celloblog

Celloblog2017-05-13T00:34:13+00:00

The Joy of Feulliard – A Sequential Approach to Teaching Bow Technique (Part 6 – Feuillard #32, Variations #4-7)

Part 6 -  Feuillard #32 - Variations 4-7 Before working on the next few variations, I like to help refine the student's understanding of intonation. In Part 5 we talked about the basic concepts of using the perfect intervals to check the intonation with the open strings. We also helped to organize the left hand in first position by checking the first and fourth fingers with the open strings, thus creating a clear "structure" for the left hand (for most people the tendency is for the first finger to be sharp and the fourth finger to be flat in first position). I usually like to give the students at least a week to sort this all out, so that they can play the theme with more stable intonation, especially regarding [...]

Sing. Paint. Dance. (Part 2)

Sing. Paint. Dance. (Part 2) Yes, we can place the bow one inch above the bridge and play various phrases for the purposes of mapping and sensory awareness. We can also take one step back and go about it from a different angle. As we listen to repertoire we can place a brush to canvas or a pencil to paper and emulate phrase length with our hands. We can isolate passages in the score and literally paint them. Feel the duration of notes, their inner lives, through your brush. See the color sustain or fade. Watch the brush as it moves up and down according to contour. For me, although away from the cello, this type of association is the most direct connection to gesture. Let’s be clear, this does [...]

Sing. Paint. Dance. (Part 1)

Sing. Paint. Dance. (Part 1) Sing. Paint. Dance. I am often reminded of a statement made by Tabea Zimmerman that alluded to the idea that all instrumental problems have non instrumental solutions. With that in mind I often advocate a number of non instrumental solutions to any issues that may arise in the course of music making. Each can be connected to one of three wings : Singing. Painting. Dancing. On the occasions that I played with the LA opera, I was around Placido Domingo as both conductor and singer. The latter is clearly his identity in spades. But to hear him sing every vocal line in a rehearsal always echoed quartet life for me. Listening with a sense of integration -each voice existing within the context of the whole. [...]

The Joy of Feulliard – A Sequential Approach to Teaching Bow Technique (Part 5 – Feuillard #32 – Theme and Variations 1-3)

Part 5 -  Feuillard #32 - Theme and Variations 1-3 Now we are ready to start working on the Feuillard bowing exercises themselves. I usually begin explaining  how to approach the Theme and Variations in the very first lesson. But since most of the time in the first lesson is taken with all the necessary "preliminary" information about the bow (as discussed in Blogs 3 and 4), and with basic information about the scale/arpeggio system and etudes, there will be just a brief introduction to the Feuillard project in that initial lesson. First I explain to the students how these Feuillard exercises are organized, with a theme and then a set of variations. Theme of No. 32:   Theme from Lesson 1: https://videopress.com/v/6vwb5UKn Then I explain to them how we check [...]

The Joy of Feulliard – A Sequential Approach to Teaching Bow Technique (Part 4 – Preliminaries: The Second Lesson)

Part 4 -  Preliminaries: The Second Lesson Part 3  presented preliminary concepts which are necessary before starting the bowing exercises in Feuillard. These include the "core" sound, the "block of sound",  playing with a "straight" bow, and a basic kinesthetic  understanding of how the bow arm works (the correct movement of the upper and lower arm, and the elbow). These are all issues which should be addressed in the very first lesson with a new student. I spend a lot of time working with the bow arm first, because if a student can't get a good sound with the bow it won't matter how beautifully the left hand works. Basic sound production comes before addressing the myriad number of left hand issues involved in playing the cello (intonation, vibrato, shifting, [...]