Perpetual Motion in D Suzuki Cello School 1 Slow Version Free Pod-Class with Sarnia Audio

Bourree Suzuki Book 2 Cello School Slow Lesson Introduction with Play-Along Backing Free Class.

hello gorgeous people now listen today we're really working very hard on suzuki cello school book two because it's pouring down with rain and what better way to spend a rainy day than practicing our cellos i want to remind you because we're working through a lot of tunes today i want to remind you to rest as often as possible every 20 minutes is the best idea to have a stretch but i realize we can get quite intense so that doesn't really happen definitely every 45 minutes and i'll be doing that today throughout the day and i'll be right reminding everybody about how they should be sitting how they should be stretching and what they should be doing to keep themselves physically healthy as they work through all these wonderful wonderful suzuki um examples obviously not written by suzuki suzuki just used these very famous tunes and he uses them to teach very young children how to play cello and he was um a bit of a bit of a zealot really wanted little children to perform we have to make sure that we're not performing like monkeys that's my one criticism of suzuki the other thing is adults how do you teach an adult with a child designed method well we can use these tools to our advantage but teaching adults really requires something a little bit different so that's what we try to do at telltale kids make something um make a program of learning that is more suited to a wider a wider student a more developed student if you like that's not to say i can't teach adults i love teaching adults um as much as i love children so suzuki uh cello book two the bouree by gf handel i'm going to play the slow version for you um this is it looks innocuous it's actually really quite difficult to um to get right it throws some curveballs in there so but we're talking we'll be talking about that later let's have a listen

do

so

hmm

so

so

okay now you by listening you're not going to be able to hear the curveballs that are um really going to throw us we're using second position again we're moving up to an e with our fourth finger it's very tricky so we're going to be working on that today in the workshop and the contrast was quite interesting wasn't it really quiet and then getting really loud that sort of build up with these rising notes very it's quite exciting almost um i mean it plods a bit but let's play it at half speed that was um quartus uh oh no that was half speed sorry let's play it at uh three quarter speed and it it it moves a little bit um it's a bit more sprite it's a bit more interesting i think uh let's have a listen so

so

hey

so

so uh

so okay so that's getting a bit more um a bit more interesting isn't it um now i do i should point out that really you need to have the paper music in front of you i'd prefer that if you could buy the book please um you can buy them second hand on ebay and i mean they're running about eight or nine pounds new and i realize that's actually quite a lot of money for a lot of people we don't all have money um so ebay is a really good option you can probably get them for half that the cd you should get the cd or listen you can hear i mean if you go on to youtube you'll be able to hear lots of performers doing this at the full speed and i really recommend you listen but the trick with this listening at full speed thing is listen at full speed and choose your five favorite performances and really get to know it but then while you're learning a piece don't listen at full speed anymore or don't listen to the other performers anymore now you need to trust in yourself and your interpretation so it becomes important really to um to pre use some tools definitely use the metronome use the backing tracks i'm going to be putting up all sorts of backing tracks that going to help us but really...

May Song Suzuki Book 1 Free Pod-Class with Sarnia Free Lesson How to Play Cello Beginners.
hi guys um let's talk about may's song it's another folk song allegro moderato yeah um it's a sort of uh get out clause really from um it's in between really fast and really slow sort of medium an allegro is fast and moderators moderately but it's all relative isn't it um so you'd need to choose your own speed but we'll do it quite slowly so now the biggest thing to remember is when you start we're starting with jambo

but we're starting loud a bit longer on them

nice and loud all the way through now the next line where not as loud as the first line so if you haven't done the first line very loudly how are you going to know what less loud is you will barely be touching the string so be aware and then the next line

now what's going on there well we're a bit quieter than the top line

we've got that holding down the third again

and then we've got this look at that what's that what's that mean that uh sideways sign it looks like a sideways v an arrow head well what it means is that you're getting quieter and quieter okay so really quietly okay as quietly as you as you as you need to be you want to be heard and then back to now

okay and the second time you see there it says second time the second time you play it oh because the repeat at the end means you go back to the game and play again uh you slow it down so you there's a natural slowing and quieting and telling the audience that it's the end of the song that's how they know okay the end of the song is always a time to calm and recompose and especially in a dance piece i would reckon this is quite a festival type dancing um folk song okay and if you just carried on at the same speed and the same volume all the way through people wouldn't know what was going on they they'd be like oh gosh i'm going to pass out a minute because i've been dancing so um so um obsessively you know you've got to give them a rest so they can go and get refreshment and maybe get a volleyball okay so we've already learned the skill for holding down the f sharp and now what we've got to do is hold it down

and make that no quieter and then

hold it down again but still quiet and then

what i do is when i'm practicing i sort of exaggerate things a bit if it's if there's a start the staccato will exaggerate it if there's a really loud uh and are really quite unexaggerated and i do that for a bit until it's in my head that that's what i'm supposed to do and then i start to take it to a level that is more um tolerable for all concerned you to play and for the listener and the dancer in this case um but i i think it does quite well to exaggerate because what what happens is you understand the effect that certain um motions and feelings have on the string and your bow and how to channel it how to channel loud and how to channel quiet uh how to express it okay i think that's it for that bit um we'll be popping up a recording later with uh cuddles or momo um are going to be uh working on these tonight um and maybe actually i might get one done with uh we might get cuddles to do overcome little children in a minute okay um and we'll look at the allegro next um which is also fab fab fab so i hope you enjoyed my suzuki class with you and um i'll see you later

Long Long Ago Variation Suzuki Cello School Book 2 Free Pod-Class with Sarnia Lessons Online.
hello gorgeous people cellists from all around the world welcome we're going through the um suzuki book two today um i'm doing what i can and we're already on the variation we've already done our warm-ups if you're just if you're just arriving at this podcast please warm up please stretch physically stretch i really like the uh my students to do the yoga stuff and it's difficult because you're not with me i can't make you do things so we have to imagine that you're um doing um what i'd like you to do um and you know one has to just hope so let's just pop on my backing track now today we're going to have a quick look at the well nothing's quick actually is it anymore these days i think when you get to a certain stage of musicianship nothing is quick anymore um but i'll be fairly brief now what we're doing now

is the variation of the long long ago by t.h bailey and this is i'm going to turn that down a little i think it's c major still but it's what what's going on it looks so busy doesn't it don't panic it's exactly the same tune but what they've done is they've stuck a load of g's in uh open g's so if you look if you can get both uh pieces in front of you the the first bar c c d e e and f natural let's just say f and if you look underneath it's c added g c d e and a g do you see they're adding g's every time there's a longer note they stick a g in i i think that's quite helpful to know what's going on and it's an open g and what's really good about this is it really tunes your ear because um you've got to be uh batu um those two g's and this is why suzuki's so good it's a sort of cheetah's way of getting your ear to improve so we've got this unique those are an octave apart and you'll just get so good at understanding um what what's in tune and what's not because you're doing these octaves next to each other it's a really good study a really useful tool so i'm not going to play at all i'm going to explain to you the difference between a slur that's a slur same bow movement now some slurs you would differentiate between the notes you would do this just there was a slight differentiation there i i pressed a little released a little pressed a little released a little pressed a little changed note and pressed again do you see but some slurs you keep exactly the same pressure on both notes and i think if you can do that for this rather than that's differentiating between those but if you can

really slur them that is going to be a very impressive um technique for you to grapple with early on in your in your advancing musicianship okay

okay so slow

how do we do a staccato we i don't want to shake your boat off the string you sort of push it a little there's some energy coming from your body and it's really you're doing this with your hand

but of course there's a string crossing so it's a little bit tricky so you're going to have to work at that

etc it's actually easier to do them quickly than to do them slowly but i want you to do it slowly and the string crossings do throw you a little bit but you know what it's quite easy to do a staccato string crossing because you're you're playing a half half the note so you've got that half time when you're off the string to get to the next note do you see so it's all it's like a rest and it's played like a rest albeit a quick rest um so i've i have the version of this up on i think vapour punk has done it you can go and have a listen and play along i like this i think this is good fun um repeat repeat repeat and but do it slowly and make sure if you want to um i in fact i recommend that you get some highlighters and because when you when you um do this relatively quickly you can get confused about whether you're supposed to be doing an up bow or a down bow but don't forget these staccatos oh sorry these staccatos are on the um...

Go Tell Aunt Rhody Suzuki Cello School 1 Free Pod-Class Lesson with Sarnia Audio Podcast.
hi tail tellers welcome to a little class for go tell aunt rodie uh this is suzuki book one for cello and we're looking at another folk song that's very interesting we've just done a folk song song of the wind hang on let's let's just before you play any piece of music there are two things you must do you must listen to it and then you must look at the music okay and you must really study the music and understand where you're going with it and one of the other exercises i ask all my students to do is to play the tune and use your finger and point to the notes on the score as you go along as the music's playing okay and you might need somebody to help you do this you might not really important a really good way of getting to know it especially when there's quick bits and i can see in going to long roadie there's a very quick bit it's actually two very quick bits bars one two three four and the final bar have this group of four notes four quavers all stuck together how interesting now also if you look at it it's got that funny c at the beginning what does that mean do you know it means common time and that means four four so there are four beats four quarter notes in each bar but they're divided up even more with these quavers how interesting so we're going to be you could count one and two and for those if it helped but actually the best way to understand this rhythm is to listen to it and then finally to play along with it and that's why it's important to have the tracks i'm not allowed to play the actual suzuki versions you'll have to look at those on youtube

but it's a very famous piece and you probably know it already so let's just have a look at the starting note is that f sharp

all very straightforward until you get to

this last bar which is a bit tricky so for practicing this i would suggest over and over again short little bits of bow and then you join them all up

okay and you you can get faster and faster but don't rush it and the rule is when you get it right then you can speed it up don't speed it up until you've got it dead right okay what else do i notice i would

uh be quite light a little bit heavier there and then lighter on the um the the pairs of quavers just be like keep your use gravity don't push in too hard don't push into the string it doesn't need it keep it light okay it's a folk song we don't need to plod with heavy feet okay remember also in bar eight uh this open a

we've got what we've got here is a very different rhythm to all the other bars that we've played so far we're we're slowing this we're coming to the end of an introductory

so phase rush it and even you can almost make light of something and make it sound less rough less rushed without actually slowing it down how do you do that you make it less intense so you uh get off the pressure a bit so even on the open a

as you come out of that lift the pressure from the bow a bit okay and it gives everybody a sense that it's ended rather than this okay we don't want that i don't want a sudden end

a gradual end okay it's going to turn much much better if you do that

so the practice points for this

really looking into making that a beautiful and coming to an end

you can hear it ring you see you don't have to do this and the groups of four quavers there especially in the last bar where it's very important that you get things right just keep keep it really light and practice very slowly the notes individual

okay you don't want any slurry

be defined okay a contrast to the to what i said for the a's the open uh a's i think you need to define those notes okay so that's your practice help i'm going to get our strings robot to do a recording vapor punk for this and get that up as soon as i can it's going to do...

Tonalisation Ringing Sound Etudes Suzuki Cello Book 2 Workshop Free Pod-Class Lesson Podcast.
all right so we're going to start our marathon day of um suzuki book 2 cello school um we're going through each part of the whole book in in great detail now i'm going to just read out the the main points for study of volume 2. so the child well i don't teach many children and i know the wonderful internet is filled with adults desperate desperate to improve on their musicianship with little time and that's why i've chosen the suzuki method as my main

reference really because the suzuki method gets very good results very quickly um i do the abrsm as well of course um well not of course why why would that be um of course so anyway the child should or the person the person you my darlings should listen to the reference recordings every day at home to develop musical sensitivity okay now this is something i very much agree with rapid progress depends on listening now adults tend to have a broader musical knowledge and that's why on the podcast i've got lots of versions using drums and guitars and i [ __ ] them up a bit uh i think it's just a bit more exciting um so if you if you would like to hear some of the um more contemporary ways of listening to these tracks um you can do i've got all angles covered tonalization the production of a beautiful note this is the hardest thing to achieve if you have missed bits from book one i would pre i'd actually prefer you to go back to and do all of book one every single um piece in it and then come back here but adults we you know we're desperate shall we because we're running out of time and we or we don't have enough time etc etc so sometimes we like to miss steps and it's foolhardy however if you've done that i'm going to work you really really hard for book two um the way to get a beautiful sound is to be in tune if you can play a beautiful sound on your open note you can play a beautiful sound when you've got your finger down so practice the beautiful sounds

on the open string and the best way to do the the first the first way is to keep that bow perpendicular to the string if it's making an x shape it does that and an x shape up the other way it does that if it's straight

just glorious just glorious the difference is phenomenal you'll need a mirror always use a mirror mirror the mirror is really the secret to good tone but how bizarre is that who would have thought that that would be the case it's true it's just true that's um seeing yourself make a straight bow somehow implants in you after you've watched yourself a few times and it's much easier to do it live let me tell you than to record yourself and look back at it you know who needs that drama just put a mirror in front of you where you practice okay once you've done the mirror um keep it there all the time and it it does two things the mirror the mirror helps you be distracted by looking at a person in front of you which means you you're going to find it much better to play in front of people but the mirror also tells you it to look somewhere else rather than at your hands really good tip there and it also tells you if you're both straight and how you look if you're you can tell if you're hunched if you're both skew um you know if you're flitting around and uh you know not concentrating the mirror will tell you you know it's a very interesting thing it's it's like a sort of instant analysis okay i think the um the mirror idea is something that if if i had control over my students i would demand that they do it in front of a mirror right the position attitudes etude is a fancy way of saying what's french isn't it i think uh of saying studies should be practiced well not well before well before each lesson and we're going to be doing that we're going what you'll have to do is you'll have to go backwards and forwards and have a little listen to all my broadcasts um i also recommend that you always...

Maytime Suzuki Cello Book 2 Slow Version Play-Along Backing Tools Free Lessons for Students.
good morning everybody welcome to workshop friday um i really like doing workshops on fridays i think i might stick to this little routine we're going to be doing cello um if we get time i'll do some piano as well but we're going to be doing cello mostly we're going to be really working through um as much of the suzuki book 2 as we can probably won't be so much but we'll be certainly doing um the first four or five pieces we've already got a lot of the recordings up so if you if you pop along if you actually the best way to um find everything that i've done with the robot and with myself and is you know i do the robots for little ones but um for older people you might like the robots my mum loves them um if you put in to the search suzuki 2 on your if you've got the app um you should be able to find everything relevant to suzuki book two we haven't finished it yet we've got a long way to go a long way to go so i'm sort of backtracking a little bit and we're going to be looking at may time the reason i want you to do this i want you to get this right before we move on to second position it's because it it's actually a little bit harder than you think but it's involving lots of um expression and it's a little bit flighty and i rather like it i think it's really good but what's really good about it it's going to help you work on your tone okay so before we go on to second position which we're doing today um get this one right okay so i'm going to play you a release um a slower version um i'll do i'll do it at half speed it sounds a bit distorted because i'm slowing it down but you'll get the idea and it is worth playing along to so let's have a listen shall we

okay so that's the slowed down version now let's let's play it again this time a little bit faster but still slower than we would expect to have to play it um in our normal suzuki training okay so this is about three quarters speed and don't do don't try to do it this speed until you've perfected it slowly and we'll sort that out in our lesson today we're going to be really concentrating very hard on this today

you get the idea so should we do it uh one last time at full speed and then um i mean really do not consider doing it at full speed you're going to make far too many mistakes we want beautiful notes today that's what we're our aim is always to make a beautiful uh pretty sound that this you know it's very it's very hard on everybody else when you're not making a great sound so even if you're you know you can only make a a beautiful sound if you play it slowly that doesn't matter no musician no professional musician plays at speed all the time the best musicians know that you slow it down for your practices okay and really the the full speed is um something that you save for performances you want to be understanding the nuances you see so let's do it at full speed okay so i think um i would probably uh in in our performance we're going to be working on some expression i think it needs a little bit more and the contrast there wasn't so great um i think we can improve on that performance so there we go that was the suzuki cello school may time by w.a mozart one of our favorites of course and we'll be doing that today in more detail so even if you can't play that don't worry i'm going to tell you the fingering i'm going to be playing it bar by bar etc etc and then we're going to go on to second position second position is the the doorway darling the doorway to success trust me on this um so back soon um i have to wait a bit because it's a bit early to start playing it's been early to open the music room and but i'll be doing that in an hour or so so see you there guys

Allegro Suzuki Cello Book 2 Free Pod-Class Audio Lesson Podcast with Sarnia Free Class Online.

uh let's play through the allegro and then we'll talk about um

what the new music notation means okay

now did you notice there's a real difference in the first half and the second part the third line i should say dolce that means sweetly so when i got to bar nine i had to really change my thinking and how i was going to um perform it and i think i think it worked i think i managed to do that did you notice as well that as i got to bar 12 i slowed down and got quieter and then i almost well i did i stopped well that funny mark that pause mark it looks like a an arch with a dot in it it's a bit like an eye that's a pause sign

and the rit means you slow down

bar 13 a tempo that means you go back to the original tempo okay so this is a piece of filled with contrasts now you have to uh to to get through the suzuki method you need to be using their recordings because i'm you know i'm a performer and i do my own thing i'm a composer so i'm not saying that i played that in exactly the correct way that the suzuki method would favor so please listen to the tapes i will put up a version later by um one of my robots probably cuddles or moma i think um well maybe all of them um and that'll be um also a version that i think you should listen to and i think you should play along to but really you need to be listening to the uh recommended let's turn that off and my battery is going to run out of that in a minute uh the recommended um recordings because then you can be sure that you're getting it as as they require for for the method um i put a lot of inflections in things and because i teach a lot of adults we tend to do we're a bit more experimental and but if you're one of my young students you you definitely should be listening to um the actual recordings um i like this piece i think the the hardest bit will be just getting that contrast i i think the notes are fairly simple and they're fairly straightforward and don't forget those big giant commas at the end of each line that means go back to your frog or a down bow okay i'd say stay in the um the center of gravity sort of area on your bow for this piece i think that's it i hope you enjoyed that was it just a little lesson wasn't it i'll pop the play-along tracks up later and hopefully that'll get you through because if i look over the page let me see what i've got here perpetual motion one of my favorites

Suzuki Cello School 2 2nd Position with Witches Dance Slow Version and Play-Along Backing.
hey tail tellers welcome to workshop friday we're going to be looking at all of the suzuki book two we're going to really cover second position i think it's important that we do that today um please don't overlook second position very very um it's a difficult one it's your uh it's really your journey to venturing further down um towards the bridge and it's a fearful place but you mustn't fear it second position is does this lots of favors and you'll find you use it an awful lot so we need to master it now don't be tempted to use first position when the fingering states second position at this stage because you'll make a rod for your back okay so we're going to play the theme from the witch's dance by paganini and it's one of those pieces that um introduces second position on two different strings and you've got to be quite adept to get it right but it also is quite speedy but i'm going to play um the slow version uh in this broadcast and this is very slow and i want you to really really listen to it and we're going to be um using this version the slow version today to really get to grips with that second position and i don't want you to speed up until you've got this spot on dead right okay um listen and enjoy understand that it's because i've slowed it down it's not a great um recording of it um and it'll sound much better in my class later

now

uh

my

okay now i think that gave you a real opportunity to hear the contrasts uh between the piano and the forte and the um sections where the with the pause for example um it was quite useful wasn't it let's uh put it now at three-quarters speed and see that you'll see the difference obviously or hear the difference rather and um this is really what we're more of what we're aiming at but again do not move up to this speed until you've got this slow speed bang on

so

okay so it's quite taxing it's actually um it's actually very taxing but and the thing is what you need to split it into sections because trying to do this whole thing all in one fell swoop um it can be quite daunting so slow bite size um little classes that's what we're going to be doing today and spitting it out really getting to know that second position um there we go that's your early morning class um i'm going to be with you all day if you like suzuki if you're one of my suzuki people welcome to a wonderful wonderful rainy day here in the united kingdom

Grade 2 Cello ABRSM Exam Piece Slow Play-Along Lesson with Sarnia Free Pod-Class Lesson.
hello cellists welcome to a wonderful wonderful monday morning now today we're going to be working on our other choices for the grade 1 examination for cello this is the abrsm catalogue 2020 to 2023 but of course if you're just dipping in and you want to carry on through the course without the exams that's absolutely fine by me you are most most welcome and what you'll find actually is that these songs these tunes pop up over and over again you'll find them in a lot of the coursework books across various methods of cello and whatever level you're at it's a really good idea just to dip your toe in and see which ones you'll like and which ones you'll enjoy they're all very different and that's what i like about the coursework actually so even if you're not interested in the exams per se do join me in the classes because you're going to learn an awful lot now this one is called this is number two a2 it's called what is it all from the third book of airs it's by thomas campion it's a very very old tune i like it it's very flowing but it is rather more sensitive i would say than the first choice so it's very very different so if you're a sensitive player if you're a more emotional player this is going to be more suited to you i'd say it's a bit less percussive than the first one there are contrasts more contrast there is a a bit at the end it's louder um there's a section in the sec on the second line it's all quiet and we've got a lot of slurring a lot of legato and we've got some dotted notes so there are actually quite a lot of technical elements to this piece it may put you off but overall it does sound very pretty so shall we play my version of it let's have a listen to my rendition now what i've done is i've slowed it right down for you and slowing it down means that you can really hear what you're going to be required to do to make this well good enough for a pass shall we say and slowing them the cello music down i mean i slow my piano classes down too of well where um while we're training saying the cello really allows you to hear the um articulation of each note and don't forget we've got to give each note a personality we've got to be very clear about what we're doing on each note so let's have a listen and let's see what you think shall we

okay so we sort of get the feeling don't we we get the mood of that as i said it's flowing and legato so it's very smooth so in complete contrast to the a1 choice which is very as i say percussive and we're using the a and d string primarily rather than the s the deep blue c string as i like to call it now i hope that's helped you a little bit but don't panic because if you don't like either of those two we have one more choice in the a section john ryan's polka which i i have done already with one of the robots um of course the robots are uh they play their own versions of it so let's have a little look at the um jello version um in the next class and we can make our choice today of course i'll be doing all of them but i will be going through through all the fingering today and i'll try and get the a choices out the way although not the uh you know the individual lessons we'll be working on those um later on now a quick chat about section b i'm very excited because edelweiss is on the opposite page to john ryan's polka and i absolutely adore that version so very very excited about about that so how exciting for us we're really getting through aren't we now remember listening is learning and the more you listen the more you learn and if you listen very very carefully and very intently to the intonation and the articulation you'll find you absorb it sort of for osmosis and you you won't be able to help it it will just happen i assure you so please please please listen over and over again the habits are intrinsic to how you're going to perform okay back soon