#Cello repertoire and technique professional
His experience in the bumpy career path of a professional string quartet illustrated quite clearly that a holistic understanding of life, art, and business is more energizing. Beaver is not interested in just conforming to what has been tried in the past. Teaching traditionally invokes the image of a staid classroom, clear curriculum and strict rules to be followed. Beaver will take this passion and devote it to expanding his teaching activities. After the Chiara Quartet concludes its performing activities in 2018, Mr. It permeates his published writings in Strad Magazine, a book on computer programming, his contributions to the open source programming world and even his personal recipe for guacamole. This fuels his performing, teaching, and writing with a passion from 17 years of performing internationally with the Chiara String Quartet. Originally published on įrom the beginning of his work as a performer, cellist Gregory Beaver has been fascinated with the process of growth.
Impossible Etudes Whirling Polyrhythms.pdf If you plan to use these etudes in your work, please post a reply! I am happy to provide remote lessons via Skype for those who want to start learning these etudes. This etude is extremely silly, and is not designed to appeal to the intellectual side of students! Originally, “Spiccato” was written as a standalone work for cello, but in the first lesson that one of my students played it for me, she enjoyed it so much, I added a piano part. For this group of students, I am working on a set of “Possible Etudes.” The first example included in this post is one I call “Spiccato” (one guess what technique that etude seeks to address, and the first guess doesn’t count). However, advanced high school students have demonstrated the ability to play these works, so they should be accessible to the vast majority of college students majoring in performance.įor my less advanced students, I have noticed that etudes that are interesting tend to be either too difficult to execute successfully, or simply too boring to make the payoff worth the effort. I’m looking forward to composing new etudes to fill these needs as well!īecause these challenges are so advanced, I’m calling this set of etudes my “Impossible Etudes.” Be forewarned, they are not for the faint of heart.
Other challenges I often see are students who are unable to use their vibrato speed to affect expression, inability to control the speed of ricochet, limited repertoire of expressive shifts/glissandi, ability to conceive of the entire hand position at once in thumb position (although Popper 33 begins to address this need), and a few more things. Many contemporary works require a kind of shifting agility which defies traditional ideas of shifting (measuring the interval your arm will move and sliding to the note from the previous note with the hand), and more resembles the way we find notes in first position (just put the hand on the right note). Polyrhythms are a perfect vehicle for this challenge. For example, the idea of finger independence while playing double stops is partially found in Piatti Caprices, but true finger independence is elusive for many of my students even after playing these etudes. However, there are some holes in the etude literature that keep popping up. In addition, its focus on chromaticism makes it very useful for developing the ear. 73 is particularly amazing for the range of cello technique it encompasses. In the world of etudes for cello, there are many great etudes to choose from, whether it is the Duport, Popper, or my personal favorite, the Piatti. Etudes that fill a hole in the rep that are actually fun to play.
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