I. open strings, harmonics, simple first position in predictable rhythms, mostly simple scalar motion--precursory exercises, bow hold, positions, changing strings, ear-training,establishing intonation, solidifying positions, memorization

II. first position including more arppegiated motion--developing tone, dynamics, bowings, bowing patterns, legato vs. staccato articulations,sight reading, faster bow strokes, different major keys and lower string playing, occasional isolated slurs

III. more difficult bowings and fingerings in first position--extended fingerings, detached slurs, slurs, rapid string crossings, non-harmonic tones, dotted rhythms

IV. shifting between a few neck positions in isolated succession of shifts--, brush stroke, strong core sound, inch-worm extension or shift,


V. shifting between all neck postions and initial vibrato--dotted and more complex rhythms, thinking in large impulses, ornaments, trills,

VI. fluent shifting between all neck postions, beginning transitional positions, and vibrato--long sustained bowing, minor scales, tenor clef, fifth-seventh position,shifting to high B, C, C#, awkward bow proportion, simple double stops and chords

VII. works with longer forms and extensive shifting in neck and transitional positions, high harmonics and varied use of vibrato-- tenor clef, double stops and chords, concerto style playing, more complex forms, more contrasting passages,complex string crossings

VIII. works with extensive shifting in neck and transitional positions and occasional higher scalar runs or harmonic based thumb position--simple thumb position anchored at the harmonic or in simple scalar motion


IX. longer, more challenging, and more musically mature works with extensive shifting in neck and transitional positions and some thumb position passages--treble clef pasages, soldification of thumb position, different thumb position patterns, develop strength and endurance in thumb, maintain integrity of thumb position form, across all strings, refined bowing articulations and nuances

X. works utilize the entire range with thumb position passages falling into idiomatic scalar or arpeggiated patterns--thumb position in all higher positions, thirds, octaves, sixths

XI. pieces require fluent playing over the entire range of the instrument with extensive thumb position--thumb position over entire range, established spiccato, fast and even fingering, artificial harmonics, very fast virtuostic passages, multiple shifting, shifting at odd intervals,thumb position double stops

XII. virtuosic works that necessitate not only complete technical command but more mature interpretation and sense of artistry--different tonal languages, complex and compound rhythms, contemporary styles, endurance testing

XIII. particularly technically and musically challenging music designed for the seasoned, accomplished artist

Send comments on the content of this server to John Michel at
Copyright © 1995 Internet Cello Society