The Larrikin Cellist
ISBN 9780975733615 (2008)
This book contains some of David’s favourite thoughts about cello playing. He presents them as if to his ideal student - one essential useful thought per lesson. Therefore it is a partial cello playing guide for any more-or-less like-minded mature student of cello. Many good thoughts don't make it into this text not because they lack merit but because they are so familiar and they may not need repeating. Examples would be: - "You should practise scales; you'll need good rhythmic skills; you'll need to develop your pitch discrimination; use good quality strings." On the other hand, thoughts like - "Listen! Sing!" - though they are very familiar, such thoughts remain to be explained in every generation.
A Cellist's Companion
ISBN 0-9757336-0-5 (2005)
This book covers topics as diverse as the action of the right thumb in bowing and the action of the will in creating playing that is powerful. It takes the time to wonder about alternate player philosophies, psychologies and intentions but it is also succinct on the matter of a detailed guide to shifting technique.
It is intended for the student who is ready to improve playing by patiently working with carefully prepared written instructions. Stimulating and inspiring quotations from diverse musicians and others pepper the text.
SORRY, OUT OF PRINT
Eloquent Cello Technique
ISBN 0731530322 (2003)
I do not say how everybody ought to play the cello. Let there be difference! There is better and worse cello playing. I offer understanding of the best that I've been able to experience. It is a personal view. But it is not a purely subjective view because it is concerned also with what should work better or worse for most people. Otherwise I'd have no good reason for writing a book about Eloquent Cello Technique.
There is advanced cello technique. That can exist while being neither eloquent nor centrifugal. It is possible to be seduced by the hypothesis that cello sounds are more beautiful the more they flow outward from the centre - the more they are centrifugal. And I have been seduced by eloquent expression. It is graceful, persuasive, fluent, articulate, meaningful, revealing and honest. It flows from the centre of a person.
These two symbiotic ideas I use as fundamental aims. They guide all other preferences in this technique of art, this art of technique, of eloquent cello playing.