This practise-based research develops a structured catalogue of groove-oriented techniques for contemporary cello playing, intended as a practical resource for improvising cellists. Emerging from my artistic practise across jazz, Basque-influenced folk traditions, classical, experimental music, and free improvisation, the project responds to the growing presence of groove in cello performance without a clear pedagogical framework to organise its technical and rhythmic tools.The central aim is to systematise groove-based approaches - including pizzicato methods, ghost notes, bow-driven grooves, folk bow strokes and elements of jazz vocabulary - into an accessible and adaptable technical language. Drawing inspiration from influential cellists as well as electric bass articulation, percussion gesture, and fiddle traditions, the research focuses on ressonance, right-hand choreography, rhythmic clarity, and physical embodiment of pulse.The outcome is a curated catalogue combining short texts, exercises, notated examples, and demonstration materials that support exploration, practise, and improvisational development. Rather than prescribing a fixed style, the catalogue proposes a flexible framework through which cellists can cultivate personal groove-based expression.Planned performance contexts, including upcoming PIA presentations, function as testing grounds for applying and refining the material, but the research primarily centres on the creation and organisation of the catalogue itself. By articulating a practical vocabulary where none is currently consolidated, this project contributes new pedagogical tools and expands the rhythmic and technical possibilities available to modern cellists. keywords: practice, Cello, folk music, Basque Country, groove, experimentation, improvisation, drums, percussion, looper pedal, rhythm, Pulse
Ibai Pijoan i Markaida (Tue,) studied this question.