Forgotten Cello Music

67. SPECIAL EPISODE: No. 6: A Journey in German-Learning, Musik auf Deutsch "Tonleitern oder Skala"

It seems that this consistent practice is helping my German skills. There are some improvements.

This episode will help greatly with vocabulary as it deals with several fundamental musical concepts: Scales and the steps between notes.

Since there is no way to comment on podcasts as of yet, hop on over to my Youtube channel and leave me something to think about. Traveling Cello

Show some support for all the content by becoming a member at my Patreon.

Thanks for bearing with me while I flesh out a sorely needed skill in German speaking especially surrounding musical language.

I plan on inserting a regular episode about Robert Fuchs and his 7 Fantasy Pieces next week.

66. SPECIAL EPISODE: No. 5: A Journey in German-Learning, Musik auf Deutsch "Das rechte Handgelenk"

Thanks for joining me in my journey to improve my German abilities specifically while teaching cello. Therefore, this is not a learning how to get fluent (although that would be a nice side effect) but more about how to communicate more effectively to my native German speaking student. Basically, I need more vocabulary in the musical jargon but also how to instruct using those terms.

When you do find this interesting or even instructive please jump over to my Patreon and lend some support and get a sticker, a shirt, or a mug in the process.

https://www.patreon.com/travelingcello

You will also find some interesting and useful arrangements for cello duet and cello quartet along with a compilation of beginner etudes that I have annotated with short, instructive tidbits.

https://www.sheetmusicplus.com/publishers/aaron-sinnett-sheet-music/3022778

I am also taking students. If you are interested fill out this google form: https://docs.google.com/forms/d/1rqaYGwE6VSKwh5yvzeghCNMWOnsH_5OrDkCsos20id8/prefill

65. SPECIAL EPISODE: No. 4: A Journey in German-Learning, Musik auf Deutsch "Die Töne der vier Saiten"

This episode will cover all the pitches of the four strings in First Position.

I begin by introducing the purpose of this special series as well as asking if this is doing any good for learning musical terminology in German.

Perhaps you would like to weigh in on that thought question and give your comments to me.

This section in Heberlein's Self Instructor, Op. 7 is the lengthiest yet with lots of musical examples to accompany the reading. Each time the text gives some notes I inject them into the episode so that the reading stays as true to the text as possible. (Occasionally I explain or make a comment about the music or figure, testing my German abilities).

If you find this interesting or entertaining or would like to take cello lessons or put more musicality into your playing (regardless of instrument), contact me about lessons/coachings.

[email protected]

Visit my Patreon to explore the tiers of membership where you can choose merch at the appropriate tier.

https://www.patreon.com/travelingcello

Buy a cello arrangement of mine directly from me (inquire via email)

or go to

https://www.sheetmusicplus.com/publishers/aaron-sinnett-sheet-music/3022778

64. SPECIAL EPISODE: No. 3 A Journey in German-Learning, Musik auf Deutsch "Die vier Saiten" und "Der lange Strich"

Source text:

Hermann Heberlein, Op. 7 Schule für Cello; für Selbst Unterricht (Self Instructor for Cello)

The special series of episodes (#61-64) are all about my desire to learn more words about me teaching ONE native german speaker.

Of course, I'd like to teach this student in German but I am not adequately equipped with the musical vocabulary to do so very effectively. So, the real purpose of this special series is about learning that musical terminology and also being able to speak just a little bit better.

The idea came from the fact that I don't have any opportunity to just talk with native speakers much less to native german speakers who also play the cello. So, I thought, why not make myself twice as uncomfortable as I am right now (I'm very nervous about speaking German in lessons) and put up my learnings online for everyone to tune if they should discover my podcast.

This particular episode is not too long and contains only one short musical example; four notes to be precise (although I play them several times).

There are musical selections throughout the episode. They are exclusively duets from Heberlein's "Self Instructor" from which all readings are taken.

https://www.patreon.com/travelingcello

This is a Bonus, or what I call a special Episode.

63. SPECIAL EPISODE: No. 2 A Journey in German-Learning, Musik auf Deutsch "Das Violoncello und Die Haltung des Violoncells"

(Nota bene: There is an alternate version of nearly the same episode after the ad. I added musical selections from Heberlein's Instructor as well as an ad libbed section auf Deutsch.)

Recently, I have begun teaching a student completely in German, or auf Deutsch. The why's and wherefore's to your ensuing questions (I'm totally fantasizing imagining any questions from listeners) is for another day. Now, I really want to learn more of the musical terminology in German.

Although I learned how to speak at a decent level, I never have studied formally in German for music. I've read a lot and taken lessons in German but have, up til 4 months ago, never taught or had to use any technical language for anything.

In this series, I'll be using Hermann Heberlein's Selbstunterricht, Op. 7 Teil I. ("Self-Instructor" Part I.)

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This is a Bonus, or what I call a special Episode.

Here is Episode No.1 "Das Notensystem"

Recently, I have begun teaching a student completely in German, or auf Deutsch. The why's and wherefore's to your ensuing questions (I'm totally fantasizing imagining any questions from listeners) is for another day. Now, I really want to learn more of the musical terminology in German.

Although I learned how to speak at a decent level, I never have studied formally in German for music. I've read a lot and taken lessons in German but have, up til 4 months ago, never taught or had to use any technical language for anything.

In this series, I'll be using Hermann Heberlein's Selbstunterricht, Op. 7 Teil I. ("Self-Instructor" Part I.)

He wrote a great method for learning music and cello and I'm taking full advantage of that for my own edification.

So, here's to all the anxiety and self-effacing I'll likely do to myself but never the less, progress must be achieved at nearly any cost.

If you wish to support and join me on this journey let me know.

This is a Bonus, or what I call a special Episode.

This is the INTRO. to what will be a series.

Recently, I have begun teaching a student completely in German, or auf Deutsch. The why's and wherefore's to your ensuing questions (I'm totally fantasizing imagining any questions from listeners) is for another day. Now, I really want to learn more of the musical terminology in German.

Although I learned how to speak at a decent level, I never have studied formally in German for music. I've read a lot and taken lessons in German but have, up til 4 months ago, never taught or had to use any technical language for anything.

In this series, I'll be using Hermann Heberlein's Selbstunterricht, Op. 7 Teil I. ("Self-Instructor" Part I.)

He wrote a great method for learning music and cello and I'm taking full advantage of that for my own edification.

So, here's to all the anxiety and self-effacing I'll likely do to myself but never the less, progress must be achieved at nearly any cost.

If you wish to support and join me on this journey let me know.

60. Cello in Germany in the 19th Century: Hugo Becker "Love Scenes" Op. 7

Here is yet another little gem of a piece. While it requires some attention to higher positions in places, the over all accessibility for the upper intermediate player is in your grasp. As you will hear in my own recording, the amount of practice I got in did not satisfy except to the level of moderately good. But in reality, my goal is more at showing you that such much exists and should be played by more competent cellists than myself. That being said, I greatly enjoy recording these works and will continue on regardless.

There are six movements or scenes that Becker has artfully reimagined as musical prose.

1. Begegnung ("First Sight" or "Meeting")

2. Zweifel ("Doubting")

3. Träumen ("Dreaming")

4. Tänderlei ("Flitting")

5. Frage ("Question")

6. Antwort ("Answer")

Please support me as I continue to present worthwhile music for cellists to play in addition to all the great standards we already are accustomed to.

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

Paypal.me/travelingcello

Purchase my arrangements, collections of annotated music for beginning cellists, and cleaned up early cello method:

https://www.sheetmusicplus.com/publishers/aaron-sinnett-sheet-music/3022778

Go to me Youtube channel and watch me play mostly well with a number of teeth grinding missed shifts:

(Link coming soon once the video is fully edited.)

59. W. FITZENHAGEN: 19th Century Cello in Germany

I'd simply like to say; I like Fitzenhagen's compositions. 

Not very convincing? Listen to this podcast.

Still not really sure? Look over the scores.

And you still need convincing? Play some of his music for yourself.

Even though he may best be known as the cellist who not only gave the premiere performance of Tchaikovsky's Variations on a Rococo Theme but also the cellist brazen enough to alter the score so much that it was nearly unrecognizable as one that the master composer originally penned. 

Despite that negative reputation, he did compose a number of very charming pieces.

~Two sets of pieces for students, two cello quartets, numerous character pieces, and others.

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Listen ALL the way through each podcast episode.

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Episode 58 is set squarely in Germany in the 1800's. 

There was an explosion of capable cellists in that country in this period. They wrote an enormous body of music for the concert stage as well as for the aspiring student. Come along and explore some forgotten Etudes by the likes of Schröder, Lee, Werner, Kummer, Büchler, and Heberlein. Although there are many more names that could be included there were already so many etudes to choose from just from these six that any more would have meant for an impossibly lengthy time commitment just for recording the music. 

This episode aims to be informative and helpful in providing alternate (or perhaps in addition to) studies to the scores of "traditional" ones you are already familiar with, which were passed down to you from your teacher. 

That's the point of this podcast. Discover Forgotten Cello Music and put it to good use. Assign it to a student, play it for yourself, and ultimately perform it in some capacity.

Can you find "The Happy Farmer" in this episode?   

When you do, go look up the same music I used to play it. The version used in this ep. is simply a refreshing and practical rendering.

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Remember you can leave a voice message at the Anchor.fm/forgottencellomusic page.

Send me an email with thoughts and ideas: [email protected]

Watch some videos of me playing forgotten cello music on my Youtube channel Traveling Cello

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Send a tip to PayPal.me/travelingcello  (or use to pay for private, online lessons with me).

Join me on my journey into Forgotten Cello Music by subscribing to my Patreon: https://www.patreon.com/travelingcello

Maybe you would like an arrangement I've made:   https://www.sheetmusicplus.com/publishers/aaron-sinnett-sheet-music/3022778

--- (The Cello duet of "Lied Ohne Worte/Song Without Words" by Mendelssohn is one I am particularly fond of myself.)

Please, tell your friends and colleagues, acquaintances and family to listen all ALL of my episodes here at Forgotten Cello Music!

Thank you and remember to play more Forgotten Cello Music.