Professional Documents
Culture Documents
At some point in your cellistic career, you should play a piece by William Squire. This
man wrote many excellent works for beginning and intermediate cellists. They are always
very tuneful, and they are very idiomatic to the cello. This Tarantella is as fun for the
listeners as the performer. It is an excellent work to keep in your repertoire for an encore.
It sounds more difficult than it is, which is always a nice feature. As the title suggests, it
is a sprightly dance. If played sufficiently rhythmically, everyone in the audience should
be tapping a toe!
Technical considerations
• Practice finger independence exercises from your favorite method book.
• Carefully plan and choreograph the bow distribution throughout the piece.
• Experiment with a wide variety of different fingerings and bowings.
• Among other bowings, be sure to practice all eighth-note passages both slurred and
with separate bows.
• Most shifts should be executed extremely quickly.
Musical considerations
• If you lean on the down beats of too many measures, this piece can easily sound
beaty. Allow yourself only one tactus per phrase.
• Every note that is a quarter note or longer needs some vibrato.
• Most groupings of 8 bars contain two phrases that comprise a period. In all such
cases, the first phrase should be played in the manner of a question, and the second
phrase in the manner of an answer.
• Place breaths judiciously throughout the piece, such as between most, if not all,
phrases.
Measures 9 through 16
• Every eighth-note pickup should have direction into the following quarter note, but
should not be cheated in rhythmic duration.
• All quarter notes in configurations like those in bars 10 and 11 should be played very
carefully: neither sustained, nor are so short as to sound clipped. Release the bow
slightly, allowing it to come off the string. Be sure that the note continues to ring
when the bow leaves the string, and be sure to vibrato this ring.
• Don't let the open A or any of the others that occur throughout this piece, pop out
from the surrounding texture.
• Be able to make the switch to the D string in measure 13 sound the same as the A
string in bars 9 through 12.
• Prevent the rhythmic duration of a slur from affecting the volume. For example, don't
let the second and third notes in bar 15 be louder than the preceding 13 notes.
Measures 17 through 24
• If the F on the downbeat of measure 21 is held even slightly too long it could distort
the rhythm of this entire phrase. To guard against this, you may want to place a slight
accent on the second beat of measure 21 until you get a feel for the rhythm of this bar.
• Carefully tune the scale in bars 22 to 24.
• Don't punch the A on the downbeat of bar 24.
• If you choose to play the A on the downbeat of measure 24 as a harmonic, be sure
that it does not suffer or stick out in tone quality. Carefully consider the possibility of
playing it as a stopped note.
Measures 25 through 40
• Be sure that all of the D's and E’s in this passage are exactly in tune with each other.
• Be very careful not to allow the pedal D notes in bars 32 through 40 to be too close to
the louder volume of the melody notes on A string.
Measures 41 through 56
• Play measures 49 through 56 at least somewhat differently from measures 41 through
48.
Measures 57 through 72
• Some noticeable change or direction must occur throughout the repeated notes from
the middle of measure 56 through the downbeat of measure 60. If you don't know
what else to do, try applying even a slight crescendo.
• Sustain the passage from the middle of measure 56 through measure 60. Be careful
not to accent the beats.
• The scales in measures 60 through 64 and 68 through 71 are perhaps the most
difficult technical passages in the entire piece. As such, they will need a great deal of
careful practice. Be careful not to play either passage too close to the bridge. The
passage in bar 60 through 64 will probably need to be played further from the bridge
than the passage from bar 68 through 71.
• In particular, practice the shift up to the high B-flat in bar 68.
• Don't cheat the high D on the downbeat of bar 64. Don't accent it, either.
• Don't accent the A on the downbeat of bar 71.
• Carefully tune the chords in bars 71 and 72. Make sure that they do not sound forced.
Play them with vibrato.