An anthology of cello works edited and arranged by Dr. Şölen Dikener
On this page, you will find practice information about certain technical challenges each solo work presents.
A recording sample (Midi-Piano) for each solo is provided in audio players.
Live cello audio recordings will gradually be added to replace the current Midi files.
Practice Notes & Recording Samples
Jean BARRIÈRE: Sonata
In general
Look for musical patterns such as in bars 5-11, 12-14, 21-23, 29-36, and 41-48 – if the pattern is in descending order, then plan on making a Descrescendo; likewise, if the pattern is ascending, then make a Crescendo throughout the pattern.
Bar 5 - 2A-B position – shift and extend simultaneously.
CORRECTION – Bar 12 – the C is supposed to be a C# - please mark your score!
Bar 21 -2A-B position – shift and extend simultaneously.
Bar 27 – watch for the unusual bowing pattern.
Bars 30 and 34 – while concentrating on the left hand, make sure to keep the bow speed to let the passage sound and resonate.
Bars 106-112, 113-116, 120-123, 130-135, 159-165, and 168-173 – similar to the first movement, if the pattern is in descending order, then plan on making a Descrescendo; likewise, if the pattern is ascending, then make a Crescendo throughout the pattern.
Hugo BECKER: First Sight
Bar 4 – extension FROM 1st finger in 2B position TO 4th finger in 3B position.
Bar 12 – shift to high C in 7th position – remember to lift the left arm.
Luigi BOCCHERINI: Allegretto
In general
Be aware of the contrast between the short staccato bows vs longer lyrical bows. Example: bars 1-4 compared to bars 5-7.
When Mezzo-forte is marked, decrease vertical bow pressure and use wider bow lengths.
Bars 86-93 – use concise bows, slightly lift the right elbow and keep Piano dynamic.
Bars 104 and 112 – anticipate the string crossing with the right forearm.
Jean Baptiste BRÉVAL: Sonatas
Sonata in C
In general
Some of the ornamentations are written, such as in bars 19-20, 33, 36, 56 and 57 etc.
Bar 29-30 – string crossings and dynamic contrast – use more bow amount in bar 29.
Bar 60 – extend the second finger for the F#.
Bars 89-93 – string crossing starting up bow pattern – prefer to use the upper half of the bow.
Bar 101 – after the dotted half note, simply stop the bow, lift the arm/bow toward the A string and continue playing one more note, C, in the same down bow.
Bars 133-134, 139-140, 196, 201-203 – play soft and small bows and focus on integrating the finger articulations with bow changes.
Bars 156 and 216 – do the Ritardando.
Bar 182 - extend the second finger for the F#.
Bars 196-199 – remember the extended 1st finger for the Bb.
Sonata in F`
Bars 14-21, 71-73, and 78-82– use Spiccato (off the string) bows for the marked separated triplet 8th notes.
Bars 43 and 46 with pick-ups triplets – think of a Hemiola by ignoring the bar lines.
Bars 83-85 – spend more bow for the 4th position notes to better resonate.
Rondo (staring bar 90) generally requires very little bow amount in the lower half of the bow.
Bars 103-105 and 161-163 – focus on the pick-up down bows.
Bars 184-186 – multitask for string crossing and left-hand extension.
Sonata in G
Bars 7-8, 40-42, and 81-82 – there are 2 up bow Staccatos several times in a row – be ready.
Bar 9 - 2A-B position – shift and extend simultaneously.
Bars 25-26 – you can use Spiccato.
Bar 120 – on the second 8th note – lift the bow.
Bars 146-150 - play soft and small bows and focus on integrating the finger articulations with bow changes.
Bars 163-164 – strong crossings.
Bars 165-166 – watch for the unusual slurs.
Bars 215-217 – follow the pattern with a Crescendo and observe the bowings.
Duo Sonata
Bars 1-2 – be ready for making shifts or extensions during the slurred 16th note passages.
Bar 13 – lift the bow on each second triplet.
Bars 15-23 – lyrical playing with long bows and vibrato – and do not rush.
Bar 27 - 2A-B position – shift and extend simultaneously and watch for the rhythm and the bowing.
Bars 28-29 – the bowing is different from bar 27.
Bar 32 – play the two 16th notes in the frog area.
Bars 43-47 – Spiccato bowings.
Bar 58 – the triplet rhythm re-written to indicate the Ritardando.
Bar 85 – the second movement – always in lyrical character and with vibrato.
Bar 147 – lift the left arm for the 7th position.
Bars 169-173 – the string crossings. Bow plays on the string, no lifting.
James CERVETTO: Sonata
In general
Maintain the singing quality for all the lyrical sections even as little as for a few bars such as bars 5-7, 25-28, 43-55,
Bar 8 – extend the 4th finger for the low F#
Bar 36 – lift the left arm during the D harmonic to play the G# in tune in the 5B position.
Bars 96-97 – expect multiple shifts and hand extension due to 2A-B position.
Bars 156, 262, and 264 – quick finger articulations and string crossings.
Bars 164 and 173 - 3A-B position – shift and extend simultaneously.
Giovanni Battista CIRRI: Sonata
Bars 1-8 – expect multiple shifts and bow retakes.
Bar 9 – lift the left arm for 7th position.
Bar 18 – be aware of the switching from the 4th position to the 3B position via harmonic D.
Bars 39-42 – fast shifts and string crossings.
Bar 47 – watch for the transition from 2B to 3A position with the extension of the 3rd finger.
Bars 60-61 and 82-83 – be ready for the transition from 3A to 3A-B position extension of the 4th finger.
Bar 74 – slightly push and lift the left arm for the 5A position.
Bars 97, 105, 121, and 146 – 2A position with the 1st finger extension.
Bars 128-129 – playing the same music with reverse bowings.
Bars 135-138 – keep the right elbow at the pivot level of the D string and use the forearm for the G string rather than moving the arm up and down.
Bar 162 – quick shift into the 3A position.
Karl DAVIDOFF: Romance
In general
Expect frequent shifts, especially during a slurred bow.
For dynamic preparations: while playing a Crescendo expand the bow amount and likewise while playing a Decrescendo decrease the bow amount.
Bars 13, 94, and 108 – lift left elbow to reach to second finger high B
Bars 65-76 – be careful of the accidentals and changing positions.
Friedrich DOTZAUER: Duo Sonata
Bar 11 – shift into the 3B position and onto the D harmonic up and return.
CORRECTION: the 2A-B label should be starting in bar 30, beat 4. Please mark your score!
Bar 144 – a variation of the slow tune, so play it calmly and not in a hurry.
Bars 243-251 – watch carefully for all the bowings and position changes.
Jean Pierre DUPORT: Adagio
In general
Keep vibrato in mind throughout the piece, including on every 8th note.
Plan on spending whole bows.
Watch for your tone production at the upper half of the bow, which needs to match the quality of the lower half.
Bar 24 – lift left elbow for 5B position, 1st finger F#.
Bar 29 – slightly lift left elbow and stay very close to the 4th position for the half-step shift.
Bars 45-46 and 49-50 – to outline the melodic line on the A string, keep the left elbow slightly elevated, and reduce the resonation of the open D string.
Bar 67 - lift left elbow for 6B position, 1st finger G#.
Bars 106-107 and 110-111 – to outline the melodic line on the D string, keep the left elbow slightly elevated, and reduce the resonation of the open G string.
Auguste FRANCHOMME: Meditation
In general
Keep vibrato in mind throughout the piece.
Bars 11-12 – be confident of the notes in the 3B position over D, G, and C strings.
CORRECTION: Bar 20, beat 2 is a C natural. Please mark your score!
Bars 29-33 – when playing double stops, increase the bow amount to allow natural resonation.
Bars 34 and 37 – be creative, play like in a recitative, free in time.
Bar 71 – harmonic sounding high D – place 4th finger lightly on first position G on D string.
Georg GOLTERMANN: Nocturne & Romance
Nocturne
In general
Feel the compound 6/8 time signature for the flow of the time; count in 2 rather than in 6.
When playing in the 4th position, plan on spending broader bows for richer tone quality.
If an entire bar is in one single slur, spend a whole bow.
CORRECTION: Bar 7 - last 8th note is a G natural - please mark your score!
Bars 41-42 – be aware of the left-hand extensions to the 4th finger down, then to the 1st finger up.
Bar 50 – shift) and extend simultaneously. To 3A 1st finger and to 4th finger F#.
Bar 55 – lift the left elbow for the 5B position.
Romance
In general
Plan on spending whole bows.
When you see the 2A-B position label, prepare to multitask for shifting and extending at the same time. The same applies to 3B-4th positions.
Carlo GRAZIANI: Duo Sonata
Bars 6, 9, 34, and 93 – watch for the 3A-B position – shift and extend simultaneously.
CORRECTION: in bar 21 the position label should be 3A-B. Please mark your score!
Bars 26-27 – expect the position changes at unusual times.
CORRECTION: bar 78 is half position. Please mark your score!
Bar 146 – the second movement – be aware of the accidental changes, especially of the flats.
Bar 168 – lift the left arm for the 6A position.
Bars 211-216 – frequent position changes.
Bars 253-254 - 2A-B position – shift and extend simultaneously.
Pierre-Louis HUS-DESFORGES: Duo Sonatina
In general
Be prepared to play often in higher positions.
Bar 26-27 - 3A-B position – shift and extend simultaneously and lead the shifts with the 1st finger.
Bars 48-55 – expand the finger spacing for the Half position passages.
Bar 96 – prepare to start with 3A-B position extension and a large shift back to the Half position.
Bars 112-116 – play the ornamental rhythms musically.
Bar 117 – expand the bow amount as you play the Crescendo.
Bar 127 – watch for the first finger shift from Half to 1st position with a 2nd finger extension.
Bar 161 - 3A-B position – shift and extend simultaneously and then shift back to 2B and Half positions.
Julius KLENGEL: Sonatina
Bar 4 – spend extra bow on the second down bow – that will allow a better tone in bar 5.
Bars 23 and 57 – the rhythmic value in these bars is still the triplet 8th note – it has been adjusted for easier reading based on the notation. So, do not slow down here.
Bars 105, 113, - 2A position with the 1st finger extension.
Bars 123-124 – lift the left arm for the 7th position.
Anton KRAFT: Rondo
CORRECTION: Bar 4 F# - the sharp is missing from F – please mark your score!
Bars 3-4 – for the 5B position, elevate your left arm and extend the distance between the 2nd and the 3rd fingers.
Bars 33-45 – be aware of the string crossings and anticipate each motion shortly before making the string change.
Bars 65-66 – relax your right wrist during the fast 16th notes.
Bar 77 – maintain string levels with your right elbow during the string crossings.
Bar 90-91– 2A-B position – shift and extend simultaneously.
Friedrich Auguste KUMMER: Duo & Siciliano
Duo
Bars 40-44 – all on D string until last A#; watch for the changing bowing patterns. A similar passage repeats on bars 134-138 on the G string.
Bar 172 –the second movement - be prepared for narrow shifts between 4th -3rd or 3rd – 2nd etc. positions.
Bar 270 – on the first note (D) of the second beat, lift the bow. And keep doing that on the upcoming similar bars such as 272, 278, 280 etc.
Bars 294-301 – string crossing over 3 string levels – adjust your right elbow accordingly.
Siciliano
Bar 10 – to play the 3B position on the C string, lift your left arm to facilitate the hand.
Bars 34-35 – multiple shifts between 4th to 2B, then 4th to 2A positions. Notice the half-step distance difference.
Salvatore LANZETTI: Duo Sonata
In general
Some of the ornamentations are written into rhythmic values.
When 8th notes are marked with the Staccato dotes, play them gently and not too short.
Bar 45 – free in time, like a Recitativo.
Bar 62 and other similar bars – 16th notes with dotes are Spiccato.
Bars 123-127, and 132-136 – play with light and airy bow strokes.
Sebastian LEE: Andante Cantabile & Duo
Andante Cantabile
In general
The arere frequent shifts between the 3B and 4th positions and the distance is narrow.
Duo
Bars 1, 9, 10, 68, 76, and 77 – use a light and broad bow for the double stops.
Bars 43-44 – bowing patterns and string crossings.
Bar 107 – the second movement – generally be prepared to use an extended 1st finger for the Bb and Eb notes.
Bars 175-176 – bowing pattern repeats in reverse order – frog and tip.
Bar 192 – slide the 1st finger from 2B to 3A position.
Jacques OFFENBACH: Duo
In general
Spend large bows and play with vibrato on longer rhythms.
Bar 27 – a large distance of shift from Half to 2B position.
Bar 134-150 – the E major section – play as Dolce as possible with vibrato.
Alfredo PIATTI: Adagio
Bar 6 – elevate the left elbow for the 5B position.
Bars 11-12– elevate the left elbow for the 6A position.
Bars 20-23 – elevate the left elbow for the 5B and 6A positions.
Bars 31-32 and 75 – free in time, like a recitative.
Bar 50 – you can include a ritardando toward the fermata note in this bar.
Bar 61 – elevate the left elbow for the 7th position.
David POPPER: Tarantella & Once Upon More Beautiful Days
Tarantella
In general
Relax your muscles and plan on Mezzo-forte dynamic and broad bows during long slurs.
Bar 37 – lift your left arm while playing the F3 to better reach the high B.
CORRECTION: bar 37 – the label 5B is incorrect. Please mark your score!
Bars 43, 51, 59, 67, 106, and 114 – shift and extend simultaneously.
Bars 73-97 - to outline the melodic line on the D and A strings, keep the left elbow slightly elevated, and reduce the resonation of the open G and D strings.
Bar 141-148 – be prepared for the high positions: lift and keep your left arm elevated throughout.
Bars 155-156 – watch for the fast shift and the finger extension happening back to back.
Bars 168-169 – change fingers on the same pitches – C# and E.
Bar 173 – the rhythmic value in this bar is also a triplet 8th note; however, it is notated to simplify your view based on the position changes from 5B to 7th positions.
Bar 182 – shift and extend simultaneously in 3A-B position.
Bars 215, 219, and 237 – superficial harmonics – place the fingers lightly on shown notes and strings – the sounding pitches should be E, D, and B.
Bar 239 – slightly lift the left arm for the 5A position.
Bar 269 - slightly lift the left arm for the 6A position.
Bar 304 – shift and extend simultaneously.
Bar 329 - shift and extend simultaneously.
Once Upon More Beautiful Days
Bars 1, 9 and 49 – be aware of finger extension to C natural in 2A.
Bars 32-40 – be careful about the accidentals and frequent position changes in this section.
Bernhard ROMBERG: Sonata
Bars 5-6 – use more bow amount on the single quarter notes.
Bar 29 – on beat 3, lift the bow on the middle triplet 8th note.
Bar 71 – an unusual shift from the 2nd finger on the C string to the 4th finger on the A string 3b position.
Bar 83 – chromatic playing on fingers 2, 3, and 4.
Bar 127 – the second movement - in the context of a slow piece, quarter and 8th notes have expressive qualities, therefore use more bows and vibrato on them and don’t rush the tempo. The 16th notes should feel like regular 8th notes.
Bars 187 and 267 - 2A-B position – shift and extend simultaneously.
Bars 227-231 – string crossings and the Spiccato bows.
Friedrich SEITZ (1848-1918) was German violinist of the Romantic era. He was the music director in Sondershausen and became the concertmaster in Magdeburg. In 1884, he was promoted to the position of court orchestra conductor in Dessau. He composed many works for violin that incorporate essential techniques, which inspired editors to adapt his works to the cello.
Jean BARRIÈRE (1705-47) was one of the few early French composers with idiomatic works for the cello. After completing his cello training in Italy, he returned to his homeland as one of the forerunners to develop cello playing in France, a country then known more so for the excellence of its viola da gamba playing.
Friedrich SEITZ: Concertos No.2 & No.5
Concerto 2
Bar 28 – free in time, like a Recitativo.
Bars 39, and 41 – unusual bowing patterns starting with up bows.
Bars 54 and 58 – shift to 7th position – elevate your left arm.
Bars 71, 73, 75, and 77 – watch for many repeating notes.
Bars 79-82 – triplet 8th rhythm throughout with added 16th to the middle triplet of beats 2 and 4.
Bars 83-91 – allow equal tone for all the double stops by slightly lifting the bow arm up.
Bars 99, 103, and 118 - 2A-B position – shift and extend simultaneously.
Bar 108-109 – watch for the 3A-B position with hand extension.
Bars 187-203 – when there are 2 down bows in a row, play the first one short and lift immediately before placing the second one.
Concerto 5
Bars 4-18 – to maintain the lyrical tone quality, use larger bows in general.
Bars 41-43 – play mostly in the 3B position and when shifting back to the half position, notice the wider distance.
Bars 62, 66, 104-105, and 122-124 – lift the left arm to facilitate your playing on positions 5B and 7th.
Bar 74 – slightly push and elevate your left arm for the 5A position.
Bars 248-265 – play all the last slurred in 8th notes long and musically.
Bars 266, 268, 270, and 272 – play double stops with a vertical and short bow.
Bar 281 – shift during the same pitch, C.
François SERVAIS: La Romanesca
In general
Despite the 4/4 time signature, it is better to think Alla Breve (cut time) for the flow of musical phrases. The suggested metronome marking indicates that by showing the half notes.
Encourage yourself to use large bow amounts for the continuity of the tone.
Bars 103-137 - be careful of the accidentals and changing positions.
William Henry SQUIRE: Humoresque & At Twilight
Humoresque
Bars 7-8, 15-16, 55-56, 115-116, 123-124 – be aware and respond quickly to the position changes.
Bars 26, 66, 69-72, 134 – in these bars notes do not repeat and the tempo is fast. Be ready!
Bars 54 and 138 – make a Ritardando.
Bars 75-106 – lyrical playing – use large bows, vibrate, and produce a beautiful tone.
Bar 79 – be prepared to make a double shift. Remember to elevate your left arm for the 6A position.
Bar 99 - elevate your left arm for the 6A position.
Bar 139 to end – plan on reducing your tempo here in order to accomplish the challenging string crossings and shifts.
At Twilight
In general
Use large bows and produce a pretty tone.
Bars 23 and 25 – the very first note is a single down bow – use it as an expressive element with a rich tone and slightly expanded in time.
Bars 31-47 – feel the triplet 8th notes in a nice flow; do not drag the tempo nor rush it.
Heitor VILLA-LOBOS: Song of the Black Swan
In general
Vibrate and use whole bows.
Bars 8 and 9 – after the Sforzando quarter notes, take a short break before starting the next note much more quietly.