Diran Alexanian – Complete Cello Technique: Classic Treatise on Cello Theory and Practice. by Diran Alexanian Dover Publications Inc. Traité théorique et pratique du violoncelle (Alexanian, Diran) Scores. Complete text · *# Title, Theoretical and practical treatise of the violoncello. Sheet Music – £ – Diran Alexanian – Complete Cello Technique.
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In the course of his distinguished career, author Diran Alexanian played chamber music with Brahms, performed concertos with Mahler, and taught alongside Casals in Paris. A superb compendium of instruction, this reprint of the original dual-language edition features French and English instruction side by side on the page, complemented by numerous photographs, aalexanian, and music examples.
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Complete Cello Technique – L’enseignement du Violoncelle
Casals and the Art of Interpretation. Cello Yehudi Menuhin Music Guides. Left Hand Cello Exersizes. Ditan Books on Music Paperback: Dover Publications April 10, Language: I’d like to read this book on Kindle Don’t have a Kindle?
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To me, reading this book’s contents is like looking into a window into the very familiar past of cello-ology. This book is not for beginner cellists. I highly recommend it, though, for anyone teaching cello to beginners, intermediates and college level students. I don’t know co,plete of my professional cellist colleagues, no matter who their stream of teachers were, who would not benefit from this read.
Diran Alexanian – Complete Cello Technique
Knowledge is power, even if, and sometimes particularly if, the ideas are opposite your own. This book is severely dated. I knew this, or should have known this when I bought it.
It is NOT progressive in the way that a teaching book should be. It needs a knowledgeable reader or a quite knowledgeable teacher. The English is a poor translation of the original French text. This could be an artifact that it is a very old book, but I find the translation tends to be almost “dictionary look up” instead of an idiomatic translation which would make the book useful, dated though it may be. In some of the passages the English is unclear, I used Google Translate to find an understandable translation.
It is fairly complete. It has had everything I have had occasion to look up on cello technique, practice, and history. There has been nothing in error that I have found. Understand I have had this for less than a month, so these statements are subject to change. The printing is clear, it is printed on good paper, and the binding strong. If I had a chance to look through it prior etchnique purchase, I don’t think I would have bought it.
I wish Amazon would give [more]extensive access to the inside of the book. One person found this helpful. I have been wanting to buy this book for years, and I finally ordered it a few weeks ago. After it came in I read most of it within a short time, to compare its principles to the ones I have developed over time and to find answers to some of my csllo yet unanswered questions. Riran found the alexwnian interesting, disappointing, occasionally challenging and anyway a necessary read, in that order.
As to the latter, due to the connection between Casals and Alexanian, I felt and still feel that any cellist should read it in the same way that one should read David Blum’s Casals and the Art of Interpretation. The book is certainly one of the most systematic attempts to assemble and describe a good technical approach to the violoncello, a notoriously difficult instrument.
However, I personally think that at this point it no longer stands the test of time for a number of reasons. The translation, first of all, is clumsy and often wrong – that speaks for itself.
Then there is that preaching tone, so often met dirna cello tutors, warning students about insurmountable difficulties, indispensable eons of study, and the related crime and punishment dynamic, with the flames of hell awaiting anyone who has not done the right things.
Then there is an approach that is, in my opinion, linguistically wrong and dysfunctional. The book seems to expect the novice to the cello to already know the whole of musical language and to be utterly fluent in it. This is shown in the way concepts and matters which are traditionally tricky to learn and master notation, sight reading, harmonics, etc.
Then there is no transition between the usual exercises in the first two or three positions, based solely on the physical shape of the cello fingerboard and with no musical content to speak of, and references to the masterpieces of the cello repertory such as the various concerti a few dozens pages later on.
Nothing in between in the shape of studies or as advice and information as to doran to study and practise before one “gets there” to the war horses of the repertory I mean. Then there are technical drawings which are dysfunctional at two levels: Again, this is profoundly dysfunctional very much like trying to learn phonics in order to learn a foreign or second language and by itself it is dysfunctional: Then there is another classic predicament: His hands were, by all account as stated by David Gerben in the Foreword, very large.
How many ‘teachers’ have I met who are blissfully oblivious that there is a logical and legitimate relationship between the compleye sizes of interacting parts? There are simple ways, based on key technical requirements on the cello, to select an instrument that is appropriate for a pair of hands. None of this troubles Alexanian who seems to naturally base the whole of left-hand technique on the uncommonly large size of his hands.
What are the good sides, then? There are many good things if one is prepared to dig them out, turn them comllete for inspection, try them out, and analyze them critically. I personally think that the technical approach envisioned by Alexanian compresses cello technique into a limited technique, limited because it is solely based on the idiomatic features of the instrument.
I would remind the potential reader of this review that there have been great cellists Luigi Silva being one, for instance dirna intelligently questioned certain traditionally “cellistic” approaches to diean cello. Again, there is in the book a large shortcoming: That, I am technlque, is a great didactic misconception and Casals himself constitutes historical and artistic proof that individual techniques are not only possible but necessary, and if explored to the full can lead to great artistic achievement.
Having said all this but I could say much more I paradoxically recommend the book for those who are genuinely interested in exploring a multitude of technical approaches.
On the one hand, if you are enjoying conplete positive and fruitful teacher this book is quite unnecessary; on the other hand, here is a window into a particular world the knowledge of which, in my opinion, still matters.
This is a very detailed book that I found too heavy for me. I like to go through the pages a little faster without so much thinking.
If I have a very technical question I do pull this book out and try to understand what that have to say about it. See all 4 reviews. Amazon Giveaway allows you to run promotional giveaways in order to create buzz, reward your audience, and dkran new followers and customers. Learn more about Amazon Giveaway.
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Complete Cello Technique
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