Cello Survival Kit: Mr S Heron Neelb

Cello Survival Kit Mr S Heron NEELB

Contents Congratulations on having been chosen to play the the cello! A whole world of adventure awaits you. Sometimes learning something new can be frustrating. frustrating. I have included some information in this kit which will give you the knowledge to answer any questions you might have to get you off to a great start. Just take one step at a time, don’t be afraid afraid to ask questions and stick stick at it when things get tough. You have started a wonderful adventure which will be a lot of fun and very rewarding. Onwards and upwards!

Introduction Beginners Beginner Cello Shopping List Quizlet Cello Fingercharts Gettin’ the ‘Know How’ to Practice. Music Theory Factsheet No. 1 PRP The Smartie Game Listening Homework Listening Homework – Homework – Record Record Sheet Bow Check List Operation Bow Samurai Bow Useful apps Grade 1 Grade 1 Cello Shopping List The Low Down on the ABRSM grade exams An Aid to Sight-Reading for Grade 1 Cello, (ABRSM) Grade 1 ABRSM Scale Flash Cards Grade 2 Grade 2 Cello Shopping List An Aid to Sight-Reading for Grade 2 Cello, (ABRSM) Grade 2 ABRSM Scale Flash Cards Grade 3 Grade 3 Cello Shopping List An Aid to Sight-Reading for Grade 3 Cello, (ABRSM) Grade 3 ABRSM Scale Flash Cards Advanced Cellists Advanced Students - The Art of Practicing Left hand technique Left Hand Warm Ups st Tuning the 1 Position on the Cello – Cello – David David Finckel Chaos Notes Steven Doane Cello Videos on YouTube Daily Bowing Practice Ringing Tones Magic Show Walking Fingers Exercises The Pink Panther Cello Survival Kit Scott Heron – NEELB NEELB

INTRODUCTION

My approach to Cello Techniques and Ergonomics I have always been fascinated by cello technique. Over the years I have been influenced by many different teachers, master classes, chamber music courses, videos, concerts, books and conversations with other musicians, which have shaped my development as a cellist. As a young cellist I was particularly particularly inspired by the French cellist Paul Tortelier, who was a wonderful interpreter of the cello repertoire, a raconteur who had his own unique technique, and who used the famous bent cello spike – spike – which which I tried for several years. I have been playing the cello for over 30 years now with an inquisitive attitude. I am always open to new ideas, and am constantly experimenting. experimenting. I think this is healthy, and it keeps my playing from becoming static.

As the motivational poster says – says – ‘Unless you Try To Do Something Beyond What You Have Already mastered, You Will Never Grow’

One of my teachers Aisling Drury Burne said that our cello life is a series of hot tips. There are many schools of thought on cello techniques techniques and ergonomics, but no two cellists are exactly alike. In this booklet, with with the help of some publications, I will endeavour to briefly give a couple of solutions or common approaches that cellists use today regarding various aspects of cello technique and body mechanics. This is by no means exhaustive, or exclusively original, original, but just thoughts from my own perspective. I have always been interested in a natural approach to playing the cello, that is, ergonomics: co-operating co-operating with the way our bodies work. I’m also interested in how you can apply bodily movements, which we make from everyday life, to the cello in order to make make cello playing tension-free tension-free and more economical. As Paul Katz, Professor of Cello in the New England Conservatory states – states – ‘One of the world’s most remarkable cellists, Janos Starker, once told me he could best describe his entire lifetime of cello playing as the continual discovery and release of smaller and smaller points of muscular tension’. In my upper sixth year at school I suffered from tension in my playing and sought the help of an Alexander Technique Technique teacher in Belfast. I continued using this technique technique while at Music College in London. London. This has helped me to be aware of the issues that create tension and to build an awareness of tension within my body. As Pablo Casals Casals stated – stated – ‘Only this impulse coming from the centre of the body instead of each extremity … will group gro up different movements in a unified whole’. In 2002 the American cellist Phyllis Young visited Belfast and I took part in one of her master classes. I thought she had had an inspirational approach. She has written a wonderful book called ‘Playing the String Game’, which I have found particularly helpf ul. helpf ul. Much use is made of mental Cello Survival Kit Scott Heron – NEELB NEELB

images and analogies to enable the student to build on familiar experiences gained in everyday life. Also, over the last couple of years I have found the American cellist Steven Doanes book ‘Cello Ergonomics’ to be incredibly helpful and insightful. He is currently one of the world’s greatest cello pedagogues. He gives this book to his students at Eastman School of Music. There is also an accompanying series of videos on YouTube to elucidate the book, the list for which I have included in this booklet. I took part in a Masterclass with Steven Doane in Dublin in 1998. He talked a lot about using natural arm weight, amongst other things, which at the time was revolutionary to me. I thought it would be a good idea to include portions of his book in this booklet. Last, but certainly not least is an extraordinary book, which I purchased several years ago, and which is certainly one of the best books on basic body mechanics ever written for cello. It is Victor Sazer’s ‘New Directions in Cello Playing – How to make cello playing easier … and play without pain’. Sazer explains that most musicians, in all fields and at all levels experience pain, with cellists experiencing the highest frequency of back pain. He goes on to say that there is considerable evidence that conditioning musicians to accept pain begins early, pressure to achieve often leads to a ‘no pain, n o gain’ approach to instrumental study. Such pressure encourages lifelong patterns of accepting pain as normal, ignoring the natural laws of body motion. Sazer explains that throughout his career he got conflicting technical advice from his teachers. Over time, through his natural curiosity he realised that there are underlying principles that can guide cellists to more effortless and pain-free playing. They are observable principles of body movement which govern all human activity from ordinary to complex. Anyone can apply these principles. It only requires increasing awareness of your body’s natural impulses and removing the blocks that get in their way. The key is awareness. The goal is to allow your body to do what comes naturally. His book introduces natural, tension-free ways to play the cello. It represents anatomicallyimproved ways of sitting and holding the cello, a new approach to left arm and hand techniques and fundamentals of bowing. Readers are guided through a process of self-discovery designed to increase awareness of their body’s natural impulses. Hands-on demonstrations are included to enable readers to compare their experience with the author’s observations. At the end of the day we have to find ways of playing that work for us. No two people are alike. We are all on different stages of our journey in cello playing and there is no on e-size-fits-all solution, but hopefully these principles will promote self-awareness of body balance, position and tension-free movements. Mr S Heron

Cello Survival Kit Scott Heron – NEELB

Beginner Cello Shopping List Congratulations on having being selected to play the cello! Your teachers and I have noticed that you have musical ability. It will be interesting to see how your talent will blossom as I help you gain knowledge, technique and experience. A wonderful musician said to me once that playing an instrument is just like playing a Playstation game with infinite levels. The possibilities and opportunities are endless. The cello is used in lots of different styles of music, from classical, pop, rock, jazz, religious music, etc. A good example of a cellist doing this today is Steven Sharp Nelson. He is the cellist with a group called ‘The Piano Guys’. Watch their amazing videos on ‘YouTube’. Not surprisingly they are in the top 300 most popular sites on Youtube. Check them out. But remember, you only get out of it what you put into it. Your part of the bargain is to always do you best during the lessons and at home, as I sure you will. You only get out of it what you put into it. The key to success in the cello is practice. Each week I will set you a homework. In order to complete this, I would recommend that you practice a minimum of 15 minutes, 4-6 days per week. Of course, if you practice more than that, you will make even faster progress. If you don’t think you can do this it would be best to let me know and we can arrange to give the place to another student. You will most likely be in a class with other students. We will try as best as possible to progress together at the same pace. In order to do this it is important to have made an effort during the week to avoid anyone getting frustrated from being held back. If anyone has a problem please let me know and I am only too happy to help. Don’t ever be afraid of making mistakes. That is how we learn. I will be giving you a blue practice record. It is important for parents to fill in the amount of time spent practicing every day in the appropriate box’s and sign this at the end of the week (see Instrumental Tuition-A Guide for Schools and Parents). As a reward for doing at least 4 days practice for 15 minutes per day and the form being filled in and signed I will reward each student with a sticker. When you are due to get your 10th sticker I will award you a really cool, special sticker! Please buy these 6 items: 1)

‘Cello Time Joggers’ by Kathy and David Blackwell, and published by Oxford University Press. This is a really fun book and includes a cd.

2)

‘Strings in Step for Cello’ , Book 1, by Jan Dobbins and published by Oxford University Press. It also includes a cd. Cello Survival Kit Scott Heron – NEELB

3)

A block of cello rosin . This helps the hair to rub against the string and cause it to virate, making a lovely sound. A good make is ‘Hindersine’. I would recommend 3C Cello Rosin by Hindersine. Rosin contained in a box, rather than a tin, is easier to use.

4)

A cello stopper, also known as an end pin holder, or a blackhole. There are lots of types of these on the market. I would recommend the ‘Sure Stop Cello Endpin Stop’ (product code VME-511). Call free to order on 0500 001812.

5)

An electronic metronome/chromatic tuner . This is an invaluable tool for developing a sense of pulse, a skill which is vital for playing in any ensemble. There are many on the market. The one I would recommend is Boss TU-80 chromatic tuner. It is reasonably priced and relatively simple to use. It comes with a tone generator which can help you to work out if your strings are in tune or not. There are review and tutorials on YouTube. Alternatively, download a free metronome app.

6)

It is not entirely necessary, but once you know what size of cello you have, it is often a good idea to buy a spare set of strings so I can replace a broken one immediately. A bit like a spare tyre in a car. ‘Astrea’ is a reasonably priced beginner string. Alternatively you can buy these as and when you need them, but you may be without a string for a week or so.

There are numerous places where you can buy the above. I would recommend Amazon.co.uk. Another suggestion would be www.cellos2go.com. You might like to check out a local music store such as Matchetts Music in Belfast (028 9032 6695), or Nichol Brothers in Ballymena (028 2564 9616).


QUIZLET ‘quizlet.com’ is a superb website which specializes in flashcards. I use it for 2 different purposes:

1)

LEARN ITALIAN MUSICAL TERMS Amongst other categories it includes a list of the Italian terms that are necessary to learn for the ABRSM theory exams and are useful to help you u nderstand the Italian words you may come across in sight reading part of the practical ABRSM grade exams. It is a tradition in music that many composers used Italian as their common language giving tempo or expression directions. You can use this in a number of ways:    

play a quiz game 3 different memorization techniques print out the complete list of terms print out flash cards

All of these are superb aids to memorization. If you come across an Italian word in your sight reading or in a piece you are working on or in an orchestra piece, check it out in quizlet and commit it to memory. As well as helping you to make an appropriate tempo choice, you are also learning a bit of Italian as well.

2)

PRINT OUT SCALE FLASH CARDS An effective way of helping you to memorize your scales for the ABRSM grade e xams, and to increase your fluency, is to print off the scale cards that I have put onto quizlet. I have included grades 1-3 for violin, viola, cello and double bass. Just follow the simple instructions. Alternatively, use the cards included in this booklet. Start by applying Pritstick to the b ack of each card and glue together. You now have a pack of cards with a front describing the scale and a back telling you what grade they are. Shuffle them and pick up the top card. Turn it over and play the scale. If necessary use your scale book first, then try again from memory. Eventually try to avoid using the book at all. Once you have completed the first scale from memory, proceed to the next card and continue until you have completed all the cards. Do this once or twice every day, trying to increase your fluency. Perhaps start slowly using a metronome. Increase the pulse with every repetition until you can play at the required tempo. Picking a card at random replicates the exam scenario, as the examiner will not be ask you to play them in order. If you have an iphone or ipad you can also download the quizlet app. Have fun!



Gettin’ the ‘Know How’ to Practice A TECHNIQUE FOR BEGINNERS People often say ‘practice makes perfect’. That’s right, isn’t it? Well, it depends on the quality of your practice. You want to aim to practise playing correctly more of the time, rather than practising your mistakes. It’s common sense. The main problem that people experience is that they try to do too much at once, and end up doing everything poorly. With this new technique we focus on one thing at a time. We build each individual element and then move onto the next stage. Eventually you will be able to combine the different elements of the music and multitask successfully. You can’t run before you can walk! Therefore, let’s divide our practice into 5 stages:

1) 2) 3) 4) 5)

Listen Rhythm Notes Other Musical Elements Play

STAGE 1 – Listen to the CD If at all possible, listen to a recording of the piece you are playing. This is the fastest way to speed learn a new piece of music. Even without trying you will absorb lots of information about the rhythm, melody and how the different parts relate to one another, the tempo, dynamics etc.

STAGE 2 – Rhythm is the Foundation of Music Step 1: Listen to a cd recording of the music you are playing and follow your written music at the same time by tracing it with your finger as it goes along. This will give you an idea of the overall shape of the piece of music. At this point you may have encountered some difficulties and have some questions. Points to look out for to help you answer your questions: 1) 2) 3) 4)

What is the time signature? Notes are often put into groups of 2, 3, or 4 and divided by bar lines. What are the different note values in the music? Are you familiar with them? What are you like at changing from one note value to another whilst keeping a pulse with your metronome? Take note of any repeat signs or DC or Dal segno signs.

Step 2: Then play the cd again for a second time and clap and count the rhythm out loud. If possible tap your toe lightly to the pulse so that you feel the heartbeat of the music. Using a metronome: You may find that the tempo of the cd is too fast. In this case, use a metronome. It you do not already have a metronome, buy one! Every musician worth his salt should have one. Set it to a slow tempo to give you time to get your brain around the rhythm and clap and count your way through. Once you feel you have mastered this, crank your metronome up a few notches and try again. Cello Survival Kit Scott Heron – NEELB

Ideally, aim to reach a little faster than the tempo of the cd. When you finally clap and count along to the cd, it will feel easy and relaxed. Happy days!

STAGE 3 – Make sure you are familiar with the 3 note facts. Background: When you see a note in the music it tells you a number of things all at once. It describes how long the note lasts for and also what the note sounds like . When you play a stringed instrument like violin or cello there are also 3 other facts you will need to know: 1) 2) 3)

The particular name of the note. The finger you need to put down on the string to produce the sound. What string your finger needs to be on to produce the sound.

You need to know these 3 facts all at once. It seems impossible, but with practice, you will be able to do it. Flash cards are a great way to develop your fluency.

Now for action! Step 1: Call out the names of the notes. (Do you know the lines & spaces? See Music Theory handout No. 1) Step 2: Call out the finger that you need to use. (See the note charts) Step 3: Call out the name of the string you are playing on. Just do this once at the start of each new change of string. Step 4: Repeat the above with the cd. If you find the cd is too fast for you to work this out in time, use a metronome at a slower speed, and repeat, getting gradually faster each time. More experienced students: When you are confident with this you will be able to multi task and see these 3 elements at once. Bypass this procedure and instead look at the key signature and work out how this effects your nd fingering such as close and extended 2 fingers for violin etc.

STAGE 4 – Add other musical touches Now that you have mastered the rhythm, tuning and fluency, try adding other musical elements, in no particular order.    

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Perhaps start with some articulation. Once you are confident with this, add some dynamics. Then some expression etc. The important thing is that you focus on one thing at a time. If at any stage you notice a tuning error, go back and patch it up. You will be able to multitask and balance theses different elements only if you have spent enough time working separately at each stage. Try to get as many opportunities as possible to perform music. Put on a concert at school perhaps with others in your class. Enter yourself for a music festival. Enter yourself for exams. Go on a summer music course. Play in church. Perform for relatives at home. When you are at home use your imagination and pretend you are playing in a big concert Cello Survival Kit Scott Heron – NEELB

 

hall with an orchestra in front of lots of people. With experience you will feel more comfortable performing and perhaps even play better than you do on your own at home. Try improvising to pop music, tv, etc. Join an orchestra at school and/or the NEELB. You will make lots of friends, play great music, improve your playing, especially your sight reading, and get lots of opportunities to perform and travel.

This procedure may seem very slow and time consuming, but it really does work. In the long run it will save you time, and build really good foundations in your playing, in particular your tuning.

STAGE 5 – Time to play your instrument, but focus on your tuning! Tuning is the number 1 difficulty in playing a stringed instrument. You will constantly need to pay attention to it. 1) 2) 3) 4)

5) 6)

7)

8)

9)

10) 11)

To do this, play through the piece slowly, with a loose sense of the pulse. Play with a lovely big tone. Use chaos notes (check against the open string.) Ideally ask your folks, relative or friend to play the piano or keyboard along with you to give yourself something to compare yourself to. Hopefully by this stage you will have memorised the tune of the piece. Use a chromatic tuner. If you suspect you have played a wrong note, or just played a note out of tune, go back and fix it and move on, like forward winding and rewinding a cd. Remember, you want to play correctly more of the time, not practise your mistakes. You may notice little groups of 2 or 3 notes. I like to repeat these. As I play them more confidently, and accurately, I gradually get them faster and repeat them. Then I continue onto the next note or next group at a slow speed. Try joining the notes or groups of notes together, like pieces of a jigsaw. Eventually, use your metronome. Put these small sections together to form larger sections. Eventually join these larger sections together until you can play all the way through in one go. Start slowly, and gradually get faster. When it is up to speed, play along with the backing track or ask someone to accompany you on the piano. Initially keep your eyes on the music 99% of the time in order to keep track of where you are. If you need to, look quickly at your instrument for a split second, and back again to the music. Later on, if you have time, you can try to memorize the music and not look at it at all. Aim to play a bit faster than the cd. When you play with the cd, it will seem slow and easy. Nobody said this was going to necessarily be fun. You may be able to think of a million other things you would rather like to do, but your sacrifice will be worth it! Many other fine musicians before you have travelled the same road and are glad they made the sacrifice. It is a means to an end. There is no gain without pain.

Most of all, enjoy! Your effort in learning this new skill and honing your talent is well worth the effort. It will be a blessing to you and other people.


Music Theory Factsheet No. 1 Cello You are taking your first steps in learning to play the cello. In order to do this, you need to learn how to read music, and music has a language of its own!

General information –   



An author writes books, but a composer writes music. Instead of reading words, musicians read Here are the different parts of a note:

notes.

Each musical note tells you 2 things: 1) The ‘duration’ of the note (i.e. how long a sound lasts for). 2) The ‘pitch’ (or sound) of the note.

1. The duration of notes A ‘note value’ ref ers to the duration of a note. Below is a list of some of the note values.   

You can see how one note value derives from another by looking at the note pyramid. Notice how you half each note value to get two of the next type. Also notice that each note has an American name (fraction name) and a British name:

Note Pyramid

Note

Rest

British Name

American Name

Duration (in counts)

Semi breve

Whole note

4

Minim

Half note

2

Crotchet

Quarter note

1

Quaver

Eighth note

½

Semi quaver

Sixteenth note

¼

2. Pitch When you open your music you will notice that the notes do not live in outer space, but they are placed on lines and spaces called the ‘stave’. This is where the notes live. Each note will have a different sound (or pitch) depending on where it lives on the stave. Cello Survival Kit Scott Heron – NEELB

Each line and space has a name, not like Jack or Daisy, but after a letter of the alphabet. Did you know that there are only 7 letters in the musical alphabet!

You can see why this is by looking at the piano keyboard:

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Notice below how on the stave, as you go from each consecutive line to space, or space to line, you go through the alphabet. As you climb up the stave, you go up the alphabet, and vice versa as you go down. This is like climbing up or down rungs of a ladder. In music you will soon come across scales. A scale is a sequence of musical notes in ascending or descending order.

Remembering the names of the notes Now we have a problem! With so many lines and spaces, how on earth will we remember all their names? 1) Rhymes One way is that we invent 2 rhymes, one to help us remember the lines, and another for the spaces. The first letter of each word gives us the particular alphabetic letter name of the note: 5 Lines

Anything Fear Don’t Bears Grizzly 4 Spaces

Grass Eat Cows All Cello Survival Kit Scott Heron – NEELB

Another way of remembering the names of the lines and spaces of the stave is to think of your hand as the stave. Each of your 5 fingers represents a line of the stave, and the gaps in between, the spaces:

Grass

Eat

Cows All

2

Refer to the open strings

Another quick way of working out the lines and spaces is to remember the open string notes of the cello:

Notice that they are all positioned on a space. You can go up or down the alphabet from these notes, whichever is closest to the note you are looking for. So, test yourself often, and in no time at all you will know the names of the notes automatically. What the mind repeats, it retains!


Puncture Repair Practice (PRP) This is a technique to help with your tuning. The phrase ‘Puncture Repair Practice’ or ‘PRP’ for short, is an analogy I use to compare fixing your tuning on the spot with fixing a puncture immediately. Just say you were out for a drive with your folks and all of a sudden the car gets a puncture! You have two options:

Option 1: Carry on driving, but risk shredding the tyre which would necessitate eventually buying a new tyre to replace it Or

Option 2: Replace the tyre with your spare tyre, which takes longer, but means you can go to Kwik-Fit at a later stage and get it repaired for a fraction of the price. Remember, “No one fits quicker than a Kwik-Fit fitter”. Try saying that 10 times!!! The reason for this is a phenomenon called muscle memory . When you place your fingers on the fingerboard, your fingers remember where you placed them. You can use this to your advantage. If you make a mistake, that is ok, but make sure that you fix it immediately afterwards, without driving on. This way you will condition your hand to go to the correct place more of the time. It is slow, but works out better in the long run, building good foundations for your tuning. The alternative is false economy.


The Smartie Game The purpose of the Smartie Game is to develop the ability to play correctly the first time you play something. This is after all what we hope to do when we are performing, whether in a concert or for an exam. First, go and buy a packet of Smarties, or perhaps ask your parents to buy them, telling them it is for educational reasons and that I said it will help your practice. Next, identify some aspect of the piece you are working on that is driving you round the bend. It could be a shift, bowing, a tricky fingering, tuning, articulation etc. The main thing is to isolate 1 problem. The reason for this is that if you multi task, you can ove rload your brain, and end up not mastering anything properly. The aim is to play your chosen extract 4 times in a row correctly. Each time you play it correctly, you earn yourself a Smartie. Place each Smartie in front of you. If you can play the extract 4 times in a row correctly then you get to eat the Smarties. If you make a mistake, go back to the beginning and try again. This really heightens your concentration. If you run out of Smarties then you can use any 4 objects, coins for example. Just don’t swallow them!


Listening Homework You will often hear musicians say that one of the best ways to improve on your instrument is to listen to other musicians play. I would certainly agree with this. It helps to give you an impression of what your instrument is capable of. From an early age I was fascinated by watching musicians play. The visual side of learning music is for me even more stimulating. By watching you can learn so much about the technique required to get the most out of your instrument. If possible go and see a live concert, and watch really good professional musicians. Perhaps the greatest reason to watch musicians is that it can be really inspiring. I have often come from a concert and immediately taken my instrument out when I got home because I was so inspired and wanted to try out a new idea I had seen. Going to a live concert is not always possible. For that reason I would thoroughly recommend that you use YouTube. It is an amazing resource. For home work, I would like you to listen to a new piece of music for your instrument every week and answer these 3 questions. Write the answers on the following Listening Homework Record Sheet and week by week you will surprise yourself as to how many pieces of music that you know.

Question 1: What is the name of the performer? Question 2: What is the title of the music? Question 3: Who is the composer? As well as listening to Classical music, why don’t you expand your horizons and listen to other types of music. Have you tried ‘Spike People choir’, ‘The Piano Guys’, ‘The 2 Cellos’, the Bluegrass band ‘Crooked Still’? It will launch you on a road of discovery that can shape the way that you develop as a musician. Happy listening.


Listening Homework – RECORD SHEET Name of the performer

Title of the music

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20


Name of the composer

Bow Check List In order to establish a good bow hold, I think it is a good idea to break it down into 7 stages and go through them consistently in order. This reinforces a correct bow hold and establishes it in your muscle memory. When you are practicing and stop for some reason, go through your check list. In one practice session you may repeat your check list several times. Step 1:

Hold your hand out like a floppy paw. Make sure it is nice and relaxed. Your fingers should be dangling down.

Step 2:

Pick up your bow with your left hand, pointing the frog to the right.

Step 3:

Move the bow into your hand so that your little finger is above the eye of the frog.

Step 4:

Move your hand down onto the bow until the bow is just above the first knuckle of your index finger, from your finger tip.

Step 5:

Place the tip of your thumb just in front of the frog, on the wood.

Step 6:

Angle your hand to the left so that you lean on your first finger. This is called ‘pronation’. Do this so much that your little finger sits on top of the stick.

Step 7:

Rest your bow on the string. Give the weight of the bow and your arm to the string.

Learn this rhyme and say it often: 'Ev'ry time you stop and start go through your bow check list, it's really smart'.


‘Operation’ Bow

Have you ever played the board game Operation?

It was one of my favorite games when I was a kid. For those of you that do not know, the object of the game is to extract random items that the patient has swallowed with a pair of tweezers. If the tweezers should happen to glance the side of the incision, the patient screams! It is really good fun!

One of the most challenging aspects of playing the cello as a beginner, is only playing one string at a time, and avoiding glancing the other adjacent strings. You can practice this by playing long bow strokes from the heel of the bow to the tip repeatedly. Make sure that you watch where the bow meets the string. You will have to vary the height of your elbow on each string. Your elbow will be highest on the ‘A’ string, and lowest on the ‘ C’ string. Use your imagination. If you glance an adjacent string, it is like touching the hole in your patient’s tummy and he shouts out. Have fun!


Samurai Sword Bow Hold In order to play dramatic accents try this exercise. It will get lots of bow speed into your accents. The ‘Samurai’ were ancient Japanese warlords. They were famous for their incredibly sharp swords, which were like works of art. Think of your bow as a sword. Next, make sure you have lots of room and swipe your bow to the right. Your objective is to make a swiping sound, like a Samurai sword. Try swiping to the left now. Once you have achieved this, try playing accents on your instrument and use the same amount of bow speed. This will make them much more dramatic! Give yourself lots of space, in order to be safe, and have fun!



Grade 1 ABRSM Cello Shopping List Congratulations on having completed your previous books! You have probably been playing for a couple of years now, feeling a bit more confident than when you started and ready to have a go at the ABRSM grade 1 exam. It can sound a bit scary, but we have plenty of time. I would hope that we would not be sitting the exam for at least 1 year. Every journey starts with one step, so we will take it one step at a time and see how we get on, and have some fun along the way. Here is a shopping list of the 6 items you will need to get off to a good start: 1)

Unlike the violin exam books where half of the pieces in the syllabus are contained in one book with a cd, alas there is no such book for the cello. It is possible to buy 1 book that has 1-2 pieces from each list in it; ‘More Time Pieces for Cello’ , Vol.1 arr. Black and Harris (ABRSM), which will save you some expense. I have written those particular pieces below.

2)

There is a cd produced by the ABRSM that includes all of the pieces for grade 1: ‘Cello Exam Pieces-Complete Syllabus 2010-2015’ (red cover). I would highly recommend that you buy this. If any of the other pieces on the syllabus appeal to you, let me know and we can discuss it with the others in your group. Once we have made a final choice together you can go ahead and buy those instead of the pieces I have chosen. It is important that you enjoy what you are working on. You will need to consult the most recent exam syllabus for the details of the music in order to order it (it is free), or just ask me and I can give you the information.

3)

Buy the Grade 1-5 ABRSM Scales & Arpeggios Book from 2012 (purple cover).

4)

Buy the Grade 1-5 ABRSM Cello Specimen Sight-Reading Tests from 2012 (violet cover).

5)

Perhaps buy the Grade 1-3 ABRSM Specimen Aural Tests, New Edition from2011 (brown and orange cover). Make sure it includes 2 cds. Your school will prepare you for this, but I would recommend doing work on this at home. For other alternatives see my handout ‘The Low Down on the ABRSM Grade Exams’.

6)

If you do not already have it, please buy ‘Cello Time Runners’, written by Kathy & David Blackwell & published by Oxford University Press. This follows on from the previous book you have been using, ‘Cello Time Joggers’.

These resources are commonly available from a number of sources. I would recommend using Amazon.co.uk or a local music store. Another suggestion would be www.cellos2go.com.


Recommended pieces: LIST A

1) Blow - ‘Air’ (More Time Pieces Vol.1) ______________________________________

LIST B

1) Faure - ‘Berceuse’ (More Time Pieces No.1) ________________________________

LIST C

1) Billy Taylor - ‘I wish I knew’ (More Time Pieces No.1) _________________________ 2) Trad. Congolese - ‘Banaha’ (More Time Pieces No.1) _________________________

Once we have chosen you 3 pieces listen to them repeatedly, following your sheet music at the same time. Try to memorize the melody. How many little details in the music can you notice such as any crescendos and diminuendos, dynamics, unusual rhythms, staccato notes, legato notes, slurred notes, separate notes? The more of these little details that you can include when you come to perform, the better. The examiner will be looking out to see if you noticed them. It gives you such a sense of achievement to achieve your grade exams. It will be a lot of fun, but at times you may find it frustrating. At times like this you will need patience, perseverance, and discipline.

You will get through. I have taught hundreds of students that have made the journey and were so glad that they did. I am really looking forward to starting this adventure with you!


THE LOW DOWN ON THE ABRSM GRADE EXAMS There are 4 parts to the exam, which will occur in the order below. All 8 grades have the same format. Grade 1 would be the equivalent of a white belt in Karate, and Grade 8 would be a black belt!

Part 1 There are 3 pieces, A, B, C. Each is worth a total of 30 marks. You will be accompanied by a pianist, who will most likely be provided by your school or possibly the Music Service, depending on availability. Make sure that each of your pieces has an accompaniment book. Most do, but occasionally they are sold separately. Also make sure that you use original sheet music, and not photocopies. After your performance your pianist will leave and you will proceed with the other 3 tests.

Part 2 – Scales & Arpeggios These are worth a total of 21 marks. They need to be performed from memory. You will not be allowed to bring your music with you into the exam. You will need to purchase the current scale book, from 2012.

Part 3 – Sight Reading These are worth a total of 21 marks. There are very specific requirements which you should be aware of for each grade, which will vary a little from one instrument to another. I would recommend that you pick up a free copy of the syllabus and familiarize yourself with it. I of course will endeavor to keep you on the right track with this. I would also recommend that you buy t he support material ‘Specimen Sight-Reading Tests, from 2012. This will give you test examples which are representative of the technical level in the exam and keep abreast of the recent technical requirements.

Tips – Check out www.quizlet.com. This will help you to understand the Italian words at the start of the music, which give you an indication as to the speed it goes. Do a search for whatever grade you are doing, eg, ‘Grade 1 Italian Terms’ (no 25). It will give you a list of all the grade 1 Italian words that you need to learn and also some fun games to help you memorize them. Each student will be given a short interval of up to half a minute in which to look through and, if they wish, try out any part of the test before they are required to perform it for assessment.

Part 4 – Aural Tests. These are worth a total of 18 marks. I will not be preparing you for this part of the exam. This is the responsibility of the school. You will probably only get a couple of rehearsals, but each school varies considerably. However, I would highly recommend that you are proactive and do some preparation for these at home. They can make the difference between you achieving a good mark and an excellent mark. There are a couple of ways of doing this: Cello Survival Kit Scott Heron – NEELB

a) b) c)

If you have an iphone there is an app that you can buy which is called the ‘ABRSM Aural Trainer’ for Grades 1-3 it is £2.99. You can buy a resource from the ABRSM called ‘Specimen Aural Tests’ New Edition from 2011 (brown and orange cover). Make sure that it includes 2 cds. Look up the NEELB website: www.neelb.org.uk. Click on ‘Curriculum’ at the top of the page. Click on ‘Creative and Expressive’, then ‘Music’ on left of page. In ‘Aural Tests’ you will find examples for each grade, with answers.

Tips – Pick up a copy of the current 2012-2015 Bowed Strings Syllabus by the ABRSM. It has a blue cover. Information 

  







The exam is marked out of a total of 150 marks. 100 marks to 119 marks is a pass. 120 marks to 129 marks is a merit. 130 or more is a distinction. Your school will enter you for the exam and will notify you of the cost. All monies should go to the school and not myself. Schools will try to arrange a suitable exam date. It is Music Service policy that tutors do not enter students for grade exams. You will hopefully have an opportunity to warm up and top and tail your pieces with your pianist in a warm up room prior to the exam. The ABRSM has produced an excellent resource called ‘These music exams - A guide to ABRSM exams for candidates, teachers and parents’. It is free and can be obtained from most music shops, such as Matchetts Music in Belfast (028 9032 6695). Marking scheme – Schedule of maximum marks for all grades: Pieces 1 ............................... 30 Pieces 2 ............................... 30 Pieces 3 ............................... 30 Scales and arpeggios ........... 21 Sight-reading ....................... 21 Aural tests ........................... 18 Total................................ 150



All being well the school will hear the results within around 3 weeks approximately and you will be given a distinguished certificate with your name on it.


An Aid to Sight Reading for Grade One Cello (ABRSM) Crucial information for students and parents A phrase I hear a lot in my job as a string teacher, in connection with sight reading is; “I wish I could have had another go at it, I would have nailed it!”. The sad fact is that in the Associated Board exams (ABRSM), you only get 1 shot at it. Therefore it is important that you are fully prepared.

How Best To Prepare Recommendation: 

Purchase ‘Specimen Sight -Reading Tests’ , Grades 1-5 (ABRSM, 2012 edition).

Available for Grades 1-5, this book which has a purple cover gives examples of sight reading appropriate to the level expected in the exam. It takes account of the revised requirements. You can purchase this book for around £5 from a number of sources such as Amazon or local music stores such as Matchetts Music in Belfast (028 9032 6695). 

Pick up a free copy of the syllabus for sight-reading and familiarize yourself with it.

Sight-reading requirements: 



The sight reading component is worth a total of 21 marks out of a total of 150 marks for the entire exam. There are very specific requirements which you should be aware of for each grade, which will vary a little from one instrument to another.

Guidelines for Grade One The current syllabus gives us the following guidelines: Pulse

A four-bar piece in 4/4 or 3/4, or a six-bar piece in 2/4.

Notes/Pitches

In G or D major.

Position/String

In 1st position with no use of the C string.

Bowing

All notes separately bowed.

Dynamics

Simple dynamics (f, mf, p).

Note values

The only note values used will be minims, crotchets, and quavers.

Rests

The only rests will be crotchet rests.


Further guidelines: “The sight-reading tests are without accompaniment. Candidates will be given a short interval of up to half a minute in which to look through and, if they wish, try out any part of the test before they are required to perform it for assessment.” (Syllabus, page 7) Sight-reading relies on two elements:

1.

Observation

When I think of observation I immediately associate this trait with the famous London detective, Sherlock Holmes. He was remarkable because he noticed little details that other people missed. Imagine that you are Sherlock Holmes looking for clues in the music that the examiner has given you that will help you to play it the way the composer intended it. It is helpful to be systematic when approaching sight reading and to think of the building blocks of music, such as the notes, rhythm, articulation, tempo and dynamics.

Notes

Look at the key signature. Remember that the sight reading will only be in one key, G or D major. It is helpful to play this scale before you play the extract in order to familiarize yourself with the finger patterns you will use (remember you don’t play on the C string).

Rhythm/Tempo The extract will only include rhythms made up out of quavers, crotchets, minims and crotchet rests. Look over some of the examples in ‘Specimen Sight Reading Tests’ to test that this is true. A useful exercise to help you gain confidence and fluency at changing from one note value to another is t o set your metronome to crotchet = 90, establishing a pulse. Then ask someone to randomly call out a new note value. Can you change fluently from one note value to another smoothly, without hesitation? Examine the Time Signature. Remember it will only be in one of three time signatures: 2/4, 3/4, or 4/4. In order to work out what tempo or speed the music is to be played at it is necessary to observe the tempo marking at the start of the extract. It may be in English, but it may also be in Italian. It is therefore necessary for you to learn the list of grade 1 Italian terms that are required for the grade 1 theory exam. A list of these can be found at www.quizlet.com. This is a superb site. Do a search for whatever Grade you are doing, eg, ‘Grade 1 Italian Terms’ (no25). It will give you a list of all the Grade 1 Italian words that you need to learn and also some fun games to help you memorize them. Quizlet is primarily a flashcard website, so it gives you the option to make your own flashcards. You may get an extract which is marked ‘Andante’. Because you have learnt the words in Quizlet you know that Andante means ‘at a walking pace’. But how fast is that? You need to how many beats for minute this is (BPM). You can find a comprehensive table at http://en.wikipedia.org/wiki/Tempo. It tells us that Andante is 76 - 108 BPM. Use your metronome to hear the pulse. In time, you will get an accurate impression of the tempo of these terms. Make sure that you choose a realistic tempo. If the speed indicated is too fast for you, it would be better to play it a Cello Survival Kit Scott Heron – NEELB

little slower, to give yourself more thinking time, than to play too quickly and sacrifice the fluency and detail.

Other Musical Elements

Articulation/ Dynamics

2

The good news is that for grade 1 you do not need to consider articulation. For grade 2 you will need to look out for slurs.

There are only 3 dynamic markings for grade 1; p (piano) = softly, mf (mezzo forte) = moderately loud, f (forte) = loud. Some examples maintain the same dynamic all the way through. Some extracts vary the dynamics. The golden rule is to exaggerate the dynamics. Make it crystal clear to the examiner that you have noticed the dynamic changes. Also, ask yourself how wide is your dynamic range? Practice playing at each dynamic level. Make your pianos quieter and your fortes louder. Be more extreme.

Execution “Once you pop, you can’t stop!”

The golden rule of sight reading is “Once you start you can’t stop”. Just think of the old TV ad for the crisps called Pringles. Fluency is vitally important. The examiner will be expecting you to play from the beginning to the end without stopping, all the time maintaining a regular pulse. Do not be tempted to stop and fix any mistake that you may make. The examiner will not be impressed, because in order to do this, you will be interrupting the pulse. 

 



You will get up to half a minute to prepare yourself before you have to play – use this time wisely. Go over the above 5 musical building blocks in order. Do this consistently with each sight reading extract that you practice at home. In time you will get faster and better skilled. One of the best ways to improve your sight reading is to play in an orchestra .

“I hope that this has been helpful for you – any further questions, please do not hesitate to ask me. I hope that your sight-reading just gets better and better!” Mr. Heron


C major arpeggio, separate bows only (2 octaves, quaver = 88)

Grade 1 ABRSM Cello Scale & Arpeggio Flash Cards

C major scale, separate bows (2 octaves, crotchet = 44)


C major scale, slurred bows (2 octaves, crotchet = 44)


D major arpeggio, separate bows only (one octave, quaver = 88)


D major scale, separate bows (crotchet = 44)


D major scale, slurred bows (one octave, crotchet = 44)



G major arpeggio, separate bows only (one octave, quaver = 88)


G major scale, separate bows (one octave, crotchet = 44)


G major scale, slurred bows (one octave, crotchet = 44)


A minor arpeggio, separate bows only (one octave, quaver = 88)


A minor natural scale, separate bows only (one octave, crotchet = 44)


A minor natural scale, slurred bows only (one octave, crotchet = 44)



Grade 2 ABRSM Cello Shopping List Congratulations on having completed your grade 1 exam! You can see that with regular practice over the course of a year or so you can really make excellent progress. It is now time to jump to the next stepping stone and start work for your grade 2 exam. I would hope that you would be sitting the exam in approximately 1 year. Here is a shopping list of the 7 items you will need to get off to a good start: 1)

Unlike the violin exam books where half of the pieces in the syllabus are contained in one book with a cd, alas there is no such book for the cello. It is possible though to buy 1 book that has 1 or two pieces from each list in it; ‘More Time Pieces for Cello’ , Vol.1 arr. Black and Harris (ABRSM), which will save you some expense. You may already have this book from grade 1. I have written those particular pieces below.

2)

There is a cd produced by the ABRSM that includes all of the pieces for grade 2: ‘Cello Exam Pieces-Complete Syllabus 2010-2015’ (red cover). I would highly recommend that you buy this. If any of the other pieces on the syllabus appeal to you, let me know and we can discuss it with the others in your group. Once we have made a final choice together you can go ahead and buy those instead of the pieces I have chosen. It is important that you enjoy what you are working on. You will need to consult the most recent exam syllabus for the details of the music in order to order it (it is free), or just ask me and I can give you the information. Alternatively, buy the individual tracks on iTunes.

3)


4)


5)


6)

If you do not already have it, please buy ‘Cello Time Runners’, written by Kathy & David Blackwell & published by Oxford University Press. This follows on from the previous book you have been using, ‘Cello Time Joggers’.

7)

‘Go Fourth’ by Lorna Taylor, published by Spartan Press. Make sure that it includes a cd.

These resources are commonly available from a number of sources. I would recommend using Amazon.co.uk or a local music store. Another suggestion would be www.cellos2go.com.


Recommended pieces: LIST (A)

1) Dowland - ‘Come again, sweet love doth now invite’ (More Time Pie ces Vol.1) _________________________________________________________________

LIST (B)

1) Donizetti - ‘Bella siccome un angelo’, (More Time Pieces No.1) _________________________________________________________________ 2) Tchaikovsky - ‘Rococo Theme’ _________________________________________________________________

LIST (C)

1) Henry Mancini - ‘The Pink Panther’ (More Time Pieces No.1) _________________________________________________________________

Once we have chosen you 3 pieces listen to them repeatedly, following your sheet music at the same time. Try to memorize the melody. How many little details in the music can you notice such as any crescendos and diminuendos, dynamics, unusual rhythms, staccato notes, legato notes, slurred notes, separate notes? The more of these little details that you can include when you come to perform, the better. The examiner will be looking out to see if you noticed them. It gives you such a sense of achievement to achieve your grade exams. It will be a lot of fun, but at times you may find it frustrating. At times like this you will need patience, perseverance, and discipline.

You will get through. I have taught hundreds of students that have made the journey all the way to grade 8, and were so glad that they did. I am really looking forward to continuing this adventure with you!


An Aid to Sight Reading for Grade Two Cello (ABRSM) Crucial information for students and parents A phrase I hear a lot in my job as a string teacher, in connection with sight reading is; “I wish I could have had another go at it, I would have nailed it!”. The sad fact is that in the Associat ed Board exams (ABRSM), you only get 1 shot at it. Therefore it is important that you are fully prepared.



Available for Grades 1-5, this book which has a purple cover gives examples of sight reading appropriate to the level expected in the exam. It takes account of the revised requirements. You can purchase this book for around £5 from a number of sources s uch as Amazon or local music stores such as Matchetts Music in Belfast (028 9032 6695). 






Guidelines for Grade Two The current syllabus gives us the following guidelines: Pulse

A four-bar piece in 4/4 or 3/4, or a six-bar piece in 2/4.

Notes/Pitches

In G, D or C major and A natural minor.

Position/String

Further use of first position, with possible use of the C string.

Bowing

Notes separately bowed, or with simple two note slurs.

Dynamics

Simple dynamics (f, mf, p), with addition of mp and ‘hairpins’ (cresc/dim).

Note values

The only note values used will be minims, crotchets, and quavers.

Rests

Crotchet rests, with the addition of dotted minims, and minim rest.



1.

Observation


Notes

Look at the key signature. The sight reading will only be in one of the following keys – G, D or D major and A natural minor. It is helpful to play this scale before you play the extract in order to familiarize yourself with the finger patterns you will use.

Rhythm/Tempo The extract will only include rhythms made up out of quavers, crotchets, minims and crotchet rests. Look over some of the examples in ‘Specimen Sight Reading Tests’ to test that this is true. A useful exercise to help you gain confidence and fluency at changing from one note value to another is to set your metronome to crotchet = 90, establishing a pulse. Then ask someone to randomly call out a new note value. Can you change fluently from one note value to another smoothly, without hesitation? Examine the Time Signature. Remember it will only be in one of three time signatures: 2/4, 3/4, or 4/4. In order to work out what tempo or speed the music is to be played at it is necessary to observe the tempo marking at the start of the extract. It may be in English, but it may also be in Italian. It is therefore necessary for you to learn the list of grade 1 Italian terms that are required for the grade 1 theory exam. A list of these can be found at www.quizlet.com. This is a superb site. Do a search for whatever Grade you are doing, eg, ‘Grade 1 Italian Terms’ (no25). It will give you a list of all the Grade 1 Italian words that you need to learn and also some fun games to help you memorize them. Quizlet is primarily a flashcard website, so it gives you the option to make your own flashcards. You may get an extract which is marked ‘Andante’. Because you have learnt the words in Quizlet you know that Andante means ‘at a walking pace’. But how fast is that? Yo u need to how many beats for minute this is (BPM). You can find a comprehensive table at http://en.wikipedia.org/wiki/Tempo. It tells us that Andante is 76 - 108 BPM. Use your metronome to hear the pulse. In time, you will get an accurate impression of the tempo of these terms. Make sure that you choose a realistic tempo. If the speed indicated is too fast for you, it would be better to play it a Cello Survival Kit Scott Heron – NEELB

little slower, to give yourself more thinking time, than to play too quickly and sacrifice the fluency and detail.

Other Musical Elements Articulation/ Dynamics

2


Simple dynamics (f, mf, p) with addition of mp and ‘hairpins’ (cresc/dim). The golden rule is to exaggerate the dynamics. Make it crystal clear to the examiner that you have noticed the dynamic changes. Also, ask yourself how wide is your dynamic range? Practice playing at each dynamic level. Make your pianos quieter and your fortes louder. Be more extreme.



 






Bb major arpeggio, separate bows only (one octave, quaver = 100)


Bb major scale, separate bows (one octave, crotchet = 50)


Bb major scale, slurred bows (one octave, crotchet = 50)


C major arpeggio, separate bows only (2 octaves, quaver = 100)


C major scale, separate bows (2 octaves, crotchet = 50)


C major scale, slurred bows (2 octaves, crotchet = 50)



D minor arpeggio, separate bows only (one octave, quaver = 100)


D minor harmonic scale, separate bows (one octave, crotchet = 50)


D minor harmonic scale, slurred bows (one octave, crotchet = 50)


D minor melodic scale, separate bows (one octave, crotchet = 50)


D minor melodic scale, slurred bows (one octave, crotchet = 50)


D minor natural scale, separate bows (one octave, crotchet = 50)



D minor natural scale, slurred bows (one octave, crotchet = 50)


F major arpeggio, separate bows only (one octave, quaver = 100)


F major scale, separate bows (one octave, crotchet = 50)


F major scale, slurred bows (one octave, crotchet = 50)


G major arpeggio, separate bows only (one octave, quaver = 100)


G major scale, separate bows (2 octaves, crotchet = 50)



G major scale, slurred bows (2 octaves, crotchet = 50)


G minor arpeggio, separate bows only (one octave, quaver = 100)


G minor harmonic scale, separate bows (one octave, crotchet = 50)


G minor harmonic scale, slurred bows (one octave, crotchet = 50)


G minor melodic scale, separate bows (one octave, crotchet = 50)


G minor melodic scale, slurred bows (one octave, crotchet = 50)



G minor natural scale, separate bows (one octave, crotchet = 50)


G minor natural scale, slurred bows (one octave, crotchet = 50)


A major arpeggio, separate bows only (one octave, quaver = 100)


A major scale, separate bows (one octave, crotchet = 50)


A major scale, slurred bows (one octave, crotchet = 50)



Grade 3 ABRSM Cello Shopping List Congratulations on having completed your grade 2 exam! You can see that with regular practice over the course of a year or so you can really make excellent progress. It is now time to jump to the next stepping stone and start work for your grade 3 exam. I would hope that you would be sitting the exam in approximately 1 year. Here is a shopping list of the 7 items you will need to get off to a good start: 1)

Unlike the violin exam books where half of the pieces in the syllabus are contained in one book with a cd, alas there is no such book for the cello. It is possible though to buy 1 book that has 1 or two pieces from each list in it; ‘More Time Pieces for Cello’ , Vol.1 arr. Black and Harris (ABRSM), which will save you some expense. You may already have this book from grade 1. I have written those particular pieces below.

2)

There is a cd produced by the ABRSM that includes all of the pieces for grade 3: ‘Cello Exam Pieces-Complete Syllabus 2010-2015’ (red cover). I would highly recommend that you buy this. If any of the other pieces on the syllabus appeal to you, let me know and we can discuss it with the others in your group. Once we have made a final choice together you can go ahead and buy those instead of the pieces I have chosen. It is important that you enjoy what you are working on. You will need to consult the most recent exam syllabus for the details of the music in order to order it (it is free), or just ask me and I can give you the information. Alternatively, buy the individual tracks on iTunes.

3)


4)


5)


6)

If you do not already have it, please buy ‘Cello Time Sprinters’, written by Kathy & David Blackwell & published by Oxford University Press. This follows on from the previous book you have been using, ‘Cello Time Joggers’.

7)

‘Taylor Made’ by Lorna Taylor, published by Spartan Press. Deals with 2nd and 3rd position.

These resources are commonly available from a number of sources. I would recommend using Amazon.co.uk or a local music store.


Recommended pieces: LIST (A)

1) F. Couperin - ‘Sarabande L’unique’ (More Time Pieces Vol.1) _______________________________________________________________

LIST (B)

1) Smetana - ‘Vltava, (More Time Pieces No.1) _______________________________________________________________

LIST (C)

1) Denza - ‘Finiculi Finicula’ (More Time Pieces No.1) _______________________________________________________________

Once we have chosen your 3 pieces listen to them repeatedly, following your sheet music at the same time. Try to memorize the melody. How many little details in the music can you notice such as any crescendos and diminuendos, dynamics, unusual rhythms, staccato notes, legato notes, slurred notes, separate no tes? The more of these little details that you can include when you come to perform, the better. The examiner will be looking out to see if you noticed them. It gives you such a sense of achievement to achieve your grade exams. It will be a lot of fun, but at times you may find it frustrating. At times like this you will need patience, perseverance, and discipline.

You will get through. I have taught hundreds of students that have made the journey all the way to grade 8, and were so glad that they did. I am really looking forward to continuing this adventure with you!


An Aid to Sight Reading for Grade Three Cello (ABRSM) Crucial information for students and parents A phrase I hear a lot in my job as a string teacher, in connection with sight reading is; “I wish I could have had another go at it, I would have nailed it!”. The sad fact is that in the Associated Board exams (ABRSM), you only get 1 shot at it. Therefore it is important that you are fully prepared.



Available for Grades 1-5, this book which has a purple cover gives examples of sight reading appropriate to the level expected in the exam. It takes account of the revised requirements. You can purchase this book for around £5 from a number of sources s uch as Amazon or local music stores such as Matchetts Music in Belfast (028 9032 6695). 






Guidelines for Grade Three The current syllabus gives us the following guidelines: Pulse

An eight-bar piece in 4/4 or 3/4, or 2/4 (same as Grade 2).

Notes/Pitches

In G, D or C major, and A natural minor (same as Grade 2) with the addition of A, F, Bb majors and D, G minors. Occasional accidentals (within minor keys only).

Position/String

Further use of first position.

Bowing


Dynamics Note values

Simple dynamics (f, mf, p), with addition of mp and ‘hairpins’ (cresc/dim). Increasing use of dynamics. Minims, crotchets, and quavers with the addition of dotted rhythms, semiquavers and ties may be encountered.


Crotchet rests, with the addition of dotted minims, and minim rest. Increasing use of rests. Pizzicato (at end of piece only) and staccato may be included. Increasing use of slurs.

Rests Articulation


1.

Observation


Notes

Look at the key signature. Remember that the sight reading will only be in one of several keys – G, D or C major and A natural minor (same as Grade 2) with the addition of A, F, Bb majors and D, G minors. Occasional accidentals 9within minor keys only). It is helpful to play the particular scale before you play the extract in order to familiarize yourself with the finger patterns you will use .

Rhythm/Tempo The extract will only include rhythms made up out of minims, crotchets and quavers, with the addition of dotted rhythms, semiquavers and ties may be encountered. Look over some of the examples in ‘Specimen Sight Reading Tests’ to test that this is true. A useful exercise to help you gain confidence and fluency at changing from one note value to another is to set your metronome to crotchet = 90, establishing a pulse. Then ask someone to randomly call out a new note value. Can you change fluently from one note value to another smoothly, without hesitation? Examine the Time Signature. Remember it will only be in one of three time signatures: 2/4, 3/4, or 4/4. In order to work out what tempo or speed the music is to be played at it is necessary to observe the tempo marking at the start of the extract. It may be in English, but it may also be in Italian. It is therefore necessary for you to learn the list of grade 1 Italian terms that are required for the grade 1 theory exam. A list of these can be found at www.quizlet.com. This is a superb site. Do a search for whatever Grade you are doing, eg, ‘Grade 1 Italian Terms’ (no25). It will give you a list of all the Grade 1 Italian words that you need to learn and also some fun games to help you memorize them. Quizlet is primarily a flashcard website, so it gives you the option to make your own flashcards. You may get an extract which Cello Survival Kit Scott Heron – NEELB

is marked ‘Andante’. Because you have learnt the words in Quizlet you know that Andante means ‘at a walking pace’. But how fast is that? You need to how many beats for minute this is (BPM). You can find a comprehensive table at http://en.wikipedia.org/wiki/Tempo. It tells us that Andante is 76 - 108 BPM. Use your metronome to hear the pulse. In time, you will get an accurate impression of the tempo of these terms. Make sure that you choose a realistic tempo. If the speed indicated is too fast for you, it would be better to play it a little slower, to give yourself more thinking time, than to play too quickly and sacrifice the fluency and detail.

Other Musical Elements

Articulation/ Dynamics

2

Pizzicato (at end of piece only) and staccato may be included. Increasing use of slurs.

Simple dynamics (f, mf, p) with addition of mp and ‘hairpins’ (cresc/dim). Increasing use of dynamics. The golden rule is to exaggerate the dynamics. Make it crystal clear to the examiner that you have noticed the dynamic changes. Also, ask yourself how wide is your dynamic range? Practice playing at each dynamic level. Make your pianos quieter and your fortes louder. Be more extreme.



 






C minor arpeggio, separate bows only (one octave, quaver = 104)


C minor arpeggio, slurred bows only (one octave, quaver = 104)


C minor harmonic scale, separate bows (one octave, crotchet = 54)


C minor harmonic scale, slurred bows (one octave, crotchet = 54)


C minor melodic scale, separate bows only (one octave, crotchet = 54)


C minor melodic scale, slurred bows only (one octave, crotchet = 54)



Chromatic scale, starting on D, separate bows only (one octave, crotchet = 54)


D major arpeggio, separate bows (2 octaves, quaver = 104)


D major arpeggio, slurred bows (2 octaves, quaver = 104)


D major scale, separate bows (2 octaves, crotchet = 54)


D major scale, slurred bows (2 octaves, crotchet = 54)


D minor arpeggio, separate bows (2 octaves, quaver = 104)



D minor arpeggio, slurred bows (2 octaves, quaver = 104)


D minor harmonic scale, separate bows (one octave, crotchet = 54)


D minor harmonic scale, slurred bows (one octave, crotchet = 54)


D minor melodic minor scale, separate bows (one octave, crotchet = 54)


D minor melodic minor scale, slurred bows (one octave, crotchet = 54)


F major arpeggio, separate bows (2 octaves, quaver = 104)



F major arpeggio, slurred bows (2 octaves, quaver = 104)


F major scale, separate bows (2 octaves, crotchet = 54)


F major scale, slurred bows (2 octaves, crotchet = 54)


G major arpeggio, separate bows (2 octaves, quaver = 104)


G major arpeggio, slurred bows (2 octaves, quaver = 104)


G major scale, separate bows (2 octaves, crotchet = 54)



G major scale, slurred bows (2 octaves, crotchet = 54)


A major arpeggio, separate bows (one octave, quaver = 104)


A major arpeggio, slurred bows (one octave, quaver = 104)


A major scale, separate bows (one octave, crotchet = 54)


A major scale, slurred bows (one octave, crotchet = 54)


A minor arpeggio, separate bows (one octave, quaver = 104)



A minor arpeggio, slurred bows (one octave, quaver = 104)


A minor melodic minor scale, separate bows (one octave, crotchet = 54)


A minor melodic minor scale, slurred bows (one octave, crotchet = 54)



Advanced Students The Art of Practising Tuning is the number one difficulty in playing the cello! The general principle is ‘try to practise playing (percentage wise) more correctly, rather than your mistakes’. If you make a tuning mistake or play a wrong note, stop and fix it, and then move on . Don’t be tempted to play too fast. Go slowly enough so that you can catch any mistake you may make. It is like putting a bandage on it. In time, with consistent correct repetition you will train yourself to play more in tune, more of the time, as your muscles remember where they were placed. It is a scientific fact! When you start practising in this way it feels like you are moving really slowly, but be patient. You will get faster at it and build really good foundations for your tuning. You are going through the gradual process of sharpening your ear. You can’t run before you can walk!

Practise Formula Stage 1 – If you have a cd recording of the music you are practising, listen to it repeatedly in order to get the tune into your ear. Ask yourself do you know it well enough to be able to sing it? Y our knowledge needs to be 100%. If possible, follow the score at the same time as listening to reinforce your learning. A good knowledge of the melody will help you to detect any wrong notes or tuning mistakes all the quicker. Stage 2 – Now work through the whole piece of music very slowly on your cello, one note at a time, all the way through. Use a loose sense of rhythm. Listen very carefully to your tuning. Play with a full, sustained, solid, boring tone, so that you can hear what you are playing clearly. You are going through the process of sharpening your ear. How quickly can you detect tuning anomalies and fix them on the spot. Professional players do not play in tune all of the time, but they are ultra-fast at detecting faults and adjusting before anyone else has time to register them. Your ear is like the navigation computer of a guided missile, guiding your finger towards the target. Go back and forward over any shifts along the way. Practise the chaos notes to realign you in whatever position you are in to avoid drifting out of the centre of the tonality. Use ‘Spocks’. Compare your tuning to the piano or keyboard. Practise bar by bar, phrase by phrase, until you have covered the entire piece. Gradually join the bars and phrases together, like putting pieces of a jigsaw together. Once you have decided on the fingering, be consistent. Every piece has one or two tricky bits, which I circle in the part as ‘DANGER’ areas. Go over and over theses bars until they are fluent.

Stage 3 – You now need to increase your fluency. The best tool for this is a metronome. Initially set it to a relatively slow tempo. Work through the piece in sections at this speed. Gradually connect the sections and aim to go from start to finish continually without any stops. Once you feel confident at this tempo, increase the tempo by increments of 10 until you are playing faster than the correct tempo of the piece. When you play the correct tempo, it will feel relaxed, and even slow! You will achieve a real sense of control as you reinforce your muscle memory. Stage 4 - Eventually add other aspects of the music such as articulation, dynamics, expression, etc, one by one. Layering your practise like this enables you to simultaneously combine the musical elements in conjunction with the other, making it possible to multitask successfully. Cello Survival Kit Scott Heron – NEELB

Left Hand Cello Technique In some ways playing in 1st position is more challenging than than playing in higher positions. The reason for this is that the spacing between your fingers on the fingerboard needs to be bigger. Because of this we need to devise an effective way of getting from A-B with the least amount of effort and tension. When I started the cello I used to keep all my fingers down. This created a claw-like shape in my left hand, which I later realised was creating creating a lot of tension in my left hand. It was only through sheer force of will that I used to get by. Since then I have discovered a different and more economical way of transferring from one finger to another. I call this the ‘Walking Fingers’ technique. technique. It has developed since I was in music college in 2005, with a number of different influences, especially that of the cellist Stephen Doane. The ‘Walking Fingers’ technique is analogous to taking taking footsteps. We do this by leaning forward and changing your balance from one foot to another. The same principles principles apply to the left hand. When you travel to the new finger, take the old finger off, and change the balance of your hand to the new finger. The formula is this: When ascending up the fingerboard (eg 1-4), bend the old finger. When descending, (eg 4-1), straighten the old finger back. Steven Doane’s ‘The Pump’ exercise is an excellent way of developing a springy, elastic feeling in your fingers, bending from the base joint. The ‘boingy boingy’ exercise is good as well. Place all 4 fingers on the top of the belly of your cello and push the base joint down. Allow it to spring back. Notice how your knuckles knuckles pop out as your fingers bend. Repeat this several times. It is impossible to hold hold tension and do this exercise exercise successfully. Check out out these exercises on on video. See the list of Steven Doane’s videos at the back of the Survival Kit.

Left Hand Technique Check List In order to reinforce your technique, refer to this list list frequently. Perhaps sellotape it to your music stand?  

• • • • •

Take old fingers off. Use the walking Fingers technique: When ascending up the fingerboard (eg 1-4), bend the old finger. When descending, (eg 4-1), straighten the old finger back. Use a ‘floating thumb’. Use ‘The Roll’. On 1st and 2nd fingers pronate them back (turn to the right). On 3rd and and 4th fingers, turn your hand hand to the left. Use your forearm. Practise ‘The Pump’ Practise ‘The Walking Fingers Exercise’. When you play an interval of a tone or more, make a particular effort to bend your knuckles. Cello Survival Kit Scott Heron – NEELB NEELB

Left Hand Warm Ups For Flexibility, Articulation and Balance The Pump or ‘Finger Push -ups’

This exercise is to develop a springy and dynamic finger flex action. It both cushions the finger drop onto the string and contributes to a lively vibrato action. To perform this exercise, start with the finger arched at the true pitch, and then pull the finger back bringing the note slightly under pitch. pitch. This action straightens straightens the finger somewhat, whilst still keeping the finger directed diagonally down the the fingerboard towards the bridge. Next, feeling the free weight of the left arm, use gravity to power a forward flex of the finger down the fingerboard. This ‘pump’ action action will bring your palm slightly palm slightly in towards the fingerboard, and will bring you back up to the true pitch and an arched finger. (Note that this action is part part of the vibrato motion, and as such, goes from slightly below the pitch to the pitch, rather than going above the pitch.)

The Pump Start with the second finger on D on the A string or on G on the D string for resonance and good ring. Repeat these pitches pitches using each finger finger in turn. 1 flex = 1 vibrato impulse

Pump-plus-One Execute one pump cycle as above, and on the apex of forward flex, allow the next finger to fall, dropping into place. This incorporates flex-action into into upwards articulation articulation and enhances the clarity of articulation. It also produces a wonderful shock absorber absorber effect, both facilitating facilitating the start of the vibrato action and encouraging the subsequent release of effort in the other fingers.

The Backward Pump-plus-One Reverse the exercise starting on the upper note. Flex forwards down the fingerboard and then retract the upper finger as the hand pulls back back towards the nut. Use a springy action and a light left hand hand pizzicato for clarity. clarity. Follow this exercise with with ‘The Roll’. Cello Survival Kit Scott Heron – NEELB NEELB

The Roll Using Rotation to Balance the Left Hand To be practiced after the pump. This exercise combines FINGER FLEX ACTION (see The Pump exercise) with some FOREARM ROTATION within a position. Concentrate on ‘springing’ into the final notes of the exercise; a balanced vibrato should result. Let the sound ring. Also choose a clear focused contact point with the bow when practising these exercises. exercises. Make sure your bowing is ‘seamless’, ‘seamless’, molto legato! Feel the roll as an upbeat to the springy arrival note. These rolls illustrate forward rotated weight transfer to a higher finger and backward rotated weight transfer to a lower finger. Weight transfer to a higher finger produces a forward Rainbow and to a lower finger a reverse Rainbow. Although clarity is easier to achieve on the top string, this exercise can be played on all strings and in all position up to fourth position.

Cello Survival Kit Scott Heron – NEELB NEELB

st

Tuning in 1 Position on the Cello (David Finckel) The American cellist David Finckel, who has just retired from ‘The Emerson String Quartet’ has made a collection of videos on YouTube called ‘100 Cello Talks’. They are a treasure trove of information on all things cello. Cello Talk st No 45 ‘1 Position’ deals with using the open strings to tune and by building th perfect intervals off those notes. He starts by explaining how to get 4 fingers th in tune. You tune with 4 fingers against open strings. You can only do this in 3 places. The first th th example is 4 finger C (on the G string) against open C string. The second is 4 finger D (on the D th string) against open D string. The third example is 4 finger D (on the A string) against the open D string. Next he explains how to tune the 1st finger notes. You can only do this in 3 places. To do this st st build a fourth away from 1 finger note, eg, 1 finger D (on the C string), against the open G string st st above it; 1 finger A (on the G string) against open D, and finally 1 finger E (on the D string) against the open A string. Next is tuning the second finger notes. You can only do this in 2 places. The first example is th second finger F down (D string). To accomplish this, build the octave off the 4 finger C (on the G string). The other example of this is second finger C on the A string. This is accomplished by th building the octave off 4 finger C (on the G string). The last finger you can find is the third finger notes . You can also do this in two places. This is also build off a perfect internal. The first example is third finger E (on the C string). First tune first rd finger A (on G string) against open D string. Once the first finger is in tune, tune the 3 finger rd against it. The second example is 3 finger B (on the G string). First tune first finger E (on the D rd string) against the open A string. Once the first finger is in tune, tune the 3 finger against it. I realise that this may all sound a little difficult to understand. Check out the video and this will clarify things a lot.

Complete list of cello talks by David Finckel on YouTube Cello Talk # 1 3 5 7 9 11 13 15 17 19 21 23

Title Introduction “Setting Up” Your Cello Aligning Your Cello Clean Up! Choose your Bow! Rosin, Rosin and More Rosin Use More Bow! Make Your Bow Look Short Great Vibrato Examples Du bist die Ruh Vibrato Consistency Good and Great

Cello Talk # 2 4 6 8 10 12 14 16 18 20 22 24 Cello Survival Kit Scott Heron – NEELB

Title Choosing a Cello Endpin Variables Practice Place What the Bow Does Holding the Bow Bow and String Comfort at the Tip Introduction to Vibrato Measuring Vibrato Vibrato Width In Your Case 80, 90 and 103

25 27 29 31 33 35 37 39 41 43 45 47 49 51 53 55 57 59 61 63 65 67 69 71 73 75 77 79 81 83 85 87 89 91 93 95 97 99

Tuning Your Cello Practicing with the Tuner Bow Pressure at the Tip Bow Pressure Exercises Face Out Bow Clicks 2 Colle Spiccato and Colle Extreme Spiccato Overlapping Spiccato and Sautille st 1 Position nd 2 Position rd 3 Position th 8 Position Paris Collection I – Position Changes Paris Collection III – Simple Scales Paris Collection V – Whip Shifts Paris Collection VII – Start Your Day Up High Paris Collection IX – Sounding Point Paris Collection XI – Slow Bow Starts Work on Your Weak Points Warming Up Break up Your Routine Sound Production II – Even Bow Speed Sound Production IV – Sound Color Bow Tightening Galgary Talk I – Questions Answered (pt 1) Galgary Talk Ia – Horsehair Errata Galgary Talk III – Playing Fast Bow Georgraphy Cufflink Vibrato Playing in the Middle Three Quarters Conquering the Fingerboard Fingerings Adapt! Atmosphere A School of Cello Playing

26 28 30 32 34 36 38 40 42 44 46 48 50 52 54 56 58 60 62 64 66 68 70 72 74 76 78 80 82 84 86 88 90 92 94 96 98 100


Practicing with a Metronome Measuring Bow Pressure Vibrato in Orchestra Hall Flat Hair at the Tip Bow Clicks Martele Spiccato Spiccato with a Kick Sautille Reach Everything th 4 Position Practice in the Dark th th th 5 , 6 and 7 Positions Questions Answered 1 Paris Collection II – Strauss Shifting Paris Collection IV – Shifting Concept Paris Collection VI – Over the Hump Paris Collection VIII – Position Consistency Paris Collection X – Bow Momentum Paris Collection XII – Bow Changes Phys Ed Preparing to Practice Sound Production I – What Makes It Loud? Sound Production III – Unequal Bow Speed David vs the Atlanta Airport Vibrate Above: Good or Bad? Galgary Talk I – Questions Answered (pt 2) Galgary Talk II – 4 Minute Demo Galgary Talk IV – Stretching Playing at the Frog Playing at the Tip One Quarter The Case for a Tighter Bow Bow Changes Cello Physical Knowledge Artistic Use of Vibrato Bridges and Strings

CHAOS NOTES Years ago, as a young teacher I came up with an idea called ‘CHAOS’ notes. Chaos is an acronym which stands for CHeck Against Open Strings. Chaos notes are stopped notes which have the same name as open strings. There are two varieties. The first are adjacent chaos notes, the second are string crossing chaos notes. I mark chaos notes with a ‘C’ around the notehead. Eventually students see the chaos notes themselves and don’t need to mark them in the music. Here are some examples of adjacent chaos notes – Adjacent String Crossing Notes

String Crossing Chaos Notes

It is a good idea to occasionally take note of these notes and occasionally check them, especially if you suspect that you are out of tune. It helps you to get back into the centre of the tonality again. It is especially useful if there are lots of shifts. In a lesson situation I would for example say to a student “watch that chaos note”, or “can you chaos that”. They would understand what I mean, and check the note.


Steven Doane Cello Videos on YouTube 

Using the Whole Bow

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Vibrato

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Sul tasto

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Crossing Strings

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Spiccato or brush stroke

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Slurring notes

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Ricochet

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Sautillé

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Seating position

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Portato/parlando

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Ponticello/sul pont

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Large note shifts

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Point of contact

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Finger extensions

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Detaché bowing

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Classes of shift – Part 1: o

Old finger/rainbow shifts

o

Lower to higher number finger going up

o

Higher to lower finger going down

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Casal’s Crawl Exercise – detaché

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Classes of shift – Part 2: o

New finger/scoop shifts

o

Higher to lower number finger going up

o

Lower to higher number finger going down

Also see video – Finger flexibility and rotation of the hand Here is a list of some cellists that I have found particularly inspiring. You can check them out on YouTube – Steven Doane – https://www.youtube.com/watch?v=2GhMUZCbC14 David Finckel – https://www.youtube.com/watch?v=Y2W1pkBkCkQ%list=PLAE1ED06AB33DF65D Robert Irvine – https://www.youtube.com/watch?v=yLTgZbNxdSc Gautier Capuson – https://www.youtube.com/watch?v=FVKb3DwPFA8 Jacqueline De Pre – https://www.youtube.com/watch?v=OH0jUQTCCQI Janos Starker – https://www.youtube.com/watch?v=Z6f5kcjlq6I Clive Greensmith – https://www.youtube.com/watch?v=m5ULSy1IWvE&list=UUxBvnGvz4Ui6i8GajqHYGQ Pablo Casals – https://www.youtube.com/watch?v=sWuo1mweGkg Leonard Rose – https://www.youtube.com/watch?v=ZZCZwvcbSjM Yo Yo Ma – https://www.youtube.com/watch?v=zNbXuFBjncw Lynn Harrell – https://www.youtube.com/watch?v=EN-g4XFpTaM Cello Survival Kit Scott Heron – NEELB

Daily Bowing Practise Bow games (1 min) 1.

Draw the following figures in the air with the bow tip. Use only the fingers, don’t flex the wrist. (a)

(b)

(c)

(d) ‘Round the window’ (or picture). Shut one eye.

2.

(e) Write your name.

‘Monkey-up-the-tree’.

The Bowing Regime (8 mins) (Metronome 100) Start up bow and use full bows. One octave ascending or descending for each bow speed. Choose a different key and octave each day, also a different loudness level. For the first octave take eight metronome ticks per bow per note. Then repeat taking twelve ticks, and so forth. The regime is: 8, 12, 9, 6, 4, 3, 8 where commas denote short pauses. Attention to the following points –        

Constant bow speed (viz. 8 ticks, middle point at 5). Constant loudness throughout. Constant unvarying quality of sound, as boring as possible! Prepare all string crossings. Kinetic touch, freedom of finger falling. Correct point of contact. Harmonic sensibility in the intonation. ‘Flow’.

After a while one should try 16 ticks in the bow, keeping a sense of ‘flow’. Occasionally do this work in double stopping – 3rds, 4ths, 6ths, 8ves, etc.

Dynamic Patterns (5 mins) (Metronome 100) Constant bow speed, 8 ticks per bow, ii, iii and iv to be worked at 6 and 4 ticks per bow.


(i)

(ii)

(iii)

(iv)

The ‘864’ Exercise (1 min) (Metronome 100) st

Use a full bow for each note. For 1 note take 8 ticks, then 6 ticks for next note, followed by 4 rd ticks for 3 note etc. The pattern is 864864 etc.

Partial Bowing (3 mins) (Metronome 100) Divide the bow into 8 sections and use constant bow speed throughout. For first note use whole bow with 8 ticks down bow, 8 ticks up bow. For second note use 7/8ths of bow with 7 ticks down bow, 7 ticks up bow. Then 6 ticks down bow, 6 ticks up bow (using ¾ of the bow) and so on. After th th executing the 8 note with 1/8 of the bow repeat the pattern. Repeat the whole exercise starting up bow.


Ringing Tones Magic Show (30 seconds) Find the natural ringing sound of a cello with the notes be low –      

Listen for the clean start of the sound. Listen for a full body of sound. Listen for a ringing release of sound. Watch your strings to notice the open string moving with your fingered note. Can you hear the ringing release with the bow still on the string? Listen for a special surprise on the G and C string. How many strings are ringing on the first finger notes?

These notes are food for your cello. As you feed you cello this nourishing sound, the cello will wake up, sound better and be ready to play with you. Cellos that aren’t fed these sounds go to sleep and sound dull. nd

When these sounds are strong, you can add the C on the A string with the 2 finger. Can you find other notes that ring or resonate on your cello? You can also play these sounds in thumb position one and two octaves higher.

Advanced Ringing Tones 

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rd

Play the set of harmonics underneath your 3 finger in first position. Your bow needs to be placed on the contact point that makes these notes sound. Your bow speed will be faster and your weight is firm. Experiment until you can play these notes clearly. rd

These harmonics divide each string into five parts. The same harmonics live under the 3 finger in fourth position. Can you divide the string to find the other two sets? The names of these harmonic notes are C#, F#, B and E. With experience, we can make these notes ring on our cellos too.  

st

Draw a swift bow on 1 finger B on the A string. Do you hear the ring?


Get in touch with your sound Take a tissue and hold the bow by the hair. Feel the vibration of the string in your fingers/hand/arm as you bow.

Tonalisation (2 minutes) Tonalisation is a term coined by Shinichi Suzuki. It is like vocalisation for singers. The point is to hear the tone you want and listen to the tone you make. Dr Suzuki said “Tone has living soul”. Create the sole of the sound as you bow from one end of the bow to another. Your goal is to have a seamless sound as you change bow directions. This is called legato bowing. Is your body balanced? Is your left arm carrying the hand/fingers where they need to go? Is the bow arm weight balanced so the left arm is free to move? Try for a 60% balance of weight on the bow side and 40% weight balance on the left side. Sing and hear clearly in your head the sound you wish to make. Use full bows. Shift easily. Observe whether the pitch you played was the same, higher than or lower than the note you heard in your head. If you play something you don’t intend to DO NOT CORRECT IT. Go back one note or more and make a new first time by singing and imaging more strongly what you want. The idea is to make all your notes have full, rich sound, no matter what the fingering is. The shifting ideas in the Pitch section will help maximise your success in this area. Singing and tonalisation focus sound, resonate the cello, develop hearing/listening, and connect the body, spirit and mind. As you play, make every note sound with the same intensity and fullness while keeping a free and balanced bow arm.

SINGING Singing inside is what makes the music come outside. Without singing there is no music. Humming won’t do. Singing needs to sound in your head just like you want to hear it outside – quality of sound, dynamic level, depth and pitch intensity. We often need to sing inside in a different voice from our own. What you imagine you can produce. If you are a little person with a high, high voice, imagine that you have the voice of a mature male opera singer. Like magic, this voice will come out of your cello.


Tonalisation

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Listen for an Even Tone. Make a Ringing Sound. Use Full Sound. Make Every Sound Equal. Shift Early. NO CORRECTING. If a “slip” happens: Observe: Is it “on”, “high” or “low”? Back up one note and play again. Consider “Wee-U” (P – 1f) Make every sound equal. Play lines C, D, E in Tenor Clef. Transpose Up an Octave, Transpose to Different Strings, transpose to Different Keys.


Walking Fingers Exercises



Cello Survival Kit: Mr S Heron Neelb

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