Thank you so much for your email, your suggestions are most helpful.
I have the Lee studies and of course the Galamain and will proceed as you recommend.
Just to give you some background to myself as I would like to consider you as my teacher having gone so far only on your instructions.
I am English aged 66 and retired in Turkey, where I live in Fethiye; there is only tourism and very poor musical facilities.
All of my material comes from ebay or from ABRSM.
I used to play trombone semi-professionally until I came here, locally they have never seen one. So to continue in music I took up the 'cello for its sound and challenging difficulties, which has given me a new hobby. Although I will never get on top of this instrument completely I am enjoying the journey.
I have a copy Strad strung with Dominant and a copy William Forster III 1814 lower Spirocore and upper Larsen this fiddle I enjoy playing very much.
I have to push myself as there is no one here to consult with or to get advice so I use the internet for information. As a retired engineer I find it easy to do my own luthering so as you can see i'm pretty much on my own.
It was on the internet I found you and how to cut a bridge, tailpieces, and afterlength etc.
I'm sure the 'cello academy will be able to help me in the future so until then.
Hello, congratulations to your accomplishments so far. Indeed you obviously reached a famous point of a cellist's life. There is a lot of material for beginners and there is a lot of literature for professional players, but between these two there seems to be a big gap. The cello-academy does not offer anything so far to fill this gap, although it is planned for the near future. I should not promise too much though, since all our projects need time, more time than originally calculated.
So what can you do now. If you work on the Galamian-scale (three octaves?) you have a solid basis for everything to come. Keep that up. Maybe you can add a scale in sixths (A-major), demonstrated in our video "Double-Stops", do not exaggerate. Grab all kind of etudes you can get hold of. 40 easy studies and melodic studies by Sebastian Lee for instance, then maybe you can proceed to Klengel or Duport slowly. If you know a pianist and have an opportunity to play with piano here and there, think of baroque sonatas (Vivaldi, Marcello) or Romberg before tackling the big names. From far away it is a bit difficult to guide you reasonably, but some single compositions have proved to be very helpful in developing certain skills. Saint-Saens: of course "The Swan" and "Allegro appassionato", Faure: "Apres un reve" and "Elegy", just to name the most famous ones.
Whatever you do, do not worry too much about intonation, rather go for a smooth handling of your bow. That will guarantee you the fastest progress possible.
I hope this helps for the moment, have a nice weekend and much joy with your cello! Best regards