œ œ œ
1 2 4 1 23
œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ bœ œ œ œ
B b œ b œ œ
œ œ œ bœ œ œ bœ œ œ œ œ
#œ #œ œ œ œ œ #œ
bœ bœ œ œ œ œ
124123
œ #œ œ bœ œ œ œ œ bœ #œ œ œ œ œ #œ bœ œ œ
B
50
œ bœ bœ bœ bœ bœ bœ œ œ œ bœ bœ
12 41 23
œ œ œ œ bœ bœ bœ bœ œ œ œ
Leave thumb back
B œ
(12:00) Starting from E
œ œ œ bœ bœ bœ bœ bœ bœ œ œ œ œ œ b œ b œ œ œbœ bœ œ œ œ œ b œ œbœ
12 41 2 3
B œ œ œ
Bring thumb up
bœ œ bœ œ œ œ œ œ œ œ bœ bœ bœ bœ œ œ œ œ œ œ œ œ bœ
œ
12 4 12 3
œbœ œ œ œ œ œ œb œ œ œ œ œ œ œ œb œ œ œb œ œ œ œ œ
B œ œ œ œ œ bœ
œ œ œ œœ œ œ œ œœ œ œ œœ œœ œ œœ œ œ œœ œœ œœ œ œ
12 4 1 23
B œ
œ œ œ œ œ œ œ #œ #œ œ œ œ œ œ œ œ œ œ #œ œ œ #œ œ œ œ œ
œ œ
12 4 1 2 3
B œ œ
#œ œ œ œ œ #œ œ œ œ œ œ bœ œ œ #œ
œ œ œ #œ œ œ bœ
1 34 12 3
B œ œ
œ # œ œ œ b œ œ œ b œ œ # œ œ # œ œ b œ œ œ b œ œ # œ œ # œ
1 34 1 23
œ œ œœ
B œ œ œ œ œ
œ œ œ œ #œ œ #œ œ œ œ œ œ œ œ œ #œ œ #œ œ œ œ œ œ œ œ œ #œ œ
B œ œ
51
œ œ œ #œ #œ œ œ œ #œ œ #œ
œ œ #œ œ œ œ #œ œ œ œ #œ
1 34 1 2 3
B œ # œ
œ #œ œ #œ œ œ œ œ #œ œ #œ œ œ #œ #œ œ œ
œ œ œ œ #œ #œ
1 2 41 23
B œ
œ # œ # œ œ œ œ œ œ œ œ #œ #œ #œ #œ œ œ œ œ œ œ œ œ #œ #œ
B
# œ œ œ #œ #œ œ œ #œ #œ œ œ #œ #œ œ #œ œ œ #œ œ œ #œ #œ
1 2 41 2 3
B œ # œ
#œ #œ œ # œ œ œ œ œ # œ # œ #œ œ #œ #œ #œ œ #œ
1 2 4 12 3
#œ œ #œ #œ #œ
B œ œ
# œ # œ #œ œ #œ œ #œ #œ # œ #œ œ #œ #œ œ #œ
Bœ # œ œ # œ # œ œ œ #œ #œ
# œ #œ #œ #œ #œ #œ #œ #œ #œ œ œ #œ #œ #œ #œ #œ #œ #œ #œ œ #œ #œ
1 2 4 1 23
B œ # œ
# œ # œ # œ # œ # œ # œ # œ # œ # œ # œ # œ
124123
# œ #œ #œ ‹œ ‹œ #œ #œ #œ #œ œ
B œ œ œ
#œ ‹œ #œ #œ ‹œ #œ #œ #œ #œ #œ ‹œ #œ #œ #œ #œ ‹œ #œ #œ
B #œ #œ #œ œ #œ œ
(14:00)
52
Around the Bout - Text Version
Pitch
Ab/G#--- 4 4
G-------- 4 4 4 4 4
Gb/F#-- 4 4 4 4 4 4 3 2 2
F------- 4 3 2 3 2 3 2 2
E-------- 3 2 2 2 1 1 1 1
Eb/D#-- 1 1 1 1 1 1 1 1
D-------- 1 1 4 4 4 4 4 4
Db/C#-- 4 4 4 4 4 4 4 4
C-------- 3 3 3 2 2 2 2 2 2
B-------- 2 2 2 2 2 1
Bb/A#-- 1 1 1 1 1 1 1 1 1 1 1 1 1
Here from A natural and

G# is the border. Higher than G# above use the 3rd Finger
A-------- use the 3rd Finger instead of 4th 3 3
Ab/G#-- 4 4 4 4 4
G-------- 4 4 4 4 4 4 3 2 2
Gb/F#--- 4 3 2 3 2 3 2 2
F--------- 3 2 2 2 1 1 1 1
E--------- 1 1 1 1 1 1 1 1
Eb/D#--- 1 1 4 4 4 4 4 4
D-------- 4 4 4 4 4 4 4 4
Dd/C#-- 3 3 3 2 2 2 2 2 2
C-------- 2 2 2 2 2 1
B-------- 1 1 1 1 1 1 1 1 1 1 1 1 1
Bb/A#-- 3 3
A-------- 3 3 3 3 3
Ab/G#-- 4 4 4 4 4 4 2 2 2
G------- 4 3 2 3 2 3 2 2
Gb/F#-- 3 2 2 2 1 1 1 1
F-------- 1 1 1 1 1 1 1 1
E-------- 1 1 4 4 4 4 4 4
Eb/D#-- 4 4 4 4 4 4 4 4
D-------- 3 3 3 2 2 2 2 2 2
Db/C#-- 2 2 2 2 2 1
C------- 1 1 1 1 1 1 1 1 1 1 1 1 1
Until familiarity with the lower and upper position handsets is acheived, an ascending and descending pattern will be used until the lowest note is raised for the new start
positio. For example... 124124 - 421421 After familiarity is acheived, try... 142142 - 142142 and 421421 - 124124. Other patterns listed on second page of this example.
As you continue up past B natural in the upper register after 5th position to B#/C natural, begin to bring the thumb up in the upper position shifts.
53
In the sample Hexachord Exercise, the ascending and descending pattern is followed in each case
by two finger sequence variations.
As in exercise starting on Bb...

124 shift 134 - 431 shift 421
and the two variations...

142 shift 143 - 143 shift 142
421 shift 431 - 134 shift 124
Using only the example from the exercise in measure 7 for simplicity’s sake because the only fingers involved are 1, 2, and 4
on both sides of the shift, one can vary each of the three-note finger patterns in six possible ways 124, 142, 214, 241, 412, and 421.
Each of these has two placements on either side of the shift (notated below with “s”)
ascending and two descending and can be combined in 18 possible ways.
Ascending possibilties... Descending possibilities... In the Hexachord Exercise, the first pattern in each group is...
hA. 124 s 124 iA. 124 s 124 Ascending hA. plus descending iZj. or 124s124 - 421s421 (measure 7)
hB. 124 s 142 iB. 124 s 142
hC. 124 s 214 iC. 124 s 214 And the two variations...
hD. 124 s 241 iD. 124 s 241 Ascending hH. plus descending iH. or 142s142 - 142s142
hE. 124 s 412 iE. 124 s 412 Ascending hZj. plus descending iA. or 421s421 - 124s124
hF. 124 s 421 iF. 124 s 421
There are 900 possible combinations ascending and descending.
hG. 142 s 124 iG. 142 s 124 No need to practice them all, but they are available and can be selected
hH. 142 s 142 iH. 142 s 142 based on the combinations that are troublesome in whatever repertoire
hI. 142 s 214 iI. 142 s 214
you are currently practicing.
hJ. 142 s 241 iJ. 142 s 241
hK. 142 s 412 iK. 142 s 412
Likewise it is suggested that one can practice a range of samples from
hL. 142 s 421 iL. 142 s 421
the exercise depending on perceived technical weaknesses.
hM. 214 s 124 iM. 214 s 124
hN. 214 s 142 iN. 214 s 142 Each pitch from Bb to E takes two minutes to perform if one selects
hO. 214 s 214 iO. 214 s 214 three different ascending/descending combinations.
hP. 214 s 241 iP. 214 s 241
hQ. 214 s 412 iQ. 214 s 412
hR. 214 s 421 iR. 214 s 421
hS. 241 s 124 iS. 241 s 124

hT. 241 s 142 iT. 241 s 142
hU. 241 s 214 iU. 241 s 214
hV. 241 s 241 iV. 241 s 241
hW. 241 s 412 iW. 241 s 412
hX. 241 s 421 iX. 241 s 421
hY. 421 s 124 iY. 421 s 124

hZ. 421 s 142 iZ. 421 s 142
hZa. 421 s 214 iZa. 421 s 214
hZb. 421 s 241 iZb. 421 s 241
hZc. 421 s 412 iZc. 421 s 412
hZd. 421 s 421 iZd. 421 s 421
hZe. 421 s 124 iZe. 421 s 124

hZf. 421 s 142 iZf. 421 s 142
hZg. 421 s 214 iZg. 421 s 214
hZh. 421 s 241 iZh. 421 s 241
hZi. 421 s 412 iZi. 421 s 412
hZj. 421 s 421 iZj. 421 s 421
IX. Chromatic Thumb Position Exercise
Six-Note Finger Spacing Patterns in Thumb Position
Develops Familiarity With the Most Common

Finger Intervals Used in Upper Register Passages
of Standard Concerto and Other Advanced Repertoire
This Exercise...
Is designed to help develop secure intonation, balance, and facility in all of the most commonly
used interval sets of the thumb position. Correct posture to facilitate comfort in each of the inter-
val sets must be tended to by a competent teacher.
The advice I can give in prose would be to pay attention to the principals outlined in any of the
other left hand exercises included in this guide including...
Balanced weight transfer.

Staying loose on the fingers that are not in use.
Finding ways for your arm to follow where your fingers need to be.
Use vibrato/weight transfer to help indicate where the troubles are.
This is another exercise that is highly adaptable to repertoire. The most common sets are the fifth
and sixth because they outline the intervals of the major and minor modes in much the same way
violinists use them with their 1st through 4th fingers.
An octave scale in one position is valuable in virtuosic passagework.
Much of the Chromatic Thumb Position Exercise's value speaks for itself. Variations in sequence of
fingers, and used in conjunction with the interval sets should allow you to use it with almost any
passage included in the standard repertoire of concertos, solo pieces, and showpieces.
56
Chromatic Thumb Position Excercise
≥ ≤
Thumb starts across 1 2 3 2 1 3 1 3
3
6 œ #œ œ œ œ #œ nœ œ #œ œ œ #œ nœ œ œ œ #œ œ nœ œ #œ œ œ œ
A and D Strings 2 2 2 3 2
1
&8
1 3 3 3
1
1st Set
2nd Set & nœ #œ œ #œ œ #œ nœ œ #œ #œ œ #œ nœ #œ œ œ #œ #œ nœ #œ #œ œ œ #œ
3rd Set & nœ #œ #œ #œ œ #œ nœ #œ #œ #œ œ #œ nœ #œ #œ œ #œ œ nœ #œ #œ œ #œ #œ
4th Set & œ œ #œ #œ œ nœ œ #œ nœ #œ #œ nœ œ #œ #œ œ nœ #œ œ #œ œ œ #œ #œ
5th Set &œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ #œ œ
6th Set & œ œ #œ œ œ œ #œ œ œ œ œ #œ œ
#œ #œ #œ œ œ œ #œ œ œ #œ œ
7th Set & œ œ #œ œ œ œ #œ œ œ œ œ #œ œ
& #œ œ #œ #œ œ œ #œ #œ œ #œ œ œ #œ #œ #œ œ œ œ #œ #œ œ œ #œ œ
Thumb moves
up 1/2 step
8th Set
9th Set & #œ œ #œ œ œ œ #œ #œ œ œ œ œ #œ œ #œ œ œ œ #œ œ œ œ #œ œ
10th Set & #œ œ œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ
11th Set & #œ œ nœ #œ nœ œ #œ nœ œ #œ nœ œ #œ #œ nœ #œ œ #œ #œ #œ œ #œ nœ #œ

57
≥ œ bœ œ ≤ œ bœ œ
3 1 3
b œ œ œ b œ œ œ
1 3 2 2
nœ bœ œ nœ bœ nœ œ
Thumb plays only 2 3 1 3
& bœ nœ nœ bœ nœ
1 2 2 2 3 3
on A string 1 1 3
1st Set
œ œ œ œ nœ bœ œ nœ œ œ nœ
2nd Set & bœ nœ œ œ nœ bœ œ nœ œ nœ bœ œ nœ
3rd Set & bœ nœ #œ œ œ nœ bœ #œ nœ œ œ nœ bœ œ #œ œ nœ œ bœ œ nœ œ #œ nœ
4th Set & bœ œ #œ œ œ nœ bœ #œ nœ œ #œ nœ bœ œ #œ œ nœ nœ bœ œ œ œ #œ nœ
bœ bœ bœ œ œ bœ bœ œ œ bœ œ
5th Set & bœ œ bœ œ œ bœ bœ œ œ œ bœ bœ œ
bœ bœ bœ œ œ bœ bœ œ œ œ œ
6th Set & bœ œ œ œ œ bœ œ œ œ œ bœ œ œ
œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ
7th Set & bœ œ
œ œ œ œ œ œ œ œ œ œ œ
Thumb moves
&œ œ œ œ œ œ œ œ œ œ œ œ œ
up 1/2 step
8th Set
bœ bœ bœ œ œ œ bœ œ œ œ œ
9th Set &œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ bœ bœ œ œ œ bœ œ bœ œ œ œ bœ bœ œ œ œ œ bœ œ œ bœ œ
10th Set &
11th Set & œ œ bœ nœ bœ œ œ bœ œ nœ bœ œ œ œ bœ nœ œ nœ œ œ œ nœ bœ nœ

58
≥ #œ œ œ ≤ #œ œ œ
Thumb alternates on 1 3
3
#œ nœ œ #œ œ #œ œ nœ œ #œ œ #œ œ
A and D Strings 2 3 1 3 2 1 3 2
& œ #œ #œ nœ #œ
1 2 2 2 3
Then on A alone 1 3 1 3
1st Set
Thumb on A and D Thumb on A alone Thumb on A and D strings Thumb on A alone
2nd Set & nœ #œ #œ #œ œ #œ nœ #œ #œ #œ œ #œ nœ #œ #œ œ #œ #œ nœ #œ #œ œ #œ #œ
#œ œ #œ nœ ‹œ #œ #œ œ #œ nœ #œ ‹œ œ #œ œ nœ #œ #œ œ ‹œ #œ
3rd Set & nœ #œ ‹œ
4th Set & œ #œ ‹œ #œ œ #œ œ ‹œ #œ #œ ‹œ #œ œ #œ ‹œ œ #œ #œ œ #œ #œ œ ‹œ #œ
œ œ œ œ œ œ œ #œ œ œ œ
5th Set & œ #œ œ œ œ œ œ #œ œ œ œ œ #œ
œ œ œ œ #œ #œ œ œ œ œ œ #œ œ #œ œ œ œ #œ œ #œ œ
6th Set & œ #œ #œ
#œ #œ œ œ œ #œ #œ #œ œ œ œ #œ #œ œ #œ œ œ #œ #œ œ #œ œ
7th Set & œ #œ
# œ #œ #œ œ œ #œ #œ #œ #œ œ œ #œ #œ #œ œ #œ œ #œ #œ #œ œ #œ œ
Thumb moves
& # œ
up 1/2 step
8th Set
#œ œ œ œ #œ #œ #œ œ œ œ #œ œ #œ œ #œ œ #œ œ #œ œ #œ œ
9th Set & #œ #œ
œ œ œ œ œ #œ œ #œ œ œ œ
10th Set & #œ #œ œ œ œ #œ œ #œ œ œ #œ œ #œ
11th Set & #œ #œ nœ #œ nœ œ #œ nœ #œ #œ nœ œ #œ #œ nœ #œ #œ #œ #œ #œ #œ #œ nœ #œ

59
Chromatic Thumb Position Exercise

Text Version
ϙ 1 2 3
1st Set 1/2 1/2 1/2
2nd Set 1/2 1/2 1
3rd Set 1/2 1 1/2
4th Set 1 1/2 1/2
5th Set 1 1/2 1
6th Set 1 1 1/2
7th Set 1 1 1
Thumb moves up a half step
8th Set 1/2 1 1
9th Set 1/2 1 1/2
10th Set 1/2 1/2 1
11th Set 1/2 1/2 1/2
Now return to 1st Set 1/2 step higher.
First rotation, thumb is on two strings
Second rotation, thumb is on top string
Third rotation, thumb alternates between top string and two strings
Suggested finger patterns for each set
ϙ12321
ϙ21321
ϙ32313
ϙ31323
X. Rhythmic Practice Chart
Two and Three-Note Practice Rhythms for Use
With Left Hand Finger Dexterity Passagework
These Rhythms...
Are designed to improve clarity, intonation, and facility in virtuosic passagework, études, and
velocity scales, and are meant to be plugged into this material.
There are many more mathematical combinations of rhythms that are possible, but these are the
ones I most often use because they are the most versatile.
This is the ditch-digging part of learning passages. Rhythms are designed to help with coordina-
tion between left hand and right, making shifts, extensions, string crossings, and other skills more
competent. Ultimately, the rhythms themselves help in all of these pursuits, but how you use them
is more important to your cause than just the fact that you use them.
There are three main families of virtuosic passagework and two styles of rhythmic organization
that typically occur in repertoire. Each need a bit of thought when designing the proper rhythmic
practice to improve the quality and facility of your performance of the passage.
If the passage's rhythm is organized in duple or simple units like groups of four 16th notes, two-
note or even four-note rhythms are often the easiest fit. That said, if the passage is bowed detaché
with no slurred groupings, it is still better to impose the compound or triple groups on the passage.
This can be a confusing process because it can be is difficult to get the hang of the hemiola like
treatment of imposing three-note rhythmic groups on a four-note thythmically organized passage.
However, one must set conditions that allow concentration on the challenge itself with minimum
distractions. The hemiola - more of a mental challenge - is less disturbing than the physical act of
constantly trying to recover bow to remain in the same place. This type of challenge exists when
the long notes of the rhythm are occurring always in the same bow direction as opposed to alter-
nating directions as in triple or compound rhythms.
The three families I mentioned are straight detaché, legato, and mixed. With legato passagework,
more rhythmic combinations are possible without a great deal of care in the selection of rhythms
beyond using a proper variety. Combination passages that use some legato and some detaché are
particularly difficult to manage in terms of finding rhythms that concentrate effort on the chal-
lenge.
It is important to develop a sensitivity to the things that every student should observe, especially
when the rhythm doesn't stay as snappy or clean when certain influences like shifts, string cross-
ings, difficult combinations, and awkward stretches might interfere.
63
Rhythmic Practice Chart

Two-Note Rhythms
Long 1st note
Long 2nd note
Two-Note Rhythm Combinations

Long 1st note plus
long 2nd note
Long 2nd note plus

long 1st note
Three-Note Rhythms
Long 1st note
Long 2nd note
Long 3rd note
Three-Note Rhythm Combinations

Long 1st note plus
long 2nd note
Long 2nd note plus

long 3rd note
Long 2nd note plus

long 1st note
Long 2nd note plus

long 3rd note
Long 3rd note plus

long 2nd note
Long 3rd note plus

long 1st note
XI. Galamian Style 24-Note Major Scales
Three Octave Scales With Rhythmic Acceleration
Develops Familiarity With Major Key Signatures and Ability

to Differentiate Simple and Compound Subdivisions
Galamian's 24-Note Scale System - All the Diatonic Scales...
One can practice Galamian's scale system with the rhythmic acceleration rhythms as in the C
major scale that follows, or with a single rhythm as in the 12-note patterns notated after.
Practicing all the rhythms in the C major scale develop a strong bond with each individual key
while developing simple and compund subdivisions and should be used to teach the scales at first.
I would recommend studying each individual scale first with the complete set of rhythms as shown
in the C major scale, with one or two scales at a time while learning them. When you are familiar
with all of the scales and their fingerings, you can use the 12-note pattern, or any other subdivision
that is within your capability, to go through all of the scales in one sitting for daily practice.
As you can see, the order presented in the 12-note pattern is chromatic. When introducing scales
to my students as they are learning them for the first time, I don't recommend the chromatic order
or going around the circle of fifths because neither of these two orders are progressive technically.
Here is the order in which I teach scales when my students first learn them in 3 octaves:
C major, D major, F major, Eb major, C minor, D minor, E major, C#/Db major, G major, F#/Gb
major, Ab major, A major, Bb major, B major, E minor, C# minor, F# minor, G minor, A minor, F
minor, Eb/D# minor, B minor, G#/Ab minor, Bb/A# minor
There are many published versions of scales. I tried to bring something new to my translation of
the Galamian Scale 24-Note System for cello by experimenting with what I call velocity fingerings.
This really means occasionally exploring less used thumb position combinations, in an effort to
reduce the amount of shifting.
I generally avoided using the classic combination of 12 12 123 commonly used in the upper octave
of many scales in other methods because it is an asymmetrical pattern that I almost never use in
fast scale passages in standard repertoire, preferring 123 123 or combinations with thumb.
I also use thumb position occasionally in lower positions with certain limitations. The only two
combinations that sit easily within the hand in the first through third positions are...
ϙ whole step 1 whole step 3 half step 4 and ϙ whole step 1 half step 2 whole step 4
As in this example...
66
Galamian Scale System Transcribed for Cello

C major (2:30)
œ œ œ œ
1
œ œ œ œ
1
?C œ œ œ œ

œ œ œ œ
œ3 œ œ œ4 œ œ 4œ œ
œ œ œ œ
œ œ œ œ
1
œ
œ œ œ œ œ
1
œ
œ œ œ œ œ
3 3 3 3
? œ œ

œ œ œ œ œ œ œ œ œ œ 3 3 3 3
3
œ œ œ 4œ œ
œ 4
œ œ œ œ œ 3 3 3

? œ œ œ œ œ œ
3 3 3
œ œ œ œ œ œ œ
3 3
1
œ œ œ1œ œ œ
? œ œ œ œ œ
œ œ œ
œ œ œ
œ œ œ 4œ œ
4
4

œ œ œ
1
œ œ œ
1 œ
œ œ œ
œ œ œ œ œ
3 3 3 3

? œ œ œ
œ œ œ œ œ
œ œ œ œ 3 3 3 3
œ3 œ œ 4œ œ
œ 4œ œ œ œ
? œ œ œ œ œ 3 3 3
œ œ œ œ œ
3 3 3 3 3
œ œ œ œ
67
œ œ œ
1
œ œ œ
? œ œ œ œ œ
œ œ œ œ œ
œ3 œ œ 4œ œ 4
? œ œ œ œ œ
œ œ œ œ œ œ
1
œ œ
1
œ œ œ œ
? œ œ œ œ œ œ
œ œ œ œ œ
œ œ œ œ œ
œ œ œ œ œ
? œ œ œ œ
œ œ œ œ œ
œ œ œ œ œ
1 3
œ œ œ œ œ
1
œ œ
4
œ œ 4
œ œœœ œ œ œœ
? œ œ œ
œ œ œ œ œ œœœ
œ œœœ
? œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ
1 3
1
4
œ œ 4
œœ œ œ œ œ œœœœ
? œœœœœ
œœœœœ œœ
œ
68
Three Octave Scale Fingerings

12 Notes to a Bow
2 1
œ œ 4 1
6 œ œ œ œ œ œ œ
œ œ œ œ
C major 6

?C œ œ
œ
œ œ œ œ œ œ œ œ 6 6
œ3 œ œ œ4 œ
œ œ4 œ œ œ 6
? œ œ œ œ 6
œ œ œ œ œ bbb
6 6 œ œ œ œ œ
1
nœ œ œ œ n œ n œ
2
1
œ œ nœ Bœ b œ
C minor 6 6
? bb œ œ b œ
b bœ œ nœ n œ
œ œ œ bœ œ œ 6 6
2 1 4
œ3 b œ b œ œ œ 4
œ œ b œ
4 4 64
b
Bb b b œ b œ œ œ bœ œ œ bœ 4 6
bœ œ œ b œ œ b œ œ b b b b b
?

6 6 II III
IV
œ
4 1 2 3 Ϙ 1 2
3
1
œ 61
Db major
? bb b
1 6 1
œ œ œ1
bb œ œ œ œ œ œ B
œ œ œ œ œ œ œ 6 6 I
III II
IV
2 1 Ϙ 3 2
1
œ3 œ œ œ œ
4
œ œ œ 4œ
b b
Bb b b œ œ ? œ
4 6
œ œ œ œ
4
6
##
œ œ œ œ œ œ œ ##
4

6 II 6 III œ
IV
1 2 3 Ϙ 1 2
#
C# minor 6 1 61 1
œ #œ #œ œ 1
œ
3
nœ œ
4
œ #œ #œ

? ## # # œ œ œ nœ œ B
œ #œ
œ nœ œ œ œ nœ œ III II
6 6 I
, 1
œ nœ nœ œ
3 2 4 2 1 4
œ
2 1 0
B ### œ nœ ?
œ nœ nœ œ
4
2
1 4
œ nœ œ œ
2 61 4 3
1 4 6
##
# nœ nœ œ œ n œ
6 6 II III œ œ nœ œ
IV
69
, 1 2
D major
6
6
œ œ0 œ œ œ œ1 œ3 4œ œ œ œ Ϙ

? ## 1
œ œ œ œ œ B
œ œ
œ œ œ œ œ œ I 6 6
,
œ3 œ2 œ1 Ϙœ 4 3 œ1 4œ
B ## œ œ ?
œ œ œ œ œ œ œ œ œ
6
6
œ œ œ œ b
6 6 œ œ œ
, 1 2
6
œ nœ # œ œ œ
1
nœ2 œ
4 Ϙ
œ nœ #œ
œ nœ œ
6 0

?b
D minor
nœ # œ œ B
œ nœ œ œ œ nœ œ œ
I 6 6
Ϙ 4
œ3 n œ b œ œ, œ
2 1 2 1 4
nœ œ œ n œ bœ œ œ 6
6
Bb nœ œ œ nœ
b œ œ œ nœ œ nœ œ b b b
?

6 6 II œ
2 4 61 2 3
œ œ œ
1
1
œ
2
œ œ œ Bœ œ œ Ϙ
6 1 122 3
b major
? 1 4 2 61 2 0 1
œ œ œ
bbb œ œ œ œ œ œ œ œ
œ œ œ
II I 6
œ3 œ2 œ1 œ3 œ2 1 Ϙœ œ3 œ 4 1 0 2
B bbb œ? œ œ œ œ œ2 6
1 4 2
œ œ œ œ œ b
6 6 œ œ œ œ œ b bbbb
II 6 III
œ3 Ϙœ b œ1 œ2 œ3 n œ1 n œ
2
2
œ n œ n œ 60 1 2 4 1
œ bœ œ
1 1 2
6

? bb b b
b minor 1
œ nœ nœ œ B
b b œ bœ œ œ œ bœ œ 6
6
II I
3 2
œ b œ b œ1 œ1 Ϙœ 3 2
œ œ1 b œ4 b œ2 1 Ϙ 4 3 1 4 2 1 4 2 2 6 1 4 3
bœ œ œ bœ œ œ

B bbbbbb ? bœ bœ œ œ bœ ####
6 6
œ œ bœ œ
II III 6 IV
1 2
œ
3
œ Ϙ œ
2 œ
3 œ
1 œ2
œ œ œ œ œ
1 61 1 1

#### 1 4 2 6 1
major
? œ œ œ œ œ œ B
œ œ œ œ œ œ œ II
6 I
6
œ3 œ2 œ1 œ3 œ2 1 Ϙœ œ3 œ2 1 4
œ œ œ œ œ 4
B ### ? œ œ œ œ4 4 6
nn
# œ œ œ œ œ œ œ nn
6 II 6 6 III
70
1 2
œ #Ϙœ n œ1 œ œ # œ # œ 1 2 3
0 1 1
minor 6 1
3
œ œ # œ # œ 2 3

? 1 6
œ #œ # œ œ #œ nœ B
œ nœ #œ œ œ nœ œ
6 II I 6
Ϙ
œ3 n œ n œ œ œ, 4 # œ3 œ1 n œ4 2 1 0
2 1 1
6
B n œ ?
n œ œ œ nœ #œ œ nœ 1 0 3 1
nœ œ œ nœ #œ nœ œ b
6 I 6 II
œ
6
œ œ œ 2 4 1 2 3
Ϙ œ
1 œ
2 œ
3 œ
1 œ2
œ1
œ œ œ
œ œ œ œ
major 1 6 0 1

?b œ œ B
œ œ œ œ œ œ
II 6 I 6
6
Ϙ
œ3 œ œ œ3 œ œ œ œ2 œ1 4œ 2 1
3
œ œ œ 4œ œ œ 0 61
4 2
Bb
bbbb
? œ œ œ œ œ

6 II 6
œ œ œ
6
1 nœ
3 2
3 nœ
2
œ œ n œ n œ œ 2 4 1
œ b œ œ2 œ
Ϙ 1
minor
? bb b
1
6 0 1 0
œ œ b œ
1
b œ b œ œ œ œ b œ œ œ nœ nœ
B

6 II I
6
6
Ϙ
œ3 b œ2 b œ1 œ3 œ2 1 œ œ3 b œ2 b œ1 œ4 2 1
bœ œ b œ œ4 œ b œ 4 3 1 4 3 6 1

B bbbb ? b œ œ œ b œ œ b œ œ ######
6 I 6
œ
II 6
2 4
1
œ
2
œ
3
œ œ
3 œ
1 œ
2
œ œ œ œ œ
Ϙ 1 2
? #### # 1
# major 6 1
œ1
œ œ œ
1
B
# œ œ œ œ œ œ œ œ œ
6 I 6
III 6 II
Ϙ
œ3 œ2 œ1 œ3 2 1 œ œ3 œ2 œ1 4œ
# œ œ œ œ œ4 œ
#
B ### # ?
4
œ œ œ œ œ
4 6
###
œ œ œ œ
6 II 6 IV
6 III
1 #œ
3 2
3 #œ
2
2
4 1
œ #œ #œ œ œ nœ œ
Ϙ 1 2 œ
# minor
? ###
1
6 1 1
œ œ nœ1
œ

œ nœ œ œ œ nœ œ œ #œ #œ B
6 I 6
III 6 II
œ3 n œ2 n œ1 œ3 œ2 , 1 4
œ œ n œ n œ4
nœ œ œ nœ0 œ4 œ 4 6

B ### ?
4
nœ nœ œ œ nœ #
6 6
œ œ nœ œ
I
6 III
71
œ œ
1
œ
3
œ
4
œ ,
major 0
?# 6
3
œ œ œ œ œ Ϙ 1 2
œ œ
3
œ
1 œ2
œ œ œ œ œ œ œ œ 6
œ œ
, 4 6 4 I 6
œ œ œ œ œ
3
œ
# œ œ œ œ œ?3 œ œ œ œ 6
œ œ œ œ œ
œ œ œ œ bb
I6 6 II 6
b œ œ œ n
1
œ # œ œ Ϙ, 0
minor
?b 6
nœ #œ œ œ œ œ nœ1 #œ
2
b œ bœ œ œ œ bœ œ œ œ bœ
6 I
6 6
Ϙ
3 , 4œ
œ 4
b œ nœ b œ2
œ
1 nœ b3
œ œ œ
2b œ œ œ nœ b œ
1 6 2 1
b œ bœ B ? œ œ bœ œ œ bœ œ b b b b
I
6 6 II 6
1 2 Ϙ
œ œ œ 2 3
b major 1 6 1
œ
1 œ œ œ œ œ 2
œ
3 œ
1 œ
2
1
? œ 3 1
œ
bbbb œ œ œ œ œ œ œ œ œ œ
6 II 6 I 6
3
1 Ϙ 2
œ œ3 œ œ œ œ 3 1
œ œ œ œ 4œ œ 4 6
b
bb b œ œ
3
œ œ B œ œ
2
?
4
œ œ œ œ œ œ bbbbbb

6 6 II 6
b
III
1 2 Ϙ
n œ œ
Ab minor
1 6
nœ 1 œ œ b œ œ œ nœ 1 2
œ 1 nœ
3 nœ
2
1
?bbb 1
œ nœ 3
b œ œ
b b b b œ bœ œ œ œ bœ œ œ
6 II 6 I 6
3 2
œ b œ b œ œ3 œ2 1 B
3
2 1 œ œ b œ1 b œϘ œ3 2 b œ1 œ4 œ2 1 4 3 1 4 3 6 1
bbbbbbb bœ œ? bœ bœ œ œ bœ
œ œ b œ œ ##
#
6 6 II 6 III
1 Ϙ
4
œ œ œ œ œ 1
2 3
? ###
major 1 6 0 1 2
œ œ
1 œ œ œ 1
œ œ œ1 œ
œ œ œ œ œ œ œ œ œ œ
6 II 6 I 6
3
1 Ϙ 2
### œ œ
3
œ œ œ œB œ œ œ œ
3
œ œ2 ? œ 4œ œ œ œ3 œ
1
6
œ œ œ œ œ œ nnn
3

6 6 II 6 III
72
œ # Ϙ #œ
œ 1
œ
2
minor 6 0
#œ1 œ
2
4 nœ
œ 1 œ 1 2 1 #œ
3 #œ
œ
2 2 3
? nœ # œ 3
œ
œ œ œ œ nœ œ œ œ nœ
II
, 6 6 I 6
1 Ϙ 4
3
œ nœ2 nœ1 œ3 2 1 œ œ n œ nœ2 œ1 œ4 n œ2 œ1 œ0 nœ4 6
œ nœ B nœ œ œ nœ
œ œ nœ œ b b
?

6 I 6 6 II III
3 Ϙ 1 2
b major 1
œ œ œ 6
1
œ œ œ œ œ 3 1 2 œ3 œ1 œ2
0
2
œ œ Bœ œ œ œ
1 1
?b
b œ œ œ œ œ œ œ
II 6 6 I 6
2 1 Ϙ
, 3
3
œ œ œ œ œ œ œ œ 2 œ1 4œ œ 4
3
0 2 61
b œ
3
œ œB œ ? œ œ œ œ œ œ œ œ œ bb b
b bb
6 6 6 II III
Ϙ 1
œ œ 6 2 3
œ n œ n œ œ2 3 1 2 œ3 nœ1 n œ2
b minor
? bb b
1
œ nœ nœ 1
Bb œ œ 1
œ bœ œ
1
b b œ bœ œ œ œ bœ œ
6 6 II I 6
1 Ϙ 3 2
œ 3
b œ b œ 2 œ œ b œ b œ 3
œ b œ
1
œ œ b œ1 b œ4 œ3 1 4 3 6 1
4 2
b b
1
œ
3
œ
2
b 1
œ B œ
2
? œ b œ œ œ b œ œ #####
bbb
6 6 II 6 III
3 Ϙ 1
major 1
œ
1 œ œ 6
œ œ œ œ œ2 3 1 2 œ3 œ1 œ2 2
4
1
2
? #### 1
œ œ Bœ œ œ œ
# œ œ œ œ œ œ œ
II 6 6 I 6
3 2
œ œ œ œϘ 3 2 œ1 4œ
1
#### œ œ 3
œ œ œ œB
3 œ œ? œ œ 4œ œ œ 4 6
# œ œ œ œ œ ##
6 6 II 6 III
3 Ϙ 1 2
minor 1 6 0
#œ1 œ
2 œ 1
œ œ # œ # œ œ 3 1 2 œ3 #œ1 # œ2 4 2
? ## 1
œ #œ Bnœ œ nœ œ
œ nœ œ œ œ nœ œ
II
3 2
, 6 6 I 6
1
œ3 n œ2 nœ1 œ3 œ2 1 œ œ n œ n œ œ3 œ1 n 4œ œ œ nœ nœ
4
0 3 61
## nœ B ? œ œ nœ œ œ nœ œ

6 6 I 6 II III
73
Conclusion...
This technical guide is meant to supplement the study, teaching, and performance of the immortal music that has been
created for the greatest instrument ever - The Cello. Cellists are fortunate to have in our repertoire many great compo-
sitions for our instrument by the most famous composers of the High Baroque, Romantic, 20th Century, and by living
composers. The highest idealism is to be worthy of these great works and our beautiful instrument by performing from
our hearts without technical obstructions to hinder our expression.
As we prepare ourselves to do justice to great masterpieces of music, we must find an ideal combination of scientific
study and artistic ideals. It is only with comprehensive knowledge of our art that we can begin to form the basis of the
scientific study necessary to prepare ourselves to make music at the very highest level.
That is why study on the cello seems to be such an impossible conundrum. We can't even know the limits imposed by
incomplete technical preparation unless we first conquer them and can't conquer them without knowing in what way
we are limited. We can't completely understand how we are limited without being great artists and we cant become
great artists without overcoming our limitations.
Heros are those that strive to seemingly impossible noble goals regardless of hope of success and that is why students
are the real heros of this story.
Fortunately, there have been many great artists in the past and in our time who demonstrate that the task is not as
impossible as it seems. We listen to their recordings and wonder how they could have played that passage, made that
special tone color, or recreated that beautiful polished phrase.
Students are amazing! If they see that it's possible, they will eventually find a way. The study itself is its own reward, but
our time on earth is limited and "eventually find a way" may not suit those who want to climb higher and travel farther
than the most excellent of their predecessors.
"Music is enough for a lifetime, but a lifetime is never enough for music." - Rubinstein
This is why the other heros in this story are the many dedicated teachers who have a comprehensive knowledge of the
art, can forsee the effects of the limitations within their students, and can help them to find their path more quickly.
In its purest form, teaching is a selfless task and those who dedicate their lives to its cause should have our utmost
respect and gratitude. Any musician whose life has been touched by a dedicated teacher knows the truth of this state-
ment as I do.
Sincerely,
Stefan Kartman

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An Artist's Guide to Cello Technique

Building and Maintaining Professional Level

©2021 by Stefan Kartman. All rights reserved.

I. An Artist's Guide to Cello Technique 5

II. Summary of Application of this Guide 9

III. Some Examples for Repertoire Based Use 13

IV. Open String Exercise (6:00-8:00 minutes) 21

V. Vibrato Exercises (8:00 minutes) 23

VI. String Crossing Exercise (4:00 minutes) 27

VII. Intonation Meditation (5:30 minutes) 31

VIII. Hexachords (2:00-14:00 minutes) 37

IX. Chromatic Thumb Position Exercise (3:30 minutes) 55

X. Rhythmic Practice Chart 61

XI. Galamian Style 24-Note Major Scales (2:30 minutes each) 65

An Artist's Guide to Technique on the Cello

We'll start with some of the basics mentioned above...

• Play very fast

• Control over use of vibrato speed

The exercises in this guide can be used in two ways.

Summary of Application of This Guide

Some Examples for Repertoire Based Use

≤ alteration ≤ included ≤ in the "Chro-

? 4 ÓExercise" œ œpageœ56œ ofœthe œ œ œtheœ pattern œ œ # œ œ œ œ œ œ03 œ n œ2

4 the basic& œfinger spacing œexercises.

Add a couple of&new

3 # œ1 œ œ œ œ œ 1 # œ theœ finger asœ it moves

œ the performer to œalternate

& œ œ13N œ œœ œ œ œ # œ3 œœ œœ œœ œ œ N œ3 œ œœ œ œ œ œœ32 # œ œœ œœ œ

& œ œ31N œ œ œ œ œ œ31 œ œ # œ œ œ œ32 œ œ N œ œ œ œ23 # œ œ œ œ

& 8 œ byœ the œ œ œHaydn œ œ œ inœmeasures

challenges presented # œ melody œ # œcomposed

Long 1st note

1st plus 2nd note

Long 1st note

Long 2nd note

Long 3rd note

Long 1st note

Long 2nd note

Long 3rd note

hZd 421 s 321ϙ iL ϙ123 s 431 hQ 214 s 312ϙ i(O) ϙ213 s

Open String Exercise

˙ œ œ œ œ ˙ œ œ œ œ w at frog no stop string - lift bow

Develops Control Over Speed of Vibrato

String Crossing Intonation Exercise (4:00)

Develops Familiarity With First Through

However, there are certain common themes...

Intonation Meditation (5:30)

>r >r >r

œ ˙ œ œ ˙43 œ œ ˙˙1 n œ œ ˙42 œ œ ˙˙ n œ œ ˙14

œœœ˙ œœœ˙ œœœ˙

œœœ˙ œœœ˙ œœœ˙

Develops Familiarity With Half Position Through

Ascending from 4 to 1 Descending from 1 to 4

# œ # œ # œ # œ # œ # œ bœbœ œ œbœbœ bœbœ œ œbœbœ bœ œbœ œbœbœ œb œb œb œ œb œ

bœbœ œ œ bœbœ œbœbœ œ œbœ œ bœ œ bœ bœ œ œbœbœ œbœ œ

Around the Bout - Text Version

Here from A natural and

As in exercise starting on Bb...

and the two variations...

hS. 241 s 124 iS. 241 s 124

hY. 421 s 124 iY. 421 s 124

hZe. 421 s 124 iZe. 421 s 124

Develops Familiarity With the Most Common