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ALWIN SCHROEDER 170 FOUNDATION STUDIES or ALWIN SCHROEDER 170 FOUNDATION STUDIES for VIOLONCELLO 02469 Preface In view of the huge amount of study-material available for the Cello, fa careful selection of exercises such as the present, supplied with mod cern fingering, eevised bowing and careful adjustment of dynamies,should prove of utmost serviceability and benefit, Various reasons make it desis fable during a course of study to possess a handy volume of reference, ia which exercises for specialized technical difficulties or intricate bowings ‘may be found and my object in compiling this volume has been to supply such @ collection for the express use of teachers and students in search of carefully selected and graded studies chosen from the very best works sm existence. Many years ago, in fact when I was still a teacher at the Royal Conservatory of Music in Leipzic, Germany, I considered the practical advantages of such a collection and seriously determined to prepare one at first opportunity. But then I was called to America as first cellist of the Boston Symphony Orchestra, and the manifold duties of this po- sition together with those of my String Quartet and solo engagements, took up my time to such an extent, that all plans for work along in- structive lines had to be postponed indefinitely. However, since my retirement from the orchestra and with more time to dispose of for teaching, interest in many of my former plans was revived and the long-cherished idea of a volume of sulected stud- fes was taken up without delay and carried to a practical conclusion in the present publication. In deciding upon the contents of this volume, my own teaching ex perience prompted me to include only such studies as would be of ut- most benefit and importance in a general course, and while it was im- possible to include many others which should have been added, owing to lack of space, I feel confident that the selection as a whole covers & ‘very wide field and will offer no end of possibilities for advancement and musicianly culture to everyone who studies them. Alin Schroeder ‘TABLE OF CONTENTS Volume 1. (stuces 1 1 50) 1. © Schrier, Op 31, No.1 443 ©. Sehvader,0p.57, No.1 82 2 6 Sched, Op 31, No.2. 42. C Soweder 09.57, No.2. p83 3. © Seheder Op 31,No 3. 43. C.Scader Op 57, No.3. 4 4. ©. Sehvader Op 31,No.4 “44, Grtamacter, Op. 96.No. 1 9.38 5. © Sehwsder Op 31,No 5 45, Grtrmacher, Op 98, No.4 38 8 © Schoo, Op 31,N0 6. 46, Grtzmacher, Op. 38, No.5... ae 7. ©. Sehwede, Op 31, No.7. 447 Detzaer Op. 120,NO.10.- at {6 Secor Op 31;N. 8 48. Detar Op. 120, Ne 11 ns AB ‘8. -Semacer Op 31, No.9 49, Detar, Op. 120,NO. 12 nn 48 10. C Sender Op. 31,No. 10 50, Dotauer, Op. 120, NO. 13 pao 11, Scheer, Op 31, No. 11 51. C-Sctvede,Op.57,No. 8.00. 80 12 Lee, Op. 70, No.& a pat 13. Lee, Op. 70, No.5 53. ps 14 Lo0, Op. 70, No.6 5 288 18 Lo0,Op.70, No.1 55. 2.88 18. Lee, Op. 70, No.8. 56 pe 1, Lee, Op. 70,No. 11 18 Lee, Op.70, No. 20 18 Leo, Op 70, No.2 20. €: Schroder, Op 81,86 12 21. .Sehvede Op 31.No. 13, 22: ©. Setvode Op. 31, No 15. 23. C. Schrader, Op. 31, No. 16 28, Lee, Op. 70,No. 24 25, C: Schrader, Op. 81, No. 18 28. C:Schrader, Op. 48, No.2 21. C-Schader Op. 8, No.3 28. C:Scnader, Op. 48, No.4 28, C-Schrader, Op. 48, No.5. £80, C-Sohrider, Op. 48, No.8. 31. C Shader Op. 48, No.7 {2 Detzaver Op. 120,No.3 B. a 35. Pa 87. Dotzauer Op. 120, No.7. 38, Detzauer, Op. 120, No.8 238. € Schroder, Op. 48, No.8. 40. . Setrede, Op. $8, No.1 170 Foundation Studies for Violoncello. ABBREVIATIONS ABKURZUNGEN 1 Downtow 1 Herunterstrich Alike bog of the bow be Reacts Berns Mike fog of te Heb Wo Thine mid Mo Ree Ml ta Ten r Bde Splae ta we. Wa, dnser List Lower half of he bow Uae Gated Hehe des Bugens iH. Upper ta of the bow ih here date dt Boge ve eine ie Pee ho Bsting 3 Saue copariett tmuss-s10 aparight MOMEPT Wy Crh Per, Now York ‘Andante —_ ot rey 12. : Lee, 07.20, No 4 Lee, 07.70, Ne. . 15. “Len op, a04 ° 18. Lee, Op. 70, No 20 =~ . 19 dn sai seg eR ee ies are Pun at Ce Sas ~F so138- a10 Allegro v, aes via fEfP ope, GEE see ig t ete ate PP Fie AP rei ie a = 24. 8. Lee, Op 70,024 oY EREetpss Ueesucus =< = = 26. an ©. Sehrider, Op, 48, N02 legretto 6 27. O.Sehriider, Op.4N, NOB Allegro ~ af iH © Schrider, Op. 48, NEw 29, 0 ©. Sehréder, Op 48, NOS 30. ©. Schrdder,0p.48, NO 6 Andantino 4 P dolee 31 1” ©. Sehrdider, 07.48, NO Allegro moderato ai! = 9100-210 Detsauer,Op.120, NO 8 a Dotzauer, Op. 120, NO 6 Allegro _ 0128-210 1 36. apieadiie seeliattieers a lngen pint ein ee ae Gaps an “eitlrarey wagilaenstactgirerteaet eaten weeiretrictretieg tree ite 37. 25 Doteauer, Op. 420,807 3 fz Da Capo al Fine 9108-10 Doteauer, Op. 120, N° ©. Sehroder, Op 48,0 10 Allegro A a SSS pe ©, Sehrider, Op.67, NOL Allegro moderato ee prise pipet jel giiert [reasiiduriteiiagl : Gi spill edela lig] leer ee leaadlpicdle peer gens, : fe aaglarpal SALA, Andante = dhs aah ames BCE pre REIT Ta eterye ina Pe ss 45. Gritemacher, Op. 38, NA Allggro moderato 9 EEPIeE AE pe errsaae Piatti ae oe ee eae pepe St ESS eee TT at = (fe ora tee tee (WitucaH P HE > seer eget teers Doteauer, 09.480, N? 10 Dotsauer, Op. 420, Neat A ° 51. Moderato ©. Sehrider, Op. 81, N96 c ©. Sehrider, Op. 67, NOO s aster cy 53. © Sehetider, Op. 57, N° 8 ” 54. ©. Sehroder, 0p.92, NOB Dotraner, Op.120,NO 18 56. 60 Dotzauer, Op. 420, NO 16 Allegro ct at 3358 57. tzauer, Op. 120, N04 ‘Allegro non troppo De . ‘Buhler, Op. 24, NO Aonen? 0 60. Bieler, Op.24, N03 noo. a fe = =_—" ‘Moderato wa = 2 po bo de ty F ‘ a Algo Doteauer tee eireteetectee joa ee ee ™ 65. Allegro 4 ati ae ss = Sf Dotsauer Allegro Dotzauer ost aa as Seton sp re kpstor a semaine, sept foes ieprengpoi ie etter ipeene: Allegro Cérpegrios) oe a tempo Allegro moderato Fee tte rd ree = a ‘Sete = 70. ” Pranchomme, Op.88,N° 2 srt gel siahchararas obi iy Gites « Lethe nett _ (fete = ae eeeeen —__gi Pas Sate NCS Ri = Lh ia; re “ 73. . Sehrbder, Op.44, NO® ar an) 74, Allegro moderato ©. Sohrider, Op.44, Now eet seeks sutetesyee windte, iy fFeis P 1

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