The School of Violoncello Playing by K. Y. Davydov was written in the 1887-1888 biennium. This essay from the outstanding Russian cellist and teacher, has received a deserved recognition from all the cello world in the last half a century, and still to a large extent, it retains its pedagogical and methodological value.
This provides an excellent compilation of a systematic long-term teaching experience form the head of the Russian Cello School K. Y. Davydov written in 1838-1889. The essay is both progressive and reflects the views of the author's methodological and pedagogical skills. Davydov's School is one of the first works of this kind, based on rigorous study of a sound system playing the cello.
This school covers about the first two years of training. It begins with a statement of the so-called Production cellist, describing the laws of union and the status of his left hand on the neck.
It then details the first position, with clearly differentiated broad and narrow locations of the fingers on the fingerboard (which is one of the basic and specific prerequisites for the achievement of a clean tone on the cello). The first section describes the elementary schools strokes with the use of different parts of bow; revealed laws uniform and nonuniform bow speed. In order to focus the student on these difficulties of "uneven" strokes precede, appropriate exercises are made using the open strings. Much attention in this section is given to technological transitions from string to the bow hair.
The second section is devoted to the School of the first four positions. In addition, there is essentially for the first time in Cello educational literature the description of the methodically sound system of position shifts. The system has fully retained its importance in contemporary practice of Cello playing.
The third section discusses the School of Higher positions (up to and including the seventh), and provides all major and minor scales. These scales use two types of fingering - one with the use of open strings and one without them. Scales are used by Davydov to standardize the fingerings for all the tones without the use of open strings and to provide indispensable material for the training in changing positions, in the alternation of narrow and broad steps (whole tone and half tone), because they contribute to the formulation of pure intonation and evenness of sound.
This is the essay, written at the end of the life of Davydov, is considered to be the first part of the School. As conceived by Davydov the second part would have entered even more complex elements of Cello scales (use the upper registers, the playing of double notes, harmonic technique, more complex strokes, etc.) Note material known as the School reflects the Davydov teacher desire for the unity of the technical cellist and artistic development. Davydov is not limited to the School apart from the musical content and meaning, or range of exercises, and gives (many examples), a number (51) of studies, small pieces for the specific terms of reference and at the same time, with obvious artistic merit. These examples are written with the second cello accompaniment, and were issued with original piano accompaniment.
This edition has fully preserved the original text and music material of his Schools. At the end of a number of additions, resulting from the current level of Soviet Cello technique as well as the need to clarify and explain some of the wording Davidovs.