Forgotten Cello Music

Episode 87

Forgotten Skills: I Wrote a Book

Chord Scales

There are several skills that have been neglected or outright excluded from a Classical Musician’s training. Certainly from the average weekly, private lessons.

What are those forgotten skills?

1) Knowledge of chords (to know how any note fits into a chord)

2) Improvisation

This episode is entirely based on my own experience and how I have been trained to see, hear, experience, and play Classical Music.

The book that I wrote is a result of my own journey to play music better, to understand more fully how and why notes are played in a certain way, and to be able to play more consistently and confidently.

The title of said book is Scales, Arpeggios, Chords, and Cadences. It should be reissued under the more appropriate title of Chord Scales.

The purpose of this book was to help myself discover where the notes lay on my fingerboard so as to confidently play them with greater accuracy. (Mapping Out the Fingerboard)

It was always a mystery as to how others could simply play with confidence, finding notes without fear of missing anything. And when I played with church or non-classical musicians it was astounding that they knew what notes to play and the chords that went with those notes.

My book is laid out as follows:

1. ​ One Octave Scale
2. ​ One Octave Arpeggio

3: Triad Chord Scale in Root Position

1. ​ Chord Scale in playable sonority in “Root Position”
2. ​ Primary Chords and Basic Chord Progression in Root Position
3. ​ Dominant 7th arpeggio

To purchase you can find this book and others on my Patreon, Sheetmusicplus, Musescore, and Amazon

https://www.patreon.com/travelingcello?utm_campaign=creatorshare_creator

https://www.sheetmusicplus.com/en/explore?q=Aaron%20sinnett

https://musescore.com/sheetmusic

Amazon Print-On-Demand

https://a.co/d/01sZXK1Y

Thank you for listening and interacting with my podcast.

86. Familiar Music in the Tenor Clef 12 31 25

This episode is definitely not about Forgotten Cello Music. It is about learning a clef that often gets left of in the course of learning. That is to say, teachers don't dwell on it, so it would seem. (Although it could just be my poor teaching.)

I wanted to share what I have created so that if anyone is in need of a practical building up in approach, here it is.

You will learn from this book:

1. Comparison of the same notes between Bass and Tenor clefs.

2. Incremental climbing up in register.

3. The use of Tunes that you likely already have played before.

You can purchase it as a PDF that you can print out or as a paperback on Amazon.

PDF:

https://www.patreon.com/travelingcello/shop/familiar-music-in-tenor-clef-660113?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=productshare_creator&utm_content=join_link

https://www.sheetmusicplus.com/en/explore?q=aaron%20sinnett

Paperback:

https://a.co/d/bY6hgmm

Please support my work as I am working hard to bring more regular episodes back. With your help I can bring monthly episodes back!

These 10 pieces are expertly crafted and they are intended for students. Well worth your time and effort to look into.

You can find many interesting arrangements and exercise books created by, me, Aaron.

https://www.patreon.com/c/travelingcello/shop

84. Forgotten Cello Music: Bréval's Six Sonatas of Op. 40

Have you played from Suzuki Vol. 4? The first two pieces are two movements by Bréval, Sonata in C major, Op. 40 I. Allegro; II. RONDO. Grazioso.

Well, wouldn't you know, he wrote five more in that set (very common for the period to write in sets of six). They are all great examples of prime learning material.

Visit me on Patreon to purchase my fair copy of all six sonatas:

https://www.patreon.com/travelingcello/shop

83. Forgotten Cello Music "MODERN SUITE" Op. 122 by G. Goltermann

A rambling episode. Not very interesting. But some nuggets hidden in amidst all the gobbledy-gook.

Please support by visiting the following:

https://www.patreon.com/travelingcello/shop

https://www.youtube.com/channel/UCpWQ5BLhtXdyeJOlGJ8MyqQ

PayPal.me/travelingcello

I'm a struggling artist that is quite mediocre in every conceivable way. I press on because I love the music and playing cello.

I'm interested in finding a sponsor. If you know anyone interested in this sort of niche thing can you send me a message ?

[email protected]

I do think that I am truly doing a service by presenting some of the lesser known pieces for cello. It is obvious when searching Youtube or listening to Apple Music/Spotify that many artists are searching for their own niche with occasional forays into "forgotten cello music".

Although my cello playing is not that good, I do have a way of helping students with get through tough technical issues and musical tutelage.

82. Forgotten Cello Music: Goltermann and Three Lyrical Pieces, Op. 117

1. Sehnsucht (Longing)

2. Freud und Leid (Joy and Sorrow)

3. Abendlied (Evening Song)

Explore these rather poignant three short pieces by the virtuoso cellist, teacher, and music director Georg Goltermann.

They are somewhat deeper in character than other short works .

Fun and stuff.

81. Forgotten Cello Music: France and Holland (and Belgium) in the 19th C. Daniel van Goens and Leon Boellmann.

You can go to my Youtube channel to answer some questions if you have the time and interest.

https://www.youtube.com/@TravelingCello/community

80. The Violoncello and Its History: Cello in the 19th Century, IV. ITALY

On to the fourth section of a new century four violoncello playing.

What does Italy have to offer? This is a short reading. That should give quite a hint.

One famous cellist I'll mention: Alfredo Piatti

Another is Guglielmo Quarenghi, already talked about at length when I did a study in his Counterpoint. Start here in Episode 51 . Continue through to Ep. 55 for all the info. used to explore his counterpoint lessons as well as a capriccio.

79. The Violoncello and Its History: Cello in the 18th C. III. France

78. France in the 19th Century: Auguste Franchomme and Felix Battanchon

In this episode, featured are the two cellists from France, Franchomme and Battanchon. Although Franchomme is fairly well-known for a set of etudes there is a twist of what was accepted in studios and "good" material for learning.

Besides that, the German cellist Romberg contributed to a modern notation marking for a particular fingering that was adopted even by the French early on.