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First, all major-scales are the same on our cello. With the given fingering in “scale I + II” (B-Major) you can play all major scales possible without open strings. The open strings are a confusing factor in a certain way, just ignore them for a while and practise for instance D-Major without open strings using the known fingering. You start on the C-string on D with the second finger and go ahead. Since we do not have white and black keys it is absolutely easy and there is no difference between C-Major and F-sharp-Major.

Why is one shift on the old bow and another on the new bow?

It is important and helpful to know whether the shift is happening on the old bow or the new bow, but how does one decide which one is appropriate for a certain situation--Why is one shift on the old bow and another on the new bow?

In general it is a question of taste whether you shift on the old or the new bow. Sometimes you would like to shift even between the two, if you want to make an unhearable shift. If you like to produce a clearly hearable, expressive slide, you should slide on the new bow.

How should my practicing be structured? Let’s say, four hours.

Being a student you should simply take my (half humorous) remark literally. Just practice scales with all possible variations for at least one hour a day, then spend another hour on other basics like double-stops, arpeggios etc. Finally dedicate a third hour on demanding etudes (Popper, Piatti, Grützmacher II) and then you may proceed to your beloved pieces of music whatever these might be now.

First, YOU have to like it, I mean the looks (colour, varnish, size), the weight, the handling, then think about the sound. YOU must love the physical appearance of the instrument, it does not matter whether the thing is old or new, and does not really matter either, what socalled experts around you think about it. Then split you budget in two thirds for the cello, one third for the bow.

 

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