Abstract
Musical improvisation curriculums are currently in the process of being created as part of the performance training of classical string players. However, as a performance practice there is currently no educational method that addresses technical methodology as related specifically to the cello. This dissertation provides background research into areas of learning that include theories of improvisational methods specifically designed for the cellist and creative practice approaches that compliment conservatory-style repertoire based education. This is all framed within a new approach to fingerboard visualization as maps of tonal harmony for creative interpretation and continual study. Recommendations for further study and additional uses of these methods are included.