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Cello Practice: Guidelines & Testimonials about self learning

Cello Practice: Guidelines & Testimonials about self learning

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Cello Practice: Guidelines & Testimonials about self learning

Longueur:
91 pages
47 minutes
Sortie:
1 juin 2020
ISBN:
9782322245086
Format:
Livre

Description

This guide is intented for adult music loverswho want to learn to play an instrument avoiding as much as possible theoretical academic lessons. It is mostly a collection of useful information, adapted to the present time, to learn cello playing by your own after a few preliminary lessons. Then, after one or two years of practice, you will reach a sufficient level to approach the baroque German, French and Italian repertoire as well as pieces of variety, what I did. You can even play at home with a virtual accompaniment that will adapt to your rhythm, fruit of the latest research of IRCAM (French Research Institute of Music).
This guide includes practical considerations, often unknown, such as the transport of your instrument by plane, the free and legal downloading of scores, the sites where to find a teacher who will come to your home. For a total monthly budget of less than $ 100 for the first three months, including the first lessons, all this is accessible to you !
Sortie:
1 juin 2020
ISBN:
9782322245086
Format:
Livre

À propos de l'auteur

Après avoir publié trois biographies, une méthode et des partititions pour violoncellistes adultes débutants - elles se vendent de bouche à oreille depuis deux ans - ainsi que des recueils de nouvelles et de poésies, voici deux romans d'anticipation: EXPLORA et le dernier publié BOOMERANG. La science, la technologie, le surnaturel ont été volontairement mis au second plan pour se concentrer sur les confrontations humaines face à l'inconnu et l'utopie des explorations humaine. Comment se confronter à "l'autre" venu du monde interstellaire, psychiquement et physiquement pas très diffréent de nous. Une nouvelle dystopie, l'époque en est friande, qui se déroule cent ans après le vol de Youri Gagarine, en Russie, aux Etats Unis et en France, sur fond de migration de grande ampleur et de déclin des grandes agences spatiales comme la Nasa et Roscosmos. Presque deux ans de pratique d'exercices d'écriture en groupe animés par Emmanuelle Jay, mêlant poésie et exercices de l'Oulipo, m'ont apporté richesse dans le style et appronfondissement des personnages.


Lié à Cello Practice

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Aperçu du livre

Cello Practice - Philippe Malgrat

TABLE OF CONTENTS

Academism or not?

The advantages of the cello compared to other stringed instruments

Recommendations and prerequisites

Who is this guide for?

The choice of the instrument

The instrument maker - his role

The budget

Time available - when to play?

The room where to play music. How should it be?

The basics of your learning

A bit of music theory - choice of scales to start

A bit of music theory - the left hand and the finger position

A bit of music theory - the movement of the bow and the rhythm.

To define the content of the lessons when starting

The practice

The position

To know how to install the strings and how to tune the cello

Downloadable scores and accompanying music

How to Carry your instrument -transport in a plane

How to organize your musical session

How to decrypt a new score - improvement of your practice

Playing with other musicians in a group

Technological means available in website for practice improvement

Fingering of other scales suggested

Anatomy of the instrument

Proposals of music scores and methods

Scores that can be downloaded

Scores dedicated for beginners

1 Academism or not?

You decided to play the cello because you were seduced last summer by a string quartet concert, which you attended in an enchanting setting. Or you inherited a string instrument which was forgotten in an attic for fifty years. You are retired and you want to start learning a music instrument ... but so far you have never dared to do it

Academism or not? For an adult, the question really arises and the music academic school or the music conservatory is far from the only solution for learning and maintaining the pleasure of playing. Ask the question in your surroundings. Who attended the music conservatory and who still regularly practices the instrument? You will find that the vast majority gave up on the pretext of lack of time. But in reality, it is probably the lack of enthusiasm due to this academic learning or simply the logic of selection of the best musicians who is the cause. Could not the conservatory’s motto be summed up as excellence or nothing?

But except for registration in a city public music conservatory or a private conservatory, you do not see how to concretely proceed. Very quickly, you were asked about your knowledge of music theory and you feel that you do not have the required level. Is there available room in adult classes? The schedule and the day of availability of the lessons on Friday from 20:00 to 22:00 do not suit you ... Finally the cost of the instrument and the registration to the course make you think. Can a cello be transported otherwise than in a heavy and voluminous knight armor?

All these obstacles naturally stop you to take the plunge.

This approach is there to encourage you to try if you accept to ignore the works of the 19th and 20th century in your potential repertoire. I mean the works you would not be able to play because they require a real knowledge of music theory. For the baroque repertoire that is within your school solfege level, it will take a little daring and perseverance. What are the real prerequisites?

* A room where you plan to play regularly. It must be sufficiently insulated phonetically (neighbors) if you live in a condo, and big enough to get the fullness of sound. Mute abstain! It inhibits the musician and also the instrument,

* An instrument maker whom you have already

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