In this lesson, Professor Greensmith gives us instruction into more complex ways of practicing cello arpeggios. We study excerpts from Beethoven, Brahms, and Verdi, and learn about the legendary left hand of Lynn Harrell. We also become acquainted with Professor Greensmith’s arpeggio practice routine.

In this lesson, Daniel Lelchuk takes us into the world of arpeggios. He explains that arpeggios are the best way to get to know the distances between intervals of the cello fingerboard. We also learn about the importance of slow practice to loosen up the left hand apparatus, as well as studying the different ways we can tune the intervals.

In this lesson, Daniel Lelchuk takes previously learned concepts about arpeggios and introduces arpeggio exercises from cellist-composers such as Bernhard Cossmann and Fred Sherry. We learn about Cossmann's arpeggio studies and how they can increase fluidity, as well as familiarity with the fingerboard. In the arpeggio studies of Fred Sherry, via Taffanel and Krenek, we learn about ear training, different fingerings, and bow patterns to further our comfort with arpeggios.

In this lesson, we get an introduction to cello arpeggios. The most important thing with arpeggios is to practice slowly position by position. Susan Moses like to use repeated notes to impart the feeling of each position. Beginning with two octave arpeggios on one string, go back and forth until you feel really comfortable in the position you’re playing in (make sure your fingernails are short enough for this!). We also learn that it’s important to practice the section of the arpeggio that is giving you problems and isolate it! When we free the left arm, our arpeggios will become freer!