In 2011, I returned from two years studying in Dallas, Texas, where I studied under world renowned soloist, Andres Diaz. This Followed an undergraduate at Leeds University studying with Anna Shuttleworth, who taught at the Royal College of Music for around 30 years, and a Masters at Trinity College of Music studying with Joely Koos, a highly respected London performer.
Having studied with these teachers and more, I feel I am in a great position to pass this knowledge on to my students. In addition, I have also developed my own ideas about playing the cello, while performing with Chamber Music ensembles, in Orchestras and in the West End.
I am currently teaching at The Granville School, the Langley Park School for Boys, Sevenoaks School and my old school, St Olaves. I also teach privately at my home. I am also a regular coach on the Pro Corda Chamber Music courses.
I have previously taught at the secondary level at Dartford Grammar School and BETHS Grammar School, and at a primary level at Warren Road and Tubbenden Primary Schools in Orpington, and have also deputised at the Kent Music Academy as both a cello teacher and chamber music coach, and on "National Strings" residential courses.
I look to make the experience of learning the cello as much fun as possible, while also working to ensure all students play musically and with excellent technique.
Some Useful PDFs
The most important of these is my two-page guide to practising. Read this. It is important!
This contains all of the basics of learning the cello. Next up, is a Position Chart which should help the student to find their way around the instrument. It's possible that you'd rather have the positions represented differently... Try this one. You might also find a practice chart helps. If you fill it in everyday, it'll help you to keep track of what you're working on! Here's a demonstration week.
Where scales are concerned, I find that this document groups them nicely and makes it much easier to learn them. Or you might like to use the Circle of Fifths to represent your scales. This helps you to learn them in a harmonically logical way.
Finally, I have a couple of charts that might help with sight-reading. First up, a checklist, and secondly a fingering chart.
You may also find it useful to read my blog. I've written a few posts which might be useful to students and parents.
I also use YouTube a lot in my teaching, recording videos in lessons
Music Theory
In addition to being able to play, it is important to have a good knowledge of the theory of music. This is both to improve your understanding of what you're playing, and to allow you to try other aspects of music, such as composition and arranging.
On this page, I will add videos and text which aim to teach some of the most important/useful aspects of music theory.
The Circle of Fifths
The first step for any theory involving keys or harmony is to draw a Circle of Fifths. This is a very important skill! It's a good idea to draw several, one after the other, until you can do it flawlessly every time. Why not time yourself! See how quickly you can draw a perfect Circle of Fifths!
Key Signatures
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Key Signatures let you know which notes are required for any particular piece. This is related to the scale belonging to that key. For example, do you need an F natural or an F sharp. In C Major, which has no sharps of flats, you would need F natural, whereas in A Major, which has three sharps, you would need an F sharp.
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The order of the Sharps and Flats in the key signatures is fixed and can be remembered using:
Father Christmas Gave Dad An Electric Blanket for the Sharps and
Blanket Explodes And Dad Gets Cold Feet for the Flats.
You will never have a key signature which includes a C sharp, but not an F sharp.
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In order to know which sharps/flats belong to each key, you can use a circle of fifths. When you know how many sharps/flats are needed for they key you’re working out, you can use Father Christmas etc to work out which sharps/flats are required.
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For Major Keys, C Major is the most important, as it has no sharps/flats. It’s relative minor, a minor is the most important minor key, for the same reason.
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Each Key Signature refers to both a Major and a minor key. These are known as the “Relative Major” and “Relative Minor”. In order to know which is correct, you will need to either hear the piece or look at a few important pieces of evidence (such as the last note, which is likely to be the key-note [or tonic], and the prevalence of accidentals [minor keys tend to include more]).
Intervals
Using the Circle of Fifths and the Father Christmas method, it is easy to decipher any interval.
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When calculating an interval, the first thing to ascertain is the “Number” of the interval. This is done by simply counting through the alphabet, making sure that you count the lower note as number 1. For example, A to C is a 3rd, A to G is a 5th etc.
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When you know the “Number” of the interval, it is then necessary to work out the “Type” of the interval. There are five different types of intervals: Major, Minor, Perfect, Diminished and Augmented.
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2nds, 3rds, 6ths and 7ths can be Major, Minor, Augmented or Diminished
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4ths, 5ths or octaves can be Perfect, Augmented or Diminished
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If the upper note of the interval is part of the Major Scale of the lower note, then it will be either a Major or a Perfect interval, depending on the number of the interval.
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If not, it’s important to work out how many semitones the actual note is from that in the Major Scale.
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2nds, 3rds, 6ths and 7ths: Minor is one semitone lower, diminished is two semitones lower, augmented is one semitone higher (order is therefore: Diminished, Minor, Major, Augmented)
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4ths, 5ths or octaves: Diminished is one semitone lower, Augmented is one semitone higher (order is therefore: Diminished, Perfect, Augmented)
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To work out the type of the interval, therefore, it is important to know the key signature of the lower note. This is done by using the Circle of Fifths and Father Christmas etc.
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Write out the notes of the scale, then add the sharps/flats on the appropriate notes. You can then work out whether or not your upper note falls within the Major scale, and from there, work out what type of interval you have.
TEST YOURSELF!
Click through to musictheory.net's interval quiz. This is customizable, so it's possible to make it easier or more difficult, depending on your comfort level. Start in C Major only, then add key signatures as you get more confident. Write out the scale for each interval. It's time-consuming, but it avoids mistakes!
mymusictheory.com also has an excellent set of informative pages and tests, including a practice Grade 5 Theory Test.
When you're comfortable with intervals, try out some of their other exercises. With the circle of fifths, you should be able to manage key signature and scale recognition.
Teaching Terms and Conditions
LESSONS
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There will be 30 lessons per academic year (an average of 10 per term).
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Lessons missed by pupils will not be credited unless 24 hours notice has been given to rearrange the schedule. Swaps may be possible, but cannot be guaranteed.
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There will be no credit for leave taken by pupils during a term. This includes absences arranged by the school.
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Should a lesson be cancelled due to circumstances beyond my control, I will take all reasonable steps to make it up.
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Any lesson cancelled by me will be made up during the academic year.
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If you wish to discontinue lessons written notice must be given by half term to take effect from the end of that term.
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If you discontinue lessons at the start of a term you will be liable for that term’s fee. If you discontinue lessons after half term you will be liable for the following term’s fee.
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I reserve the right to discontinue lessons at any time.
PAYMENTS
FOR THOSE WITH TERMLY INVOICES
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Fees will be updated annually, over the summer holidays, dependent on either figures dictated by schools, or a sensible increase in line with inflation.
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Invoices will be submitted termly to parents by me.
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Payment for lessons is due in advance at the start of each term and must be made within 14 days of receiving an invoice.
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If payment is not made within this 14-day period I reserve the right to suspend any further lessons until payment is received. Lessons missed through late payment of fees will not be made up or refunded.
FOR THOSE WITH MONTHLY INVOICES
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Fees will be updated annually, over the summer holidays, dependent on either figures dictated by schools, or a sensible increase in line with inflation.
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Lesson fees should be paid monthly at a rate of 1/12 of the yearly amount starting in September, finishing the following August.
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30 lessons a year are included in the monthly payments. Further lessons may be offered at extra cost, to be paid monthly.
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If notice to discontinue lessons is given, a calculation will be made to work out how many lessons/how many extra payments are owed to balance the payment.
EXTRAS
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Parents must pay for music and external examination fees (upon agreement) also accessories such as strings and rosin. This will not be provided, but is necessary for tuition.
Cello Care
To start with...
When you start playing the cello you will need a few things, which you can get hold of from a local music shop or from the internet. I tend to use Amazon.co.uk or thestringzone.co.uk.
1. Rosin
2. A Duster to wipe rosin dust from the strings
3. Spare Strings (for more advanced players)
4. 2B Pencil with eraser
5. Spike Holder
Cleaning and Maintenance
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Cellos are usually very old, and have survived mainly because their owners took great care of their instruments.
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Make sure to keep your cello out of direct sunlight and avoid sudden changes in temperature. If you bring your cello in from the cold, try to wait at least 15 minutes before opening the case to allow the cello to adjust to its surroundings gradually.
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Wipe rosin dust from your cello, both from the strings and the wood with a duster before putting it away.
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Periodically check that the bridge is perpendicular to the body. If it isn't, ask your teacher or a qualified music repairman to reposition it.
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Listen for any unusual buzzing, as this may indicate splits, cracks or other damage, which need to be treated immediately. Most adjustments and repairs should only be done by a trained luthier.
Bow Care
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Don’t over rosin the bow, as you will end up with a grainy sound and a lot of dust.
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Don’t over-tighten the bow as this will put a strain on both the stick and the hair.
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Take special care not to hit the tip of the bow as this is particularly fragile and prone to damage. Be sure to loosen the bow before returning it to the case.
Storage
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If resting the cello for short periods, place it on its side with the spike retracted, never on its back or resting against a wall or chair.
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To make practicing easier, you can buy cello stands, which mean that the cello is always easily accessible.
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Store the cello in a ventilated, humidity controlled environment.
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Never leave your instrument in a parked car.
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If you are travelling by air, contact the airline in advance to arrange to bring the cello on board. Be aware that you may need to purchase an extra seat.
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Unless you have a flight case, never check a cello into the hold.