0-50 New Method

Georg's Little Music Library
Georg's New Cello Method

Volume 1
The first position

including Slurs, Staccato, Double stops
Systematic step by step Cello Method
* carefully measured steps

* everything explained in detail
* suitable as online video tutor
- links shown are interactive on
tablet, phone or computer
* beautiful cello duos
handwritten by Georg Mertens

Georg's New Cello Method - Volume 1
For online video tutor click here - https://www.patreon.com/georgcello
Volume 1
A Tips for how to use the Cello Method

B How to Practice - Some useful Tips
C Chart of Note Values
0 The open Strings on the Cello - The 2 Bow Directions

1 One, two, three, four - One (GM)
2 Minims or 1/2 Notes (GM)
3 Rain, Rain, go away (Trad.)
4 Hot Cross Buns (Trad.)
5 Accompaniment to "Twinkle, twinkle little Star" (GM)
6 Twinkle, twinkle little Star (Trad.)
7 French Folk Song (Trad.) - Counting
8 Scale in D major - Warm up
9 Tica-tica, Tuc - tuc (GM)
10 Frere Jacques (Trad.)
11 All my little Ducklings (Trad.)
12 Lightly Row - Little John (Trad.)
13 Song of Joy (Beethoven)
14 Fox Song / Song of the Wind (Trad.)
15 Bee-Baa Bootzelman (Trad.)
16 Scale in G major
17 The Notes in G major
18 Andantino (Carcassi)
19 Silent Night (Gruber)
20 Happy Birthday (Trad.)
21 Arpeggio Study (GM)
22 4 Slur Exercises (GM)
23 Arpeggio Study in Slurs (GM)
24 Quick Tune (GM)
25 Rigadoon (H. Purcell)
26 Nun ruhen alle Wälder (J.S. Bach)
27 Intonation Study (GM)
28 Scale in C major
29 Nimble Fingers (G.M.)
30 Study in C major (G.M.)
31 The Volga Song (Trad)
32 The Hippopotamus (G.M.)
(continued next page)
© Georg Mertens, Katoomba, Australia 2020 - www.georgcello.com

Volume 1 (continued)
33 Maytime (Neidhardt)
34 Scarborough Fair (Trad)
35 Sakura, Sakura (Trad)
36 Hatikvah (Trad)
37 The Ashgrove (Trad)
38 Study in C (F. Sor)
39 Early one Morning (Trad)
40 Staccato Exercise
41 Double Stop Exercises
42 Morning Stroll (A. Gretchaninov)
43 We wish you a Merry Christmas (Trad)
44 Rigadoon II (Purcell)
45 Legoto Study after Dotzauer (G.M./Dotzauer)
46 What shall we do with the Drunken Sailor (Trad)
47 Hornpipe (Trad)
48 String Crossing Study (G.M.)
49 Staccato & Double Stop Exercises
50 Double-Double Stops for 2 cellos (G.M.)
When viewed on any phone, tablet or computer all links will open when clicked on.
Copyright by Georg Mertens, Katoomba Australia 2020

copying, publishing and sending this music without permission per email
is against the law.
Performing welcome.

A - TIPS on how to use the Cello Method

I recommend the online video tutor - https://www.patreon.com/georgcello
There is a minimum fee from $2 per month to access patreon.
For non-beginners I recommend to watch all videos at least once from the start,
because essential information is given on the way
and is sometimes not repeated later.
1) Play every piece at least once through

/
2) Once a piece has no mistake, it can be crossed out
(through the number) and doesn't need to be played again.
Of course any piece can be kept to play,
but it doesn't need to be played.
3) If after playing a piece through you really dislike it, you can
X cross it out (and never play it again!)
Each section in the method has several pieces addressing the

same musical or technical issues.
Not every single piece needs to practiced.
We learn more and faster by playing what we like and

cutting to a minimum, what we don't like.
4) At least one piece in each section should be completed.

The sections show as a group in the index
6) Mark favourite pieces (heart or sticker).

✯ I suggest creating a folder with just favourites.
7) I recommend to start every practice with a "warm up piece"

- one of the favourites - and keep it for the term.
I recommend to learn the warm up piece by memory.
I learned musically and technically most on pieces I could play

anyway without mistake and by memory.
Once we know a piece very well, we can focus on tiny details,

which we discover only after we can take playing the
notes correctly for granted - then we can polish to perfection.

B - How to Practice - Some useful Tips
1) I recommend strongly to have the cello always unpacked, ready to play,

bow ready next to it, music on a stand or accessible, open on the page to start.
2a) First watch the video, play everything through, watch again and correct.
2b) If having lessons, I recommend playing after the lesson everything once
through at home. - Why? We have two mind sets: the one is the home mind set,
the old way of playing - the other is the teachers place set.
One day later 50% is lost and the old way creeps in.
Some students write information down after the lesson or record part of the lesson.
Watching the video several times replaces these former ways.
3) Start every practice with a slow scale (any), 3 or 4 beats per note.
This scale warms us up, including sitting correctly, spike length ideal, tuned well,
bow hold, bow control, bow level and direction good, sound and intonation good.
This one scale saves us from being shocked by our first piece!
4) Following should be our warm up piece.
5) Now starts our variable practice program.
6) I find it important that every practice has some little goal: after this
practice I want to play this bar / this section safely or much better.
In 5-10 minutes we can achieve something - a practice doesn't need to be always
half an hour plus.
7) We learn by repetition - that's why we practice.

The fastest method of learning is therefore to make no mistake at all!
That requires drastically slowing down, focussing well and observing all details.
Despite the slow pace, rhythm and bowing have to be correct from the very
beginning - or we have to relearn.
8) If it just doesn't sound right on a day, we might put the cello on the ground, walk
a circle through the room and sit down again; often it will sound better!
9) If anything hurts - stop and take a break, mention it to your teacher or send a
message. Sometimes when something hurts, like the thumb or the arm - a break of
5-10 seconds lets the pain fade away. Take this tiny break as soon as the pain
occurs - then start where you stopped, not from the beginning.

C - Chart of Note Values (longer to shorter)

NOTES: RESTS:
= 4/4 note, whole note or semibreve, 4 beats
(the numbers 1 2 3 4 underneath are how we count the beats)
= 1/2 note or minim, 2 beats
= 1/4 note or crotchet, 1 beat
= 1/8 note or quaver, 1/2 a beat, 2 in 1 beat

(counting: 1 & 2 & 3 & 4 & )
= 1/16 note or semiquaver, 1/4 of a beat, 4 in 1 beat
= 1/32 note or demisemiquaver, 1/8 of a beat, 8 in 1 beat

Every other added line will half the value again.
DOTS: In the dotted note the dot lengthens the note by half
its value:
= dotted minim, 3/4 note, 3 beats
= dotted crotchet, dotted qurter note, 1 and 1/2 beats long

Georg's New Cello Method - Volume
Video for No 0 & 1 plus posture - https://www.patreon.com/posts/38957452
GETTING STARTED
O The open Strings on the Cello

Reading music for the cello is easy !
The open strings are in convenient positions of the stave,
easy to remember:
The A (1) is on the top line.

The D (2) is on the middle line.
The G (3) is on the bottom line.
The C (4) is underneath the stave.
Keeping the NAMES OF THE STRINGS in mind:
A Dear Giant Cello

or
All Drivers Go Crazy

__________________________________________
The 2 BOW DIRECTIONS:
The bow has two ends.

The one end is called the “Nut” or “Frog”.
The other end is called the “Tip”.
When we start from the nut we call it
“down bow” (because of the violin!)
the sign symbolises the square end:
When we start from the tip we call it
“up bow”, the sign is the pointy tip:
Video for No 0 & 1 plus posture - https://www.patreon.com/posts/38957452
1 “One, two, three, four, One”
* These notes are called “crotchets” or 1/4 notes;

they are 1 beat long (a quarter of a 4/4 bar)
* Next to the bass clef we find a “C”:
The “C” stands for "Common Beat",

a bar with 4 beats, also written as 4/4.
__________________________________________________
Rests:
(1 beat rest) (2 beats rest)

(crotchet or (minim or
or 1/4 note rest) 1/2 note rest)
_______________________________
* Count the numbers of the beat loudly: 1, 2, 3, 4, 1 -

then whisper the beats during the rests - 2, 3, 4
* Start every new string with a “Down Bow” ( )
see the public video on Youtube - Georg's New Cello Method - No 0

& 1 (posture & bow hold) - https://youtu.be/g6Lo91afZ0g
Accompaniment to No. 1
(too adva

Accompaniment to No 1 - One, two, three, four - One

(too advanced for students at this level)
2 Minims - or 1/2 Notes - 2 beats long

Video for No 2, 3 & 4 - https://www.patreon.com/posts/39194350
Every string needs a different amount of bow:

* The A string is thin and needs to be played lightly, quite fast bow,
* the D string a little bit heavier.
* The G string needs some weight and a bit less bow,
* the C string very slow and heavy, especially start slow, use less bow.
There is no rule how much bow to use for 2 beats, because it is different
on each string.
The bow needs to be played 100% straight and slightly tilted inwards.
Try out, on which spot of the string it sounds best.
count:
1 2 3 4 1 2 3 4 1 2 3 4 1 2 (3 4)
Accompaniment:
Pluck the notes of the melody but strictly in crotchets (1/4 notes)
Video for No 2, 3 & 4 - https://www.patreon.com/posts/39194350
The Fingers of the left Hand

Technique of the left hand:
* Put the thumb underneath the second finger
* The wrist needs to be straight.
* 2nd and 3rd finger more upright 1st and 4th finger flatter on the string.
3 Rain, Rain, go away traditional

a (pizzicato = plucked)
* Compare the 4th finger on the
A string (note d) with the open D string.
The open D string will vibrate, when
the 4th finger on the A string is in tune.
* Push the fingers (especially 4)
firmly down until the sound is clear.
Accompaniment to “Rain, Rain go away” - Try!
4 Hot Cross Buns traditional
Accompaniment to “Hot Cross Buns" - Try!

Video for No 5 & 6 - https://www.patreon.com/posts/39373888
5 Accompaniment to
"Twinkle, twinkle, little Star" G.M.
* The “dots” above the notes indicate playing with a short character,
like tumm, tumm. The strokes are initiated from the elbow;
the bow remains on the string. The “lines" __ indicate to play broadly.
* The dots and lines don’t alter the length (or speed) of the beat.
6 Twinkle, twinkle, little Star traditional
* Practice first plucking (pizz.) until you feel safe to use left hand and
bow at the same time.
* Play the first two notes steady, without hesitating to continue to
the next two notes; the beat (rhythm) needs to be regular like a heart
beat.

Video for No 7 & a Chat about Counting - https://www.patreon.com/posts/39444019
7 French Folk Song dotted minim

or 3/4 note
3 beats long
slow, lots of bow French traditional
LEFT HAND:
* Compare the 4th finger on the A string (note d) with the open D
string.
* Listen every time, if the fingers are far enough apart.
* You might find that the third finger sounds a bit out of tune.
The third to the fourth finger is called a leading note and they should be
played quite close together, 3 close to 4 (let the 2 go with 3).
BOW:
* Create long and singing notes.

* Every line starts with an up bow ( V ) and finishes with a down bow.
Video for No 7 & a Chat about Counting - https://www.patreon.com/posts/39444019
Counting:
Most of our music follows a beat, which we can feel and also count.
Unfortunately counting numbers can take away from the musical line
of a melody.
I suggest: feel the beat, feel the pulse by tapping your toes or feet or just
feeling “tum-tum” - and only count numbers when a note (or a rest) is
longer than 2 beats, like here the 3 beat notes.
Remember: We need to feel the beat.
Important:
In one song, in one piece every beat has the same length, if easy or
difficult.
Only when the beat is regular we are able to play together.
How should otherwise one player know which beat the other decides to
play longer or shorter? If one player plays a note twice (correcting) the
other player might be for the whole piece this one beat ahead (which
would sound terrible!)
Accompaniment to French Folk Song

(too advanced for students at this level) G.M.
Video for No 8 - What we can learn with a simple scale in D major plus a
little Chat about warming up - https://www.patreon.com/posts/40004333
8 Scale in D major
* During the rest, rest the bow and hand on the string, don't lift.
* Start every bow gradually before coming into full speed
Listen that every bow starts with a full sound, no whistling.
* The bow movement is organised and felt from the elbow - not
the hand and not the upper arm and shoulder.
* Once you know where the fingers to place, say the names of the
notes when you start the note.
Accompaniment to the Scale in D major (teacher)
Warm up
Maybe you noticed that when you start, the first piece or first minute
don't seem to work 100%.
It is a good idea to warm up! And not with the hardest piece.
A very good warm up is the scale above:
It is slow, easy after a short while.
(you can also use a different warm up piece)
Best learn by memory, the bow right and good sound!
Quavers or 1/8 notes

A common bar of 4 beats has 8 quavers (or 1/8 notes);
a quaver (1/8) is half a beat long; so 1 beat has 2 quavers (2/8).
9 Tica - tica, Tuc - tuc G.M.
* The crotchets (1/4 notes) have a dot to indicate a short character

(like in Twinkle, twinkle). Play the crotchets (1/4) like a quaver (1/8)
followed by a quaver (1/8) rest.
* Every bar starts with (down bow).
9a Accompaniment to “Tica tica Tuc - tuc”

Plucking fun !
10 Frere Jacques (Where is Thumbkin)

* Frere Jacques is a "round", also called a "canon".
* A second, third and fourth cello can start at the beginning
when the first cello comes to a * sign.
French traditional
11 All my little Ducklings German traditional

* p means “piano” = soft, quiet - f means “forte” = loud, strong

Play the A string bar 2 very light.
The A string is thinner and likes to be played light.
11 a Accompaniment to “All my little Ducklings”

An easy accompaniment every student can play!
12 Lightly Row
* Tap the crotchet (1/4 note) beat with your foot
German traditional
12 a Accompaniment to “Lightly Row” G.M.

Video for No 13 - https://www.patreon.com/posts/40513124
Dotted Crotchets (dotted 1/4 notes)

A dot after a note adds half of its length:
1 beat + 1/2 a beat = 1 and 1/2 beats
13 Ode to Joy
Ludwig van Beethove
13 a Accompaniment to “Ode to Joy”

This is an accompaniment every student should try!
14 e Exercise to stabilise the left Hand

* Stay with the 1st finger on the A-string, when the 4 goes to the D-string
14 Fox Song
German traditional
, = comma - in the last line :
Lift the bow at the comma and go back to the nut ready for the down bow.
14 a Accompaniment to “Fox Song"

Video for No 15 - https://www.patreon.com/posts/georgs-new-cello-41019434
15 e Exercise for the “Bee-Baa Bootzelman”
German traditiona
Every (full) bar starts with a down bow.
Accompaniment: (too advanced for students at this level) G.M.

Video for No 16 & 17 -https://www.patreon.com/posts/41019557
The Second Finger

* The sharp ( # ) in front of a note rises the note by a "semi tone",
which is the distance from one finger to the next, like 2 to 3.
* A sharp (or a flat) at the beginning of a piece counts for the whole
piece.
* A sharp (or a flat) within a piece counts only for this bar (measure).
16 Scale in G major
Accompaniment to scale in G major (teacher)
The 2nd finger on the A string is the note "C".

Up to now we played the 3rd finger C# and also on the D string F#.
* In the top right corner is a chart where to play 2nd or 3rd finger
17 The Notes in G major - say note names

18 Andantino Matteo Carcassi
* Every bar starts with a down bow:
this sign means "crescendo" = getting louder

this sign means "diminuendo" = getting softer
How do you get louder? Just use more bow.
How do you get softer? Play less bow and perhaps a bit lighter.
Listen how it sounds - every string is a bit different.
Accompaniment: (too advanced for students at this level -

a good 2nd position exercise for later)
19 Silent Night
= a “pause”: we can lengthen the note under a “pause” sign
according to our taste (no counting instruction)
Max Gruber
19 a Accompaniment to “Silent Night” G.M.

20 Happy Birthday
traditional
Video for No 21 - https://www.patreon.com/georgcello

21 b Accompaniment to Arpeggio Study

SLURS
In a slur we connect notes without changing bow direction.
* In Exercise 22 a and 22 b we go gradually from one string to the next in
a continuous movement - allowing even to play for a short moment two
strings together on the way.
* We start touching the new string exactly on the beat.
* In Exercise 22 b play the bow exactly parallel to the bridge.
22 a
22 b
22 c
22 d
23 Arpeggio Study in Slurs

Every line, every bar starts
Use lots of bow for a beautiful sound! G.M
23 b Arpeggio Study in Slurs - Acc.

24 “Quick Tune”
* Once you know the notes, try to use shorter bows and play faster;
you will be surprised, it might be easier.
* is called “cut common” or “alla breve”, indicating a quicker speed.

Instead of 4 crotchets (4 x 1/4 notes) we count 2 minims (2 x 1/2 notes),
which makes 2 beats per bar instead of 4.
* If we would tap counting the crotchets (1/4 notes) in this piece it would
give us a cramp, it would be too fast. How much easier to count 2 beats!
G.M

24 a Acc. to “Quick Tune”
For students too! Easier than the original Quick Tune.

The string crossings are opposite than in the melody, completing thus
exercising the string crossings with slurs.
And - it helps learning to read the lower notes.

25 Rigadoon
* Every line, every bar starts with a down bow:
* A bouncy dance with short bow strokes, like in “Twinkle, twinkle”

* Count well in the last bar of line 3 - listen to the accompaniment
Henry Purcell
See No. 44 for the accompaniment of “Rigadoon”

26 Nun ruhen alle Wälder
slow and calm J.S.Bach

Bach adopted this song. The melody is by the composer H. Isaac
(1450-1517) with the title "Innsbruck ich muss dich lassen".
Originally this song had a more complicated rhythm changing from
3/2 to 2/2. After the 30 years war - (1618-48) c 100 years before Bach
- rhythms became more simple and old melodies were simplified,
usually to 4/4 due to the overwhelming influence of military bands.
Accompaniment: (too advanced for students at this level -

another good 2nd position exercise for later)
27 Intonation Study
G. M.
27 a Acc. to Intonation Study

Video for No 28: https://www.patreon.com/posts/41772062
28 Scale in C major
* Play the C string heavy and slow, the A string light.
* Create with every note a rich, round sound.
* Keep the bow resting on the string at bow change, don't lift.
* To learn the note names, say or sing the names when playing.
* Scale up: rest on the string at bow changes - scale down: smooth
Accompaniment to Scale in C major

28 a Scale in C major slurred
29 Nimble Fingers
Video for No 29: https://www.patreon.com/posts/41998815 G.M.
29 a Accompaniment to “Nimble Fingers”

30 Study in C major
* This study includes all notes of the C scale!
Moderato G.M.
30 a Accompaniment to Study in C major

( pizz. or arco )
31 The Volga Song

Russian Traditional
adagio - slow
31 a Acc. to the Volga Song
G.M

32 The Hippopotamus
Flats [b]
Flats [b] are in a way the opposite to sharps [#]
E.g. the note E on the C string is 3rd finger, but if a 'b' is written before, it
becomes 2nd finger, one semitone (half a tone) lower and is called E flat.
This is the opposite as we had before when the 2nd finger on D string is F
F and with a '#' in front it turns into F# (F sharp) and becomes 3rd
finger.
Both indications count to the end of the bar/measure.
If written at the beginning of the piece it counts for the whole piece
unless
a natural [n] cancels either 'b' or '#' as below in line 3, bar / measure 3.
slow and heavy (solo)

(like a hippopotamus) G.M.

33 Maytime (Maienzeit)
Neidhard (1180-1240)
33 a Accompaniment to “Maytime” G.M.

34 Scarborough Fair
English Traditional
34 a Accompaniment to “Scarborough Fair”

Recommended that all students play this
accompaniment, also recommended No 33 a & 35 a
G.M.
35 Sakura, Sakura
Very slow Japanese Traditional
* Last line: bar 1: to the tip, quavers at the tip, whole bow for
* Count last line, be patient, don’t rush.
35 a Accompaniment to “Sakura, Sakura”. G.M.

* Two more advanced pieces in E minor and G major (with F#)
36 Hatikvoh (with F#)
Trad.
36 a Accompaniment to “Hatikvoh” G.M.

37 The Ash Grove

Traditional English

37 a Acc. to "The Ash Grove"

re. Double stops (more than one note at once):
Students best play always the lowest note or as indicated,
teachers may play the full chord for a fuller sound.
G.M.

38 Study in C major
* Every bar / measure starts with down bow:

* Not fast, never rushing. Create a big round sound!
Moderato Fernando Sor

38 a Acc. to F. Sor's Study in C major

39 Early one Morning

For all slurs and minims (1/2 notes) use plenty of bow.
For all separate crotchets (1/4 notes) use little bows.
Don't miss the accompaniment!
Traditional
39 a Acc. to “Early one Morning” G.M.

Video for No 40-42: https://www.patreon.com/posts/42910170
40 Staccato Exercise
'A' and 'B' are played exactly the same.
'A' is written literally, 'B' is the common & simplified way of writing.
Also watch the "stuck-ato" Exercise in the video
41 Double Stops Exercises
A - "Swim" very gradually from string to string to find the middle.

It is important not to push with the bow in order to reach the second
string, but to play lightly both strings together.
* * This tiny study is the best double stop exercise ever!
Don't miss practicing it! - Count 1 & 2 & 3 & 4 &
B - Special Preparation Exercise for "Morning Stroll"

Gradually fade out the D - do a very gentle move towards the
A string and listen to the D gradually disappearing
Video for No 40-42: https://www.patreon.com/posts/42910170
42 Morning Stroll A. Gretchaninov
42 a Accompaniment to “Morning Stroll” G.M.

43 We wish you a merry Christmas

Traditional
English
43 a Accompaniment to "We wish you a merry Christmas"

G.M.

Video for No 44 & 25: https://www.patreon.com/posts/41057562
44 Rigadoon (Accompaniment to No 25)
* Every single bar starts with a down bow
H.
Purcell

Georg's New Cello Method - Volume 1.
45 Legato Study after Dotzauer

G.M. after Dotzauer
Very regularly and generous bow, no rush
45 a Acc. to Study after Dotzauer

46 What shall we do with the Drunken Sailor
Exercise A - Use lots of bow for the quavers or 1/8 notes.

Use tiny bows for the semiquavers or 1/16 notes.
Exercise B - between the up bows, stop and stay on the string.

The dotted notes in the song are played like that (see also No 40)
What shall we do .... Traditional Sea Shanty
Accompaniment to "What shall we do ..." G.M

47 Hornpipe Irish Fiddle Tune

* Every full bar starts with a down bow:
47 a Accompaniment to “Hornpipe” G.M.

48 String Crossing Study G.M.

* Have a feeling that all strings together are like one round pipe
48 a Accompaniment to "String Crossing Study"

Staccato & Double Stop Exercises
[repeat of No 41]
Swim very gradually from string to string to find the middle.
It is important not to push with the bow in order to reach the second
string, but to play lightly both strings together. Count 1 & 2 & 3 & 4 &
49 a Double Stop Preparation Exercise for No 50
Play with the bow minims or half notes disregarding the left hand
Play with the bow the dynamics disregarding what's happening with
the strings and left hand.
During the rest
keep the bow on the string
49 b Bouncing Staccato Exercise
The arrow down indicates NOT to lift the bow, but keep it firmly on the
string to start the coming up bow from sitting on the string
The little arrows up show to let the bow

jump up in the air after it comes up from the string,
like jumping on the trampoline up from being down on the knees.
The 2 funny signs on the right side indicate to play the second quaver
or 1/8 note by touching down and bounce off again like a ball.
50 Double-Double Stops for 2 cellos (1)
50 a Double-Double Stops for 2 cellos (2)

Georg's Little Music Library - here a selection
Cello solo - (1-10 indication of difficulty)
G. Mertens - 5 Preludes for the Love of the Lower Strings [4-7]
G. Mertens - Variations on Sakura, Sakura [6-7]
J. Dowland - Melancholy Galliard [7]
V. Sojo - Cantico from 5 Pieces from Venezuela [7]
J. Massenet - Meditation [8]
G. Mertens - Variations on Maienzeit [8]
G. Mertens - Blue Mountains Rainforest Sonata [8-9]
M. Marais-Mertens: Variations on La Folia {9}
G. Mertens - Jenolan Cathedral Ciaconna [9]
G. Mertens - Spanish Romance [9]
G. Mertens - Cadenza to Haydn Cello Concerto C maj 1st mov. [9]
I. Albeniz - Asturias [9]
G. Mertens - Tango Celloguitar [10]
2 Cellos
J.S.Bach - 8 Chorals [1-4]
Traditional Shakers - Simple Gifts [3]
F. Cutting 1580 - Greensleeves Variations [3]
8 Beautiful Renaissance Dances [3-7]
E. Satie - Gymnopedie 1 (1 or 2 cellos) * [4]
J.S.Bach - Lute Suite No 1 ( [5-8]
Saint-Saens The Swan with Bach Prelude I [6]
G. Sanz - Pavanas & Canarios [7]
M. Giuliani - Variations on La Folia [7-8]
E. Granados - Intermezzo from Goyescas [8-9]
Cello & Guitar
G.F. Handel - Aria "Lascia Ch'io Pianga (2 cellos / cello & guitar)
D. Scarlatti - Sonata K32 (cello or shakuhachi & guitar/cello) [4]
L.v. Beethoven - Sonatina (cello & guitar or 2 guitars) [5]
A.Vivaldi - Sonata no 5 E minor [5-6]
J.S.Bach - Arioso (cellos & guitar, 2nd cello) [5-6]
G. Caccini - Ave Maria [5-6]
The 3 cello pieces from the Royal Wedding [6-7]
N. Paganini - Cantabile [8]
Violin & Guitar
El Condor Pasa - cello (or violin / flute) & guitar [5]
La Cumparsita - (violin or cello & guitar) [5-6]
The Old Gypsy - (violin or cello & guitar) # [5-6]
See also "Georg's New Cello Method" incl. more than 70 Cello Duos!
www.georgcello.com/sheetmusic.htm

0-50 New Method

Uploaded by

Document Information

Original Description:

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

0-50 New Method

Uploaded by

Copyright:

Available Formats

Georg's Little Music Library

Georg's New Cello Method

The first position

Systematic step by step Cello Method

* carefully measured steps

handwritten by Georg Mertens

A Tips for how to use the Cello Method

0 The open Strings on the Cello - The 2 Bow Directions

(continued next page)

© Georg Mertens, Katoomba, Australia 2020 - www.georgcello.com

Copyright by Georg Mertens, Katoomba Australia 2020

For online video tutor click here - https://www.patreon.com/georgcello

© Georg Mertens, Katoomba, Australia 2020 - www.georgcello.com

A - TIPS on how to use the Cello Method

1) Play every piece at least once through

Each section in the method has several pieces addressing the

We learn more and faster by playing what we like and

4) At least one piece in each section should be completed.

6) Mark favourite pieces (heart or sticker).

7) I recommend to start every practice with a "warm up piece"

I learned musically and technically most on pieces I could play

Once we know a piece very well, we can focus on tiny details,

© Georg Mertens, Katoomba, Australia 2020 - www.georgcello.com

B - How to Practice - Some useful Tips

1) I recommend strongly to have the cello always unpacked, ready to play,

4) Following should be our warm up piece.

5) Now starts our variable practice program.

7) We learn by repetition - that's why we practice.

© Georg Mertens, Katoomba, Australia 2020 - www.georgcello.com

C - Chart of Note Values (longer to shorter)

= 4/4 note, whole note or semibreve, 4 beats

(the numbers 1 2 3 4 underneath are how we count the beats)

= 1/2 note or minim, 2 beats

= 1/4 note or crotchet, 1 beat

= 1/8 note or quaver, 1/2 a beat, 2 in 1 beat

= 1/16 note or semiquaver, 1/4 of a beat, 4 in 1 beat

= 1/32 note or demisemiquaver, 1/8 of a beat, 8 in 1 beat

= dotted minim, 3/4 note, 3 beats

= dotted crotchet, dotted qurter note, 1 and 1/2 beats long

© Georg Mertens, Katoomba, Australia 2020 - www.georgcello.com

O The open Strings on the Cello

The A (1) is on the top line.

Keeping the NAMES OF THE STRINGS in mind:

A Dear Giant Cello

All Drivers Go Crazy

The 2 BOW DIRECTIONS:

The bow has two ends.

1 “One, two, three, four, One”

* These notes are called “crotchets” or 1/4 notes;

* Next to the bass clef we find a “C”:

The “C” stands for "Common Beat",

(1 beat rest) (2 beats rest)

* Count the numbers of the beat loudly: 1, 2, 3, 4, 1 -

see the public video on Youtube - Georg's New Cello Method - No 0

© Georg Mertens, Katoomba, Australia 2020 - www.georgcello.com

Accompaniment to No 1 - One, two, three, four - One

2 Minims - or 1/2 Notes - 2 beats long

Every string needs a different amount of bow:

The Fingers of the left Hand

3 Rain, Rain, go away traditional

Accompaniment to “Rain, Rain go away” - Try!

4 Hot Cross Buns traditional