Most of my interviews so far have been true interviews – I say little about myself and ask plenty of questions. Suzanne told me right off the bat that she also wanted to learn about me, so this time I called it a conversation between cellists. We exchange composition techniques, talk about what it's like to live in different countries, and discuss lots of other topics I never imagined we would touch on in an interview about cello and cello ensembles, and though I shortened some parts of the interview our flow of conversation took us through cello and music topics mixed with non-cello and non-music topics. In the end, we are who we are based on everything we do, not just one facet of our lives.
Suzanne is not just a cellist, however. I learned that cello is just one facet of her love for music and all musical instruments. And because of her “mediocre” early cello education, she’s made it a mission of hers to provide the very best teaching for all of her students, and, seems to me, anyone who comes across her and wants to learn music in any capacity. She brings everyone together under the one common love for music and musical instruments.
N: So we'll start with introductions! Who are you?
S: I'm Suzanne Dicker. I live in New Jersey, just outside of Princeton, which is about 50 miles from New York and about the same distance to Philadelphia. It's a suburb, but a pretty cultural area.
N: Yeah, Princeton is nice. I've been there once. Do you come from that area or did you grow up somewhere else?
S: New York area. I was born in Brooklyn, lived in the suburbs of New York City, and then in New Jersey, but I did live in London for 10 years.
N: Wow, okay, cool! (Yeah) Was that, was that really different than the New York/Tri-State area?
S: You know, it was 1984 when I moved there. My husband's British, we'd just got married, and I thought, well, you know, should we live in New York or London? And I thought, well, they're both metropolitan cities – they must be identical. It couldn't be farther from the truth. (oh wow) So, you know, each year I was there I just kept noticing more and more cultural differences. You continue to to notice that. But yeah, it was very different. It was great for me though because it really opened up my world, because London is such a fabulous city for not just music but also theater and art. I mean New York's got its stuff but London is tremendous (yeah fantastic). It's awesome.
N: Yeah, I've only been a couple of times to London, but I have I guess a similar experience as you do, having myself left the US and come to Berlin and suddenly living in this metropolitan city that really had nothing to do with anything I'd experienced in the US up till then. I was studying in Philadelphia, so I knew that city fairly well, and I visited New York City relatively often because I had some friends who were studying there also, so I would go and spend the weekend with them and hang out. But yeah, Berlin is just totally different and like you said every year you learn a little bit more of how it is culturally different and I really feel like moving out of the US for an extended period of time, even if you're planning to come back and stuff, it really, really does change your perspective on the States and then you really learn to appreciate things that you actually do really love about “back home” so to speak, and other things that you're like, well I wish that that would actually change or it could maybe even be better than things currently are.
S: Oh absolutely, yeah. I mean, we never planned to come back but we did. My husband loves the spaciousness of the US which, I do too, I must admit! (yeah) Indoors and outdoors you just have more space (absolutely). So that's such a wonderful thing. But there's so much horrible stuff going on in the US. But I guess also, you know, European cultures got a lot the bad Western influences too, so.
N: Absolutely, we're constantly sharing information both good and bad between Europe and and North America for sure, I totally agree. Let's go back to the cello! What's your earliest cello memory?
S: I think it was when I had general music when I was about 10 years old in school and there was a big poster on the wall that had all the musical instruments and I remember I knew every single one. I guess since then I've just been obsessed with musical instruments and I just wanted to play every single one of them. Even when I was a teenager my dream of heaven was to be in a room filled with every musical instrument, you know, as if I could play them all but (wow) at least that's what I thought back then. But, cello: It was just, like, by default. It was the only one I ever got private lessons on. I started with a private teacher when I was 13 which was pretty disastrous because it was the old-fashioned method where you just sit side-by-side. I don't know if you know about this but apparently that's how they used to teach you: just look at the music stand. He never listened to me play once and I never heard him play. We just did Dotzauer duets week after week! Yeah (wow!) it was so dull. So I never practiced. But I was obsessed with the drums too and I played drums in high school jazz band, and concert band, and stuff like that. And I wrote a jazz piece too, for the jazz band. That was probably my first composition, when I was about 15.
N: Wow – for a whole jazz band! So you had a really wide interest in instruments? Like, for you then, I guess, the cello was one of many amazing instruments in the world?
S: Exactly. And then I got into a youth orchestra by some miracle when I was 16 and I think that really opened up everything, definitely orchestral music, to me. And then I went to college and again had a terrible teacher. Actually I think he even died in my senior year. (Oh no!) But, yeah, he was just, I think he was very ill too. So I did, you know, “study” the cello but by the time I was 28 I met, finally, in London, Lowri Blake and she just took me down to sitting in the chair even without a cello and just see if you can sit, and then see if you can sit with the cello, and then do very simple things for a long time. So she just reconstructed my playing which was quite good.
N: I see, yeah. So, how would say you make your living?
S: Well, I have performed, but it was never for money. What I mean is, I'm definitely primarily a teacher. Composing, arranging music is just a passion of mine. I think it developed mostly because of my bad musical education, you know. I was not made to practice scales or made to do, you know, anything with an instrument to any high degree. And I just, loved music so much. By the time I was 15 and I realized I couldn't even go to a music conservatory, because when I looked at the list and was like, you have to play Brahms sonata? What's that? You know? I don't even know! So I was really depressed, actually, and I just started to write music then.
N: And you wrote then for, I mean, how many instruments could you play by that point? I mean, if you were saying that you were playing in a jazz band and everything.
S: Well, I played trumpet and baritone horn in the bands and drums and that's all I ever played in a band. (okay) But I, you know, I'd love to fool around with other people's instruments all the time.
N: Did that help you with your compositional process?
S: Yeah, oh absolutely, yeah. That was a huge advantage. My mediocre cello education really was an asset because I had to do something. French horn I also tried for a while but that was so difficult. Definitely the most difficult brass instrument.
N: That's what I've heard too!
S: And in those days, you know, when you composed you had to have a pencil with a piece of paper and that was it, and a book to tell you how to transpose the instruments. So you really had to know the instruments pretty intimately to do that.
N: Yeah that's tough, and that's something that actually really haven't done. I remember that as a kid I never thought that I would become a composer of any kind. At some point my dad had this Finale music notation program on the computer at home and every so often when I was a bit older then, I would play with it. Because it was fun! You would put notes down and then it would play them for you! (right) And I really enjoyed doing that and for me that was a really important thing with the compositional process, for me to be able to at least hear the notes. Because for whatever reason I've always had trouble, like in my theory classes that I had in university, all of the exercises that we would have to do by hand where I would have to imagine the notes, I just had trouble translating that and weird things would happen. Like it would be fine for the first three measures and then at some point I'd make a mistake and then everything would be, like, up a note higher than it was supposed to be, because I would continue thinking about the intervals. In a sense the intervals were right except that of course it made no sense anymore because I had just shifted everything up a note, which which sounds so weird, you know. We're supposed to all learn how to read and write music properly and yet for me that process was always really difficult. Even just sight reading and stuff: I feel like I only really got good at it by the time I'd finished my Master's degree and it still requires practice. For me it was a big thing to have the computer play things for me and for me to be able to check aurally that everything was the way that I wanted it to be. Because it was clear what I wanted. I had it clear in my head, but I didn't always translate it onto paper. So I have a real respect for everyone who's able to just actually write down what they actually want to have.
S: Well, yeah I mean I think my composing has changed a little bit since since technology because I use Sibelius software but, you've never sat down at the piano then and..?
N: No, (okay) that was the other thing that I that I also did all wrong essentially. We also had two semesters of piano lessons in my university, they didn't require very much from us, and I didn't really read and play. I was memorizing the pieces and I could remember where everything was supposed to go and then I would play it sort of by ear in that way, which is always kind of my strength, playing things by ear. But the piano has never been something that I really compose with. I tend to compose really from the cello or sitting in front of Finale and imagining what I want the music to sound like, but I think it's still based very much on on my knowledge of the cello and the way that the cello works. I don't really compose for other instruments actually for that reason.
S: Interesting, yeah. I mean the piano is key for me luckily I did have a good piano teacher in college. I did four years of piano studies (very nice) and usually I'll sit at the piano and make sounds with my voice and sounds on the keys and that's how I get the compositions. The piano to me is like, white, it's blank, it's, the timbre is neutral and actually it wasn't till I was like, 16 years old where I realized the piano actually has a timbre of its own. Because my mother was a pianist. My mother was a really good pianist who never gave me lessons. I was one of four kids, so she didn't have time. Maybe she gave me one or two lessons but, anyway, that's why piano is so good for me and I can just get all my sounds there even and I'm not being affected by the piano sound so much.
N: Yeah, that makes a lot of sense. I've always been slightly envious, actually the more I've been composing, that I didn't really learn the piano. I love the sound of the piano. I've always really enjoyed listening to piano music, I remember thinking, it was a really weird thought, but I was 20 or 21 years old and I just thought that if I learned how to play the piano then the magic of listening to piano would be gone because I would know how it worked. And so I did those two semesters and then I promptly forgot everything I had learned. As I guess with pretty much any musician I suppose it's easy enough to figure out how the piano works so I can, if I know what I want to play, I can find all the notes, that's not an issue, but I can't play fluidly. (right) Yeah. But, I think it's a wonderful thing to be able to play the piano precisely because it is maybe the one instrument that can play everything that all the other instruments could play. Whereas the cello, you know, there's the four strings that limit you in certain ways and the range of the instrument is also somewhat limited so certain things don't work as well.
S: Although that, you know, the tuning is different and that's what I love about cello and strings and I think I really also started to love the cello when I think I'd heard the Tokyo String Quartet (oh cool) when I was a teenager, and just hearing them play a major chord in tune just blew me away, you know, the sound (yeah). Because you can't get that from a piano.
N: Yes, there's a beauty to it. For me, it's almost a feeling. You can really sink into it.
S: Yeah, every time my piano tuner leaves I say, oh God, it still doesn't sound in tune! I'm practicing pure thirds and sixths on my cello and trying to get all that awesome resonance out of it. So, timbre and rhythm: those are my two favorite aspects of music, I think. They drive me.
N: And there I guess you mix them up together. So what kinds of compositions have you done? Like, what would you consider them to be in terms of style, so far?
S: Its hard to say because, you know, we're always looking for our own voice, right? (yeah) I wrote a piece after I left college, like in my early 20s. And that was probably the last piece I wrote for a very long time because then I had three children and when I was in London I was more into learning the cello. But it was for choir and, just choir and piano actually, so it's just a choral sound. It's based on Emily Dickinson's poem “I felt a funeral in my brain”. (oh wow) I guess I was really depressed. But I really like it and it's never been performed, so that would be awesome one day.
And I think the cello quartet is like the new string quartet, you know. I'm not sure why Haydn chose two violins a viola and a cello, you know. My theory is that they didn't have very many good cellists around.
N: Probably. Well and the cello was a much more limited instrument back then (it was). I think the gut strings and the less tension kind of made it just a very different instrument. And you needed probably the brightness of the violins (yeah) to balance things out. But now with with our modern cellos with our steel strings we're loud, we're powerful, we can we sound good pretty much everywhere on the instrument (right). I can imagine that that made a huge difference in the way composers dealt with the instrument.
S: You're right, I never thought about that aspect. Interesting.
N: I think about it often actually because I feel like I love the music of, I mean, you've mentioned it as well, the music of Bach has been such an essential part of my cello education. It's kind of like everything always swirls around the Bach, like, no matter what you have to do. You want to apply to university: you have to play some Bach. You want to apply to an orchestra: you have to play some Bach. If you want to play by yourself somewhere: you have to play some Bach! It's like no matter what you do, you, you don't quite get away from it. And at the same time, though, I mean, why not play Bach. I mean, it was he, in a sense, who formed the basis of our entire harmonic system right now. He's sort of the person who fixed it down enough that we made rules out of it, out of his music. We get so much inspiration from him. He's so important.
S: Bach's actually my favorite composer. I can say that pretty easily, and I just love taking his keyboard works, and I've been doing this a lot more lately, and making them into usually cello quartets although I also did a string trio. Two of my kids play violin and, celebrating and seeing them again, I whipped up this arrangement which was really quite easy and simple to do and came out well. Turning his music into other things is actually pretty easy because he writes things so that you can shift stuff around and (yeah, I agree) and you can add implied harmonies, you know, so it's really, I think he wouldn't mind some of the stuff.
N: I would totally love, I mean, I always imagine that a lot of the composers that we learn about from 300 years ago, you know, maybe they would have been pop stars or heavy metal stars or some might have done classic rock and roll or, I don't know, been Country people. I just think sometimes that they wrote that kind of music because that was the kind of music that was available to them. I just love how there are so many passages in so many different kinds of music that you can take exactly the way they are, like, Vivaldi is a great example of essentially heavy metal music. You can take passages out of Vivaldi's Four Seasons and just, you know, add distortion to them and bam you got a great heavy metal song! You know? Not like a real heavy metal song but definitely that sound, that energy (Right) and even Mozart, you know, what would he have written had he not (wow) been making operas. Maybe he would have done the same thing, but maybe not. I sometimes wonder.
S: He would have been making musicals, I'm sure.
N: Yeah! And they would have been great! They would have been super great.
I was really interested by the fact that you mentioned poetry and texts and these small quotes and phrases and things that were, in those couple of pieces featured literally, in terms of using a vocal melody to say the text. Do you do that also instrumentally? Do you feel like you often get inspiration from words?
S: No. No, I don't, it's... yeah. It's just sound for me, and an emotion, you know. Yeah, I mean music is emotion in sound, I guess.
N: Yeah, ok, so for you it tends to be, like, the emotion in sound and when you use text it tends to really be in terms of speaking the words. So, why did you choose, for example, to use a vocalist and therefore bring in the text?
S: Usually I guess if I really like the words then I want to use them. I want to see if I can use them. (yeah) Because they sort of do dictate, you know, how I'm going to put them in according to the inflection of how you would speak them in that language, so...
N: Yeah, that makes sense.
What would you consider your favorite composition or arrangement that you've made for a cello group?
S: Well I have a lot of favorites but I guess I did a lot of show tune type arrangements when I was taking groups to nursing homes, which go down really well because, you know, we've been to places where people have dementia and Alzheimer's and they love to hear something that they know, so I try to do older, lively music. (yeah) But I always did those because that was what was needed for that circumstance. Since I love Bach so much I guess my Bach arrangements are my favorite. And I did one last year during the pandemic which is from the ninth two-part invention, and it's in F minor and I did it in F minor and luckily a cellist friend of mine said, “Wow that's, that's gonna be hard for your students to play in tune” you know, four flats (yeah) and I thought, that's right! But it has a low pedal towards the end on the open C in F minor and I thought, well, that's not going to work, I need that. So, I thought, well, let's let's lower the C string a half step (oh cool!) so I wrote it for scordatura tuning, you know, cello 2, 3, and 4 in that arrangement have to tune down a half step, and it gives you a really bassy sound, I mean, (yeah!) I don't know why cellos aren't tuned that way to begin with!
N: I have to try that out! I haven't messed with with detuning very much, but I've long considered if I would want to get a five string cello (oh wow) to get that extra bassiness and I just, I couldn't decide if I really want to move away from the cello the way it is, because I really love the way it is, or if I wanted to add this other string which essentially makes it for me kind of into a new instrument. But maybe tuning it down would be a nice compromise.
S: Yeah it's hard. It's a pain in the neck to write the tune, you know, because you're writing pitches that aren't what you're actually hearing, so... (yeah, oh gosh, yeah that's true!) that was tedious and, you know, Sibelius software doesn't do that for you.
N: Yeah, that was a tricky part also for me learning the fifth Bach Suite. I first tried to learn it with the scordatura, but it really messed up my A string, I don't know. My A string didn't seem to like being tuned up and down. I kept having to tune it down to practice Bach and then tune it back up to practice everything else, and that impracticality meant that despite absolutely loving the sound of that lowered A string to the G, it sounded so cool! I did in fact end up learning it in the normal tuning in the end. But I still kind of regret it. It just was so impractical. My mom has done that but she had two cellos and so she would actually just tune the one cello, kind of for a month it was tuned in scordatura and then she could just practice it whenever she wanted rather than having to be like, okay, do I tune my cello down and practice Bach for 20 minutes and then change back or...
S: Well, you know, if you change your C string, because of the lower tension, it really doesn't affect the other strings. (oh!) It's a lot easier than tuning the A down.
N: That makes a lot of sense.
Suzanne with some of her students, playing Cello Octets
So you you mentioned already a couple of times that you have these students and these these cello ensembles: how many kinds of cello groups do you have right now and have you had even more in the past?
S: Now zero, because, you know, during the pandemic. And my students sort of range from like 10 to 16, so only one just got his first vaccination. I can't have more than one together (Right) So nothing yet. But maybe outdoors in the summer I'll be able to get them together. And I don't have a regular cello quartet I play with, but I have lots of cellist friends who I get together with, usually just reading. Sometimes we'll do something but, I have to tell you about this concert I did in 2016. (Oh yeah, please do so) Yeah, in 2016 there was one of our American horrible shooting events in a Black church in South Carolina, in Charleston, and at the same time I was reading Just Mercy by Bryan Stevenson: a movie came out too, recently, which I haven't seen because the book is hard enough to read. But anyway he, Bryan Stevenson, founded the Equal Justice Initiative in Alabama and I was just really inspired. I wanted to do a cello concert to bring awareness and maybe raise money for that organization. And I thought about it for a couple months and then after a few months I talked to one of the priests at my church. I said I wanted to do this and they said, “Oh we're having a whole weekend where we're going to have a solitary confinement cell erected in the church and we're going to have programs and things and why don't you do your concert!” (Wow) Right, and it worked out so beautifully because right before the concert they showed a Bryan Stevenson video talking about all the issues and then people came in and we were set up. I had, by the way, eight cellists and two were high school students, two college students, and four adults. And I always like to try to mix generations, bring different generations together. (yeah) We purposely did that. And so we had everything from cello duets to quartets to an octet (nice). And we were all right in front of the solitary confinement cell and we had no applause. I got a speaker from Centurion Ministries which is another organization we raised money for. They work really hard to get people who are innocent out of prison. So there was a man who had been in prison for 29 years and had been recently released so he spoke in between pieces. It was just a really powerful concert. And, yeah, fourteen hundred dollars for these two organizations! It was just, everybody loved it – I had a dancer: I played the Sarabande to the fifth Suite as a solo and I had a ballet dancer. African-American woman, really lovely. And I tried to mix races too, and music – I could only come up with a Duke Ellington and a Scott Joplin quartet for African-American composers that concert, but.
N: Yeah, we'll have to find them. There must be much more African-American composers nowadays especially in terms of of classical music than there might have been in the 50s.
S: Absolutely, yeah. So it was just, oh, it was a really unique concert and I really liked it. I said no applause, you know, because it was solemn.
N: Yeah, that sounds really special. We've got so many different experiences and I think it's so important to be able to use music to help connect all sorts of people with new things, new emotions, new feelings, like you said with the music being a way of expressing emotion. I think that's sometimes a really good way to even introduce people to new ways of thinking new awareness of things that maybe you didn't know much about. I maybe wouldn't have known, living in your town then, that there is an organization that does that, but maybe I would go to the church and I would realize, okay, cool there's this organization there. But through the music I would be able to really feel the emotions that would bring me to be to be more open to, more understanding, even, to what these organizations are fighting for.
S: And also you get the fact it's a cello concert. You know, everybody loves the cello, so, (yeah!) people who are not even interested in your topic well might come to that, who want to hear cello music. And vice versa, if they're interested in the topic, you know, they get the cello and they get time to reflect. If it's a really difficult topic like racism or incarceration, mass incarceration, you know, who really wants to turn up? Not a lot of people...
N: Yeah,. It's really tough to talk and to think and to be open to these topics.
S: Yeah, whereas the music gives you time to process and reflect and so I hope to do something else like that one day. But it really all fell together just easily, you know? (yeah) Even though there's a lot of organization.
N: Yeah. I love that. I haven’t done very many charity concerts, but I remember when my grandfather passed away due to complications related to Parkinson's disease I organized a concert at my university to try to raise some money to send to the hospital that was doing all the research that he also participated in. And I remember that it was just such a good feeling to organize a concert, to have people come and play and, you know, these were just my my college student peers and stuff. But we had a really good time and I was excited to be able to send them, it was just a few hundred bucks but it was so nice to be able to donate to that organization and know that maybe I would help someone else's grandfather or themselves to deal with a disease like Parkinson's.
S: That's wonderful. (yeah) Awesome. Yeah I mean, we forget as musicians that we're actually bringing people together for a spiritual experience, you know, (Yeah, I think we do forget) And I think that, you know, the concert hall, if it will still remain, or even just, you know, the small spaces (yeah) and small venues. Those are really the sacred spaces, I think, of the future, because religion has so much baggage.
N: Definitely, yeah, lots of baggage. Since the pandemic started I actually did several small private house concerts (oh, nice) where I literally played in someone's living room. (Yeah, my daughter does a lot) I had never really done that before and I absolutely loved it. I mean, it's financially, you know, maybe not the most intelligent decision because if you want to be really capitalistic about it, you're not going to make a whole lot of money because it is just one family right? (Right) But it was such an enriching experience for me every time. I would feel like it was so warm and welcoming and I would head up in front of them and they would watch me, because I have these cables and stuff now that I'm not playing as a cello quartet or a quintet, so instead I've got these samples that I can play with so you can still get the full sound of the pieces (right) without all these people. (Yeah) So then they watch me set that all up and then we do the performance and then inevitably I end up having some discussion with them between two pieces about something in the music that they heard or something about the title or some topic that comes up because of the music and I absolutely loved being able to make these really personal connections to these two or three audience members and really have a discussion with them about the music in such an informal way where it's not this concert hall and we've made everybody so grand and perfect and dressed them all up and kept them, you know, 10 meters away from everyone else. Which is important for an orchestra; they do need space and it's cool to be able to go and experience that with hundreds of other audience members.
S: You know, you should continue to do that. My my daughter Alex is a singer-songwriter in Boston (yeah?) and she does that. And she'll ask people to have house parties. Not just their family but, you know, (Right, yeah) for a party. And it's not like you're the entertainment: you're the focus of the party.
N: Yeah, almost the reason why everyone got together, yeah?
S: Exactly, which is really nice.
N: Yeah I'd love to do that! I mean obviously it was mostly because of the pandemic that even these people didn't invite any of their friends or anything. I'm sure otherwise they would have and there would have been, you know 10-15 people at each gathering. So I do hope that I'll be able to do that more because I absolutely loved being able to connect with people also in this much more personal way. That we can talk about the music and their experience of the music and my experience with music (yes awesome) during the concert. So, great!
We should probably wrap it up (okay), slowly but surely. So you have arrangements for all sorts of different kinds of instruments but also for cellists: where can we find some of those?
S: Well, I have this website called learningthecello.com which sounds commercial because it's dot com but I only got the dot com address because it was cheaper than dot org or the other ones so, why not! So, everything is free on the website and unless I start really putting a lot of stuff up then I'll keep everything for free on there. So there's quite a bit of music, I mean, there's at least four Bach cello quartets I think already up there and there are a couple of simple hymns and things like that and Christmas carols – maybe I've got 10 pieces up but it's for free! And, yeah, so if you go there if you're watching this and you want some free cello ensemble music.
N: Yeah we always need some free cello ensemble music. I think every cellist needs some at some point. Totally agree. Is there a way for people to to donate to you? Can we send you money for them if we want to? If we love those arrangements?
S: You could always send it Paypal for sure.
N: Great. Other than that, you had mentioned actually that you are not so much of an internet or technology sort of person so, that's probably the only place that we'll be able to find you online or are there some other channels?
S: Well, I have a Facebook page called “Learning the cello and teaching the cello” which has six or seven hundred likes. I occasionally put stuff up there. It was meant to, like, when I update my website, because my Learning the Cello website is for my teaching, it's for me to get all my teaching ideas on. And I keep revising my teaching like everybody does (yeah). So it was really intended for me to always notify people when I'm updating which I never tend to do. But if something strikes me I'll put it up there, you know, a great cellist I've just found out about, like you, Natasha, or, you know; I’d like to share it with people.
N: Yeah, actually, because you had shared that that post and told me about it then I went and found your page and looked at it. And I already gave it a like because there are a lot of really interesting posts on there, I mean, I really like your your curating. I'll definitely be checking that out some more.
All right, thank you! Is there anything else you'd like to share with us?
S: Like I said before, I'm primarily a teacher and I'm, you know, teaching... I never thought I would be a teacher when I was younger. It took me until I was probably late 30s before I finally realized, gosh, you know, this is really awesome, having students who can play – it's like instant people to play with and work with.
N: You make them! You're creating people to play with! (Yeah!) It's great!
S: Exactly! But I'm also obsessed with being a good teacher because I had so many really really mediocre teachers so I just love teaching the cello and continuing to help people not struggle unnecessarily.
N: Well, great. I guess if anyone's looking looking for a teacher in your area (I don't teach online) they can get in touch with you only for in-person lessons (Only live). All right, wonderful! Well thank you so much for joining me today and we’ll see everyone next time. All right, bye!
Visit Suzanne’s website at learningthecello.com for sheet music and contact information for lessons, and check out her Facebook page Learning the cello and teaching the cello for cool videos and articles all about cello and cellists, as well as her YouTube channel for videos of cello ensemble music and tutorials.
Want to be interviewed yourself? Are you a cellist or composer of cello ensemble music? Just get in touch!