... Life circumstances, if when i was eleven i hadn’t met my first cello teacher   Jacques Doue, I’m sure I wouldn’t be a cellist nowadays...                                                            

 Iñaki Etxepare

Pedagogue for vocation, Iñaki Etxepare does an intense pedagogic work in different institutions and teaches courses and master classes around the world.


Iñaki Etxepare is cello teacher in this school since it was foundated in 1992.He has had pupils of different levels (from amateurs to postgraduated), different ages, and some physically handiccaped.

He also has teached courses of cello pedagogy to teachers and future teachers.

Cello-pedagogy course contents:



Academic structure (Spanish):

Grado elemental (pdf)

Grado medio (pdf)

Grado superior (pdf)

The aim of this sessions about the violoncello pedagogy is to help cello teachers.

Every child and adult is different and because of that, every pupil will need a  personal music education. However, is possible to define and go deeper into common arguments of pedagogy which are the ones that give the technic and, how to say... , the “good-making” of what is supposed to be the discipline of teaching and learning to play the violoncello.

Next, we will detail the contents of what we will deal with in every meeting. In all the cases the meetings will have their respective practical exercices, and any question about the pedagogy or the instrument the pupil may have will be answered.


- First, second, third and fourth class of the beginner.

- Care and handling of the instrument.

- Position of the body and its movement before sitting on the chair and before taking the  violoncello and the bow for the first time.

- The cellist principles by Pedro de Alcántara teacher of Alexander technic.

- Feet, legs, torso and neck.


- The bow and its contact with the right hand and the right arm, the balance point.

- Which part of the bow has to be use at the beggining...

- Bow Speed .

- Weight-pressure, contact point, problems and solutions of perpendicularity.

- The left hand and the left arm.

- Awareness of the importance of the elbows.

- The reason why using the big parts of the body for not making the small parts work too much.

- Notes about the building of the bow, resins, sings...


- The vibrato, the sooner the better...

- The four vibrato ingredients.

- Exercises for searching the vibrato.

- Changes of position and their mechanic.

- Back and legs in relation to the change of string and change of position.

- Changing string using the bow and also using the cello.

- Work system, methods, scales, works...

- The encouragement.

- Something to do with the thumbs.



- The presence of the parents

- Group class, class with one partner and personal  class

- The wheel of instruments

- How to teach a group class. Creativity,  reaction.

- Performing in group, chamber music, the orchestra

- Cello in the schools

- Lectures, holiday


- Problems and solutions about....

- The vibrato

- Change of position

- The bow

- The tune

- Quality and volume of the sound

- The musicality

- The performance

- The breathing

- The memory

- Origin, consecuences and reeducation of problems



- Buying or renting an instrument

- Changing the instrument size and the bow

- Quality level of the instruments and the bows in a teacher’s class.

- Cello assembly: bridge, soul, tunning pegs...

- Instrument maintenance

- Construction–repair

- Scores

- Dix ans avec le violoncelle. La Villette Music Institut, París


Since 1997 Iñaki Etxepare teach in irun where today born news generations of cellists.

    He has teached courses and master classes in France, Spain, Cuba, EEUU, México ...
  In France, he has teached courses in La Reole, Pire Sur Seiche, La Trinite Sur Mer, Chaetau de Flammanville, Avignon... Curso en Tilh
In Spain he has teached in Pirineus Vilaller y Universidad de Cartagena. Conservatorios de Lanzarote, Montcada and Canet en Valencia, Fuengirola in Málaga, Curso de Violoncello Música y Mar, Chiclana Cádiz...
  In Cuba, within the Conservatorio Amadeo Roldán y Instituto Superior de Arte de la Havana..
  In USA, in Greater Hartford Academy of the Arts and inUniversity of Hartford.
  In México, in the Universidad de Ciencias y Artes de Chiapas y en el Conservatorio de las Rosas  Morelia. Centro Cultural Ollin Yoliztli Coordinados por Mónica del Aguila. Curso de Pedagogía del Violoncello en la Escuela Nacional de la UNAM y Salón del Cello en Pátzcuaro Michoacan
  In Filipinas.University of Santo Tomás de Manila coordinadas por Renato Lucas.