Customer Reviews

Cello (Yehudi Menuhin Music Guides)

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The string instruments were always a great mystery to me, so when my four year old started cello, I found this book a welcomed resource. Bill Pleeth, the pricipal author, is a world-famous instructor in London. His writing style takes you right into his studio and answers many, many questions about technique and, most of all, how to explore the versatility of this wonderful instrument. He will help parents who are helping their kids practice to practice with wonderment. And while the practicing will always be hard work, Pleeth makes it worthwhile. He helps take the student--even the youngest beginner--out of the set hand and first position to explore the instrument in its entirety. Worth the investment and time. A great read (and I tell you this as a professional book editor) and inspiring. So much so, I started cello lessons myself! Keep in mind that this is NOT an instruction book on playing the cello. It is, however, a priceless conversation with a master.

This is a great book for any cellist. Such detail is given to the subject that anyone from a beginner to a pro will find insights that will enhance their playing. Not only that, but it is well-written and enjoyable to read. It covers cello philosophy, technique, history, and repertoire. Every teacher and student should own this book.

I have found this to be the most important book about the philosophy of playing that I've encountered. Pleeth's teaching is all about relaxation in playing, and in this book he lays out the basis of a relaxed mindset. This doesn't begin with technique. It has to do with one's approach to the instrument, one's attitude about the listener, and even one's conception of what music is for...which is then applied to all the various specific technical issues one encounters with the cello.

The reviewer of 10/29/03 has unfortunately missed the point of this book...this is not a how-to book for beginners or intermediates. This book will be most useful to the player who already has a strong grasp of technique. Pleeth shows how he worked with such players and helped them to let go of left-brain ideas about playing (straining, taking a superior attitude to audiences and colleagues, etc.) and find greater freedom. For the player who is ready, Pleeth offers not just a compelling philosophy, but concrete ideas.

The other reviews of this book are right on; all I have to add, (or to emphasize), is that this book is not just for cellists. Any (bowed) string musician can gain a great deal from this book; in fact any musician, whatever the instrument, can benefit from dwelling on some of William Pleeth's ideas and viewpoints. It is for both the teacher and the student, the performer and the listener, the professional and the amateur. Furthermore -- the curious non-musician will find many benefits inside the cover of this book as well. It is a guide to philosophy and technique, teaching and history, repetoire and proper attitudes.

William Pleeth did not write this book. He talked, in an abstract, discursive manner, around various subjects having remotely or less remotely to do with the cello, and someone transcribed some of his conversation. One of the chapters was written entirely by the transcriber (and not particularly well) with no contribution from William Pleeth.

You may find this book "inspirational", if you like vague speech-making, but you are unlikely to find it of practical value. Mr. Pleeth never deigns to consider the nitty-gritty; he never rolls up his sleeves and sets to work.