As a student 40 years ago I wrote a thesis about all existing cello methods. Then I started writing my own method by putting all positive aspects of all methods together.
The music selection is the best I could find for each level progressing in well prepared steps, enjoyable to play.
Exercises are compact and to the point, only used when needed.
Volume 3 contains No 64-100 on 60 pages - Learning to shift from Half position over first, second, third to 4th position. All pieces are written in form of a cello duo to be able to play with a friend or teacher together - includes traditional songs, fiddle tunes and compositions by Offenbach, Bach, Carcassi, Tchaikovsky, Moore, , Boccerini, Boris Fomin and Kummer.
To each number are video cello lessons published on Patreon. The links click through when viewed on phone, tablet or computer.
There are also Youtube recordings of all pieces as Cello Duos with fingerings and bowings as in the Cello Method, see https://www.youtube.com/playlist?list=PLa4x_CVYDVRXAnJJ_6HeRujngwTZ8cMEd

ISBN 9781619118249.

Johann Sebastian Bach most likely composed the Chromatic Fantasia and Fugue during his stay in Kothen between 1717 and 1723. Originally written for the harpsichord, the work was duly recognized as a masterpiece within its own era.Nestor Ausqui has taken extraordinary measures in creating a guitar transcription of this monumental piece. The fundamental tonality of D minor was retained to preserve the workas sonority, and the 6th string of the guitar had to be lowered to D to expand the guitaras range and adhere to the original key.The articulation of the piece often requires the use of the slur technique to maintain and enhance the legato effect in the melodic line. As the guitar has a more percussive character than the harpsichord, various inconveniences occur in the management or execution of the legato, but the transcriber has done his best to preserve the character of the original piece.Ausqui admits that the most arduous task was the fingering of the piece. He had to familiarize himself with Bachas intentions and avoid shortcuts and aberrations which would have depleted the original harmonies and melodies. In the process, he discovered that utilization of the open strings can subtly enhance the balance of right and left-hand duties to achieve the timbre the original score mandates.Written in standard notation only, with each line of music forming only one measure, this piece is meant for the classical guitarist willing to accept an interpretive challenge to reap enormous musical benefits.

Song List: Suite I - Prelude (Bach, arr Pirtle) Suite I - Courante (Bach, arr Pirtle) Suite I - Minuets I and II (Bach, arr Pirtle) Suite I - Gigue (Bach, arr Pirtle) Suite II - Prelude (Bach, arr Pirtle) Suite II - Gigue (Bach, arr Pirtle) Suite III - Allemande (Bach, arr Pirtle) Suite III - Bourees I and II (Bach, arr Pirtle) Suite III - Courante (Bach, arr Pirtle) Suite III - Gigue (Bach, arr Pirtle) Suite IV - Prelude (Bach, arr Pirtle) Suite IV - Allemande (Bach, arr Pirtle) Suite IV - Courante (Bach, arr Pirtle) Suite IV - Bourees I and II (Bach, arr Pirtle) Suite IV - Gigue (Bach, arr Pirtle) Suite VI - Courante (Bach, arr Pirtle) Suite VI - Gigue (Bach, arr Pirtle) Partita in B Minor - Corrente (Bach, arr Pirtle) Partita in B Minor - Double 9/8 (Bach, arr Pirtle) Partita in B Minor - Double 2/2 (Bach, arr Pirtle) Sonate II in A Major - Allegro (Bach, arr Pirtle) Second Little Prelude - Moderato (Bach, arr Pirtle)

Prelude to the Ratswahl Cantata, J.S.Bach
Aria "Zerfliesse mein Herze" №63, J.S.Bach
Das Dreyblatt, W.F.E.Bach

This is a new transcription for piano of the third movement (Largo e spiccato) of J.S. Bach's Concerto in D minor, BWV 596. Bach's original organ concerto was itself a transcription of Vivaldi's Concerto in D minor for two violins and obbligato violoncello (RV 565, Op.3 No. 11). It has been arranged to bring out the best qualities of this hauntingly beautiful melody.