All of the music was ready. The snacks, the chairs, the stands; we were ready for anything. Myanna and I had spent hours arranging music, making chamber groups out of names (level often unknown), answering emails, cleaning, and so much more. Summer string camp was about to begin!

The doorbell rang and the first student came in, always looking a little uncertain. It's hard to be first! But then the deluge would happen and soon our front porch would be covered with violin, viola, cello, and bass cases and no matter how prepared we had planned to be, chaos would reign for that entire first session. ​

We have always had students at a range of ages and levels sign up for Summer Chamber Camp, from first year players to high schoolers in advanced string quartets. But by far, the most challenging issue has been finding music for our "Blackberry Blossom" groups: first and second year students in larger groups who want to play with their friends (even if levels aren't compatible) and have fun playing!

The level range inside of these groups has been astonishing. Some students only know a few notes while others can play fluently in first position (but aren't quite ready for the early-intermediate trios and quartets at the next level.)

Problem-solving is pretty much our favorite thing. So Myanna wrote some easy, flexible tune arrangements for these groups. 

First, there's a Regular Exercise and a Basic Exercise that can both be played together at the same time (and with all the instruments.)

Then, for each tune, there's an Advanced Melody, a Stress-Free Melody, a Basic Harmony, and a Teacher Harmony (plus, a piano accompaniment and full score, available separately.)

We weren't able to have a summer camp this year due to Covid. But now, we're using these books both with in-person and remote string classes and lessons. And we're excited about how flexible the books are, both with level and instrumentation. 

To give you an idea of how the books work, Myanna and I have put together a free set of exercises and tune arrangement of Forked Deer in exactly the same format as the Blackberry Blossom Fiddle Books. 

This is an all-new tune that isn't in the books! Feel free to copy and hand out to students or fellow musicians. 

 So we're a little over halfway through 2020 and it's been quite a year! We hope that all of you are healthy and safe and able to still make music.

About a month ago, just as the weather was turning warmer, Myanna realized we all could all use some light-hearted, earnest, outdoor-belonging, inspiring, beautiful, rhythmic, toe-tapping, nostalgic, FUN music! ​​

As usual, Myanna told me nothing about what she was writing, but as I walked out of the studio to my car one day, I passed Myanna and our mother playing some Sousa on two violins and I just had to stop and listen.

​They kept playing through the book and somehow I couldn't leave. And that's how the Fiddles on the Bandstand books were born!

These are the tunes people hum, the tunes we remember from "somewhere", the tunes we might even want to share with our neighbors in an impromptu outdoor concert!

​Some years ago, Myanna and I ran a youth orchestra and when they were asked to play outside after a parade, we quickly realized that there is an entire genre of lighthearted music that is perfect for that situation. Some of the tunes that inspired us back then have made an appearance in this book. 

In the past week, as the books have arrived from the printer, I have started to play the duets in outdoor lessons with my students. And I can say that there's nothing quite like the beauty of these cello duets gently floating out in the breeze. 

I finally settled on three distinct fingerings for Learning Three-Octave Arpeggios on the Cello. The first fingering, used in the Galamian Scale System for Cello (among other books) is a little like a staircase; you go up the C string, then over to the G, then up the G, then over to the D, then up the D, then over to the A. 
​

The third fingering, used in Klengel Technical Studies for Cello, Volume One, shifts up to the thumb on the D string and then has you play the top octave of the arpeggio in thumb position. ​

Each of these three fingerings has something to teach cellists. A study of all three fingerings will give you a comprehensive knowledge of fingerboard geography and larger shifts on the cello. 

To celebrate the release of this new book, we are offering free preparatory studies for Three Octave Arpeggios on the Cello. Click on each picture to see the image enlarged. If you would like the file as a free PDF, fill out the form below and your download will be on the next page.

When I saw how well the exercises worked, I just knew that I had to find a way to use that same concept to teach cello scales.

​I started writing studies for a three-octave G major cello scale and tried them with several students who had never played a three-octave scale before.

I wasn't surprised when they figured out the exercises; it was a pretty easy concept. But I was absolutely shocked when, at the end of playing the 4 pages of G scale exercises, those same students were able to play the scale straight through, without stopping, and in tune!

Before this, I had wheedled and cajoled and talked my students through their initial 3-octave scales. And, after they finally learned the scales, some of them played scales in tune but some just didn't.

​This book was a game-changer for me and my students, cutting out months and years of frustration, and helping them master entire three-octave scales in all of the major and minor keys.

To celebrate the release of Learning Three-Octave Scales on the Cello, this post gives you the major scales written out with all of the whole and half steps so you can think about and remember each space. 

And if this whets your appetite for scale mastery, check out the new cello scale book!

However, after you have played in first position for awhile, the other notes on the cello are begging to be learned! So many great cello repertoire pieces use positions and learning shifting can help you reach more notes, make playing across strings easier, and even avoid open strings if you want to. 

The Saint-Saëns Cello Concerto No. 1 in A minor is a work for cello and orchestra (or piano), written at an advanced level. Studying this Concerto often takes a year or more; it's a major work!

While there are no clearly marked or numbered movements, the Concerto does have three fairly distinct sections that might correlate with our idea of typical concerto movements. 

Some techniques used in the first two movements are octave shifts, fast shifting (sometimes called "runs") into the high positions, double stop fifths and sixths, spiccato, and thumb position. 

These free preparatory exercises can help you get ready to start studying the Saint-Saëns Cello Concerto. They work on some of the basic techniques needed to play the first few pages of the Concerto: bowing, octave shifts, chromatic scales, and more. 

The Saint-Saëns Cello Concerto is much easier to learn if you have acquired a solid grasp intermediate and advanced cello technique. You should be able to read bass,  tenor, and treble clef and play in thumb position. You should have learned three-octave scales and it would be helpful if you have also studied octave shifts, double stop sixths, and double stop octaves. 

This past year Theresa Villani, a wonderful cellist and cello teacher, wrote and asked if I had any exercises for bowing on open strings for one of her students. I had a few pages of an incomplete book, which I was happy to share. She wrote right back and said "Please make a book out of these!" (Incidentally, that's how a lot of books get started; share your ideas on this page.)

​Over the next few months, in between writing The Romberg Sonata in C Major Study Book and The Saint-Saens Concerto No. 1 Study Book for Cello, I got to work on the open string book. ​

1. Playing open strings really well is hard! They look easy (at least at the beginning of the book) but this is deceptive. Because the sound is so exposed, I found myself getting super picky with the sound I was producing. This in turn led me to work on ​fluidity in bow changes, relaxed wrist and fingers, and getting the string vibrating with the least possible motion from my hand. ​

2. Playing open string bow studies is a great way to isolate the bow, especially when you are struggling with note-reading. I have a student who started lessons a few months ago and was unable to adapt to note-reading. We started playing Open-String Bow Workouts and just a month later, he was reading all of his music much more easily. 

4. Playing so many open string studies gave me an incredibly smooth bow motion! I mean, wow. I was surprised and rather rueful; it was humbling to realize how much my bow can still use work. ​

To celebrate the release of the new book of Open String Bow Workouts, we are offering the above mini set of (all-new) cello open string studies for free!

When you play these, focus on correct form and how you're holding the bow. Keep the bow arm shoulder, wrist, and fingers as loose and relaxed as possible. The thumb should be gently balanced on the bow; never squeezing. 

Listen for the smoothest, most even sound during each note and keep the bow moving at the same speed while you change bows so there is no variation in sound.

Strong, curved left-hand fingers are essential for good cello technique and for developing a beautiful tone. 

By curving your fingers and playing on the very tips of the fingers, you can stop the string completely, which in turn allows the string to vibrate fully when you play it. ​

I fell in love with the Romberg Cello Sonatas when I started using them regularly as teaching pieces. It took me awhile to fully the understand the breadth of cello technique that Romberg teaches in his Sonatas but when I did, I was entranced. 

From shifting and positions to rhythm patterns and bowing challenges, the Sonatas gave my students a music experience that prepared them for much of what is to come in cello study.

Students would finish studying a Romberg Sonata and be playing at an entire level or two above their original level when they started the Sonata. They would be much more competent than when they had started, easily playing exercises, etudes, and pieces that would have given them pause before Romberg. 

Other teaching pieces didn't give cellists that same skills that Romberg's Sonatas did. As I saw the effect that playing Romberg's music had on my students, I came to deeply respect this music that so wonderfully transformed my students.​

Two of Romberg's Sonatas became my favorites: the Sonata in E Minor and the Sonata in C Major. I use the Sonata in E minor as the first Sonata after a student has started shifting and has learned fourth position (plus a little second and third positions). I might use one or two other pieces after that, depending on the student, and then we are ready to start the Sonata in C Major. 

Over the past 20+ years, I've taught a lot of Romberg to students. It's gotten to the point where I can predict mistakes before they make them. It was getting boring hearing the same mistakes over and over. I really wanted to expand the influence of Romberg on my students and teach all of the skills that he required in his Sonatas.

So I wrote The Romberg Sonata in C Major Study Book for Cello and now, teaching that Sonata is much more exciting! Where I used to sit and drone corrections over and over, I can now have my students play the exercises and improve in front of me. We can spend the lessons working on phrasing and expression instead of rhythm, shifting, and bowing.

I love hearing them play the Sonata excerpts after they've played the exercises. Where students used to stop or struggle, my exercise-powered students sail through. They play confidently and they enjoy the music they're making instead of wallowing in frustration. 

Here are some pages of free cello exercises; Preparatory Studies that have a few bits of technique that you will use in the Romberg Sonata in C Major:​

So, Devil's Dream has some tricky string crossings! Both the bow and the fingers have to change strings with efficient, agile movements in order to play this piece at a fast "fiddle" tempo.  

Here's the version of Devil's Dream that we'll work on:

Here's a Warm-Up Exercise for String Crossings:

Focusing on just the bow can help you identify underlying string crossing issues. Here are the open strings that your bow is playing under the actual fiddle tune:

Now, one of the main difficulties with this piece is crossing strings with the left hand. Here is an exercise to work on crossing strings with the fingers:

And another exercise for the left hand:

And finally, three exercises for speed. Start slow and when you've learned them, play them as fast as possible. Keep your bow smooth and close to the strings. "Bar" your first finger across the strings in measures 3&4 and 11&12 to help make your motions as efficient as possible.