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Cello
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Joseph Mendoes' latest cello videos 
In this video, Prof. Mendoes gives you very useful tips to tighten your cello bow the right way. Released on August 1, 2018 
In this video, Prof. Mendoes gives you a few useful tips to choose a cello for purchase. Whether you are a beginner student, a cello teacher, or a pro, you'll find this video very insightful. Released on July 4, 2018 
In this video, Prof. Mendoes teaches you how to trill on the cello the correct way. Released on June 6, 2018 About Joseph Mendoes
 Joseph Mendoes grew up in Glendora, CA, a suburb of Los Angeles. He began his cello studies through his local public school program and continued with private lessons under Doris Savery. In High School he studied cello and chamber music with Dr. Richard Naill at the Colburn School of Performing Arts in Los Angeles, CA.It was at this time he performed in master classes for Heinrich Schiff and Orlando Cole, and was a member of the Colburn Chamber Orchestra under the direction of the late pedagogue Daniel Lewis, whom he considers to be one of his chief influences. He also won numerous prizes for solo and chamber music performances, including the 1999 SYMF cello competition and a second place finish at the ASTA Southern California Competition. He was awarded a scholarship to study with Ronald Leonard at the USC Thornton School of Music in 2000, and graduated with honors in 2004. During that time he performed frequently as a member of the Camden String Quartet. With the Camden Quartet he performed in master classes for the Emerson, Ysaye, Julliard and Guarneri String Quartets. The Camden Quartet was honored with the Chamber Music Award at USC in 2004. The Camden Quartet also won 1st prize at the Palos Verdes Peninsula Music Festival. In 2008, he was selected to participate in the Naumburg International Cello Competition in New York City. From 2006 to 2010, he was a faculty member and performer at The Viola Workout in Crested Butte, CO. In 2011, he performed all of the cello sonatas of Beethoven in one concert. In 2014 he became the Cello Expert for Virtual Sheet Music, where he has published many educational videos about cello technique and musicianship. From 2012 to 2017 he taught cello at the community school division of the Colburn School of Performing Arts, where his students won several prizes and scholarships, including performances with the Inland Valley Symphony and the Las Vegas Philharmonic. From 2011-2017 he was acting principal cello of the Riverside County Philharmonic, where he performed the orchestral solos for many works, including the William Tell Overture by Rossini. In 2016 he released his first commercial recording, the complete works for cello and piano by Joachim Raff, to enthusiastic reviews. He currently lives with his wife, Jaimie Lee Mendoes, in south central Michigan where he teaches online lessons and works on various cello related projects. DISCLAIMER: The views and the opinions expressed in this video are those of the author and do not necessarily reflect the views of Virtual Sheet Music and its employees.
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User Comments and Questions
Questions, Comments, Requests: MJ on March 16, 2019 @1:53 pm PST Hello, and thank you so kindly for your helpful YouTube videos. Question: why do you use gut core strings for the C and G only, which I ask because the A especially is the string I find that tends to sound most “shrill” / harsh / metallic. I would think a warmer A would be in order. Also, do you find your strings to sound, feel, and play evenly across the strings when you mix gut core or synthetic core with steel on the top strings? String sets are so expensive that it is not really practical to keep experimenting with them, so your help is very valuable. PS: my most recent teacher uses gut core and his tone is the most beautiful I have heard. He says they are harder to play so I don’t feel I should spend $$$ to take on an added challenge unless truly warranted. Thank you!  Joseph - host, on March 25, 2019 @7:40 am PST I have used a gut/steel mix before, and it solves many problems while avoiding some of the difficulties present when playing with gut strings. Using gut on the bottom two strings will transform the sound of the upper two. For example, a Larsen A that sounds harsh with Spirocore on the bottom will sound quite warm when gut is on the bottom. The reason for this is that the lower tension on the bridge, coupled with a greater range of sympathetic overtones on the bottom two strings, results in a greater bouquet of overtones throughout the range of the instrument. This typically darkens the tone, even of a metal A string. For a set that will give you good value as well as to test the waters, try the Passione set from Pirastro. I am sure you will be pleased. Martin Fullenbaum on February 25, 2019 @3:18 pm PST all f a sudden, my bow would bounce uncontrollably. I could moderate the bounce by putting more pressure on the index finger, or increasing the speed of a down bow. Is there anything else I can do? Joseph - host, on March 25, 2019 @7:43 am PST Try playing more on a curve instead of a flat plane. When you bow, imagine your hand traveling more on the bottom part of an ellipse this should help you with your bouncing bow, and also beautify your sound. Rev Dr. Ashley Classen on January 23, 2019 @2:19 am PST
Hello Joseph I have enjoyed your You Tube videos over and over. I have just begun learning to play the cello. Unfortunately, I did not become inspired until this past year in October. I am 74 years of age and a physician still in private practice, as well as an ordained Episcopal Priest. I have been inspired by such notables as Pereyi, Ma, Fornier and even Hauser. Other than just putting in the hours, are there any techniques for an old guy like me to accelerate learning? Clearly I do not expect to be a virtuoso yet such a beautiful instrument needs to be enjoyed. I would appreciate any suggestions. Regards, Rev Dr. Ashley Classen, Fort Worth,. Texas Joseph - host, on January 27, 2019 @12:29 pm PST The best way to accelerate learning in the beginning is to pay a lot of attention to your bow. Working out issues of sound production are by far the quickest gateway to better intonation. So spend a lot of time working on your bow without worrying too much if you are in tune. Intonation problems are much easier to fix when you don't have to worry about your sound too much. The opposite I have found to be far from true. Trying to work on intonation when all you can make is a scratch with the bow is practically impossible! But most of all, have fun! The first year is tough no matter what you do, but if you focus on your bow, you will get there. Display more comments... (49 more)
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