Müzik eğitiminin önemli bir boyutu olan çalgıeğitimi ve öğretimi ise çalgıyıçalabilme becerisine sahip olabilmek için bir takım davranışların sistematik olarak kazanılmasınıamaçlar. Çalgıçalmak için gereken istendik davranışlar kişinin bedensel koordinasyon, zamanlama, becerilerinin gelişmesine bağlıolarak aşama kaydeder. Bu davranışve becerilerin kazandırılıp geliştirilmesinde izlenecek yolu belirleyen çalgının teknik olanaklarına göre düzenlenmişçalgımetotları, etüt ve egzersizleri büyük önem taşımaktadır. Gerekli temel bilgiler, çalışma yollarıve tekniklerin aktarıldığımetotlar, hem öğrenme hem de kazanılan davranışlarıgeliştirme olanağısunan etüt ve egzersizler, hazırlandıklarıveya düzenlendikleri dönemin müziksel özelliklerine göre farklılıklar göstermektedirler. Bu araştırma, viyolonsel öğretim programıhazırlama ve geliştirme çalışmalarına katkıda bulunmak için eğitim fakülteleri müzik eğitimi ana bilim dallarında viyolonsel eğitiminde en çok kullanılan metot, etüt ve egzersizlerin belirlenmesi amacıyla müzik eğitimi anabilim dallarında görev yapan öğretim elemanlarına anket uygulanmış, elde edilen veriler çözümlenmişve yorumlanmıştır. Araştırmanın sonucunda metot etüt ve egzersizler arasında en çok hangilerinin tercih edildiği tespit edilmiş, halk ezgilerinde oluşmuşbir metodun eksikliliğine ve gerekliliğine değinilmiştir.

Regarded as an individual art and science, music among contemporary education fields as an evolving art education creates one of the most significant branches in the education of fine arts going under the name of music Uçan, 1997 . As for the instrument training and teaching, which is the most substantial extent; it aims the systematic acquisition of some certain courses of action to become skillful at playing the instrument. Playing an instrument is a physical and mental act demanding a great effort and concentration. Terminal acts needed to play an instrument make great strides depending on the development in physical coordination and timing skills. Together with the etude and exercises, musical methods, regulated within the bounds of the possibilities of techniques of the instrument determining the procedure in the acquisition and development of these behaviors and skills are of great significance. The methods into Which basic/fundamental knowledge, workouts and techniques offering opportunity to develop both learning and acquired behaviors are transferred with regard to the musical features of the time they are prepared or formed. Method, etude and exercise books which also vary according to their level of difficulty ore of fundamental teaching materials of the activities within the process of education. The method, etude and exercise books prepared fort he cello, which is a stringed and fretless instrument, involve exercises oriented towards learning musical instrument techniques and overcoming the hardships. In the selection of teaching supplies for teaching the cello, the level of the readiness and talent of a student are substantial. In education faculties-departments of music education- students differ from the point of their readiness and their educational backgrounds. In addition to students who start musical instrument training in Anatolian Fine Arts High Schools. There are students who meet the cello fort he first time in their first year at university. Even between the student in such a case perception and practice could be different. Musical instrument methods are books with illustrated notes used at the very beginning of instrument training from the simple to the hard containing an accurate and consistent educational line. Musical instrument methods have been renewed with modern educational conceptions which have been developed within ages. What is considerable through the definition of its age is that the method must show consistency with the outcome in practice is to be approved on the international scale Say, 2002, s. 124 .It is evident that it is possible to reach the target level at playing an instrument as a result of a regular and proper practice of musical instrument methods prepared in accordance with the experiences through the years. It is also obvious that musical instrument methods have an impact not only on the development of the performer but also the musical instrument technique. The points to consider in the process of forming the method in cello training as in the other musical instrument: 1. The method is to be prepared taking into consideration the level of readiness and the technical issues encountered by the candidate music teachers in the cello training. 2. The partaking exercises in the method must be in accordance with the stages of development of the candidate music teachers in the cello training . 3. In the method the exercises to be devoted to the development of all the elements in the cello training must be classified in complience with the talent to be acquired. 4. The exemplary exercises to be formed must be aimed for the supportive work of study. 5. Explanatory and detailed technical knowledge regarding the exercises in the method are necessary to be involved. 6. In an attempt to making the working process more palpable and effective demonstration, illustrations concerning technical behaviours from which the candidates benefit are also required to be involved. This study aims to contribute to the preparation and development of the Works, the cello teaching programme and it is also targeted to point out to the cello trainers and students of the most used selected methods and the necessity of the folk tune based methods. The research in question is of significant to rephrases the local shortage of resources required in the cello teaching starting from the concept and conviction of the researchers and the researchers done. By using a descriptive method aimed at determining the intensity of the most commonly used method, etude and exercises in education faculties’ music departments in the first year, the first and the second terms in the cello training, the universe of the method in question is made up of the cello instructors working in education faculty departments of music. As fort he sampling; it is carried out by the instructors working in the departments of music at the universities mentioned as follows. Erzurum Atatürk, Balıkesir, Sivas Cumhuriyet, İzmir Dokuz Eylül, Ankara Gazi, Tokat Gaziosmanpaşa, Şanlıurfa Harran, Trabzon Karadeniz Teknik, İstanbul Marmara, Muğla, Denizli Pamukkale, Konya Selçuk, Bursa Uludağ ve Van Yüzüncü Yıl University For the research all the related local and foreign literature were combed in detail, the experts’ opinions were asked fort he survey to be conducted in the research and the title of the/a crammer containing 35 etudes and methods, 11 scales and were specified. In the statistical analysis frequency f and percent % method were used. The results obtained were tabulated and verbalized. Following the research, in education faculties departments of music in the first year during the first and second terms most commonly used etude, method and exercises in the cello training are observed as follows: “Dotzauer -113 Violoncello Etuden”, I, II “Feuillard - 60 Etudes Du Jeune Violoncelliste”, “Joseph Werner - Praktische Violoncello Schule”, “Dotzauer -Violoncello schule”, I, II “Sebastian Lee - Melodische und Progressive Etüden Für Violoncello”, “Sebastian Lee- 12 Melodische Etuden Für Violoncello”, As for the subsidiary sources; “Feuillard - Daily Exercise”, ve “Sevcık - Changes of Position & Preparatory Scale Studies” The aforementioned sources used in education faculties departments of music in the first year are of universal violoncello methods and covers a wide spectrum from those of the beginning level to the advanced. However the intense uses in on the beginning methods like Joseph Werner “Praktische Violoncello Schule” ve Dotzauer “Violoncello schule”. It is thought to be complementary to use these sources all together within the process of education. As already stated in similar researches, the lack of a folk tune based method has been observed following our own research. No resource modified as a method enlightening introductions, covering technical studies, and covered in Turkish has been found although some instructors stating that they have used some various. It is figured out that it is profitable to use the method in the given research and the study books all together in line with the requirements. In terms of the students’ musical instrument technique, the strains confronted and technical skills they own, their varied development pace and musical tendency call for a conscious choice about which etude to be played. It must be kept in mind that high-speed and restrained playing is possible with a slow pace at first. It is of great importance to pay attention to the warnings and markers concerning the bow partition, finger numbers, accent and suppressing finger. During etudes and exercises it is required not to work too long so as not to tire or harm the muscles. And it is necessary to give a pause when pain or tiredness is felt.