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Solo and Ensemble Toolbox
Rondeau by Buononcini 

By Jamie Fiste, Professor of Cello at Central Michigan University

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About Solo and Ensemble Tool Box

Solo & Ensemble Toolbox includes materials to help students prepare for Solo & Ensemble. For those who don't know, S&E is an opportunity for students to perform solo or chamber music pieces for adjudication and is found in many states in the U.S. In Michigan, where I am located, S&E is open to students in grades 7-12.  

Each page of S&E Toolbox will focus on a single composition for solo cello and provide various aids to help students prepare such as videos, exercise sheets, musical ideas, and technique tips. Teachers may also find the exercise sheets worth handing out to students. This page is the first in the series and focuses on helping students learn Rondeau by Buononcini. Check in periodically for more solos. 

This section of my website is an outgrowth of a presentation I did with violist Karin Code at the Michigan Music Conference in January of 2020 titled, Solo & Ensemble Tool Box for Orchestra Teachers! Getting Students Involved!  

About Rondeau by Buononcini

Composer: Giovani Battista Buononcini (1670-1747). Buononcini was an Italian cellist and composer who lived during the Baroque period. He was a popular composer of operas and worked with Handel in London and was court composer in Vienna. He also worked in Rome, Naples, Berlin, and Paris. He composed close to 50 operas, much sacred music, and a large amount of chamber music.

Level of Rondeau: Beginning/beginning-intermediate
Techniques: Legato, spiccato or brush stroke, some position work (2nd, upper 3rd, 4th), 2nd and 4th finger trills, extensions

Sheet Music 

Edited Cello Part in PDF: Rondeau by Giovanni Battista Buononcini (1670-1747)
Exercises in PDF: Rondeau exercises
Link to Purchase Piano Part: Old Masters for Young Players available at Shar Music in Ann Arbor, Michigan. 

Videos

Video1: The Rondeau played straight through (above)
Video 2: The exercise sheet (coming soon!)


Tips on Learning and Playing Rondeau

In the cello part you will see many different indications beyond just bowing and fingerings. I also put down articulation marks, commas, bowing distribution ideas, and even smily faces!  Here is a "key" to help you know what I mean.

  • Dashes (--) over the notes mean play at the balance point or lower in your bow, keeping the notes legato. Legato means smooth and connected. This is a good place to work on a nice and relaxed wrist.
  • Dots (. . .) on the eighth notes mean use a slight bounce in the lower half of the bow (spiccto or 'brush stroke'). To practice a bounce start with the "Jazz Slap" and feel the rotation in the upper arm. Now try the same movement with your bow; first bounce the bow on the D string completely vertically without any up-bows or down-bows. Feel the natural spring of the bow like a trampoline! Awesome! Now, make the bounce much smaller and very close to the string. Add up-bows and down-bows. This is a basic bouncing bow. To make it a 'brush stroke' use more arm and do 'airplane landings'.  See video number 2 for additional help.
  • A comma means retake your bow for another down bow. So you will need to bring your bow back to the frog.
  • Dots (. . .) on the quarter notes mean use a separation between the notes but stay on the string (not a bouncing bow). Try not to stop or choke the sound at the end of each note; keep the notes ringing as much as possible. Do a click and coast! See the 
  • Smiley Faces mean make a 'Capital C' in the left hand between the first finger and thumb. For the smily face, move the thumb back so it is across from the 1st finger and SMILE! No 'C Sickness' PLEASE! YUK! These always follow a stretch or extension. For more detail see my article on cello extensions. 

Remember test all notes when possible with open strings (all As, Ds, Gs, and Cs). Pay attention to all dynamic markings and ritardandos! 


Authored by Jamie Fiste, Professor of Cello at Central Michigan University.
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