PRIVATE CELLO GOES PUBLIC Tried-and-True Studio Fundamentals for Your Orchestra Class ASTA National Conference–Albuquerque, NM Presented b Cornelia !at"ins Februar #$, #%%&
HOLDING THE CELLO o
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Seating—Student Seating—Student sits on flat-bottomed chair, 'ertebrae stac"ed and balanced o'er (el'is, )ith a sli*ht tilt for)ard from the (el'is+ Chair hei*ht should allo) "nees to be le'el )ith the seat of the chair or sli*htl lo)er"nees should not be hi*her+ Cello Height.tended Height.tended end(in should brin* the corner of the cello to the inside of the student/s left "nee, and ri*ht "nee brou*ht in to comfortabl su((ort cello from the other side+ 0ac" of cello should come to the middle of student/s breastbone+ Scroll and fingerboard position—Nec" position— Nec" of cello (asses o'er left shoulder, and (e* bo. and scroll should be behind the student/s head+ Fin*erboard should be strai*ht to bod 1not an*led across bod2 for ease of left arm mo'ement+ Hug-a-cello—Student Hug-a-cello—Student should be able to (ut arms comfortabl around cello in this (osition 1li"e s3he is hu**in* it2if the bod of the cello is too far a)a, lo)er end(in and brin* cello in closer to the student+ Finding positioning height for both arms4 arms 4 start )ith u((er arms touchin* torso, forearms e.tended )ith (alms u(+ 5Pi'ot6 arms, so that elbo)s mo'e a)a from bod, and hands mo'e to)ard center in front of bod (alms do)n+ !hen (lain*, chec" that elbo)s do not *et hi*her b doin* this (ositionin* chec" in re'erse+
THE BOW BOW HAND— HAND— shape and position o o
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0e sure to ha'e student support upper half of bow with left hand )hile settin* bo) hold+ Positioning of fingers Note that (in" is on side of the the stic", not on to( of the stic" 'iolinstle+
Position thumb on thumb on bo) o((osite #nd fin*er+ of thumb touches the bo) at the corner of the nail+ Placin* thumb flat causes undo tension in hand+
Side thumb bo)
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Pronation—Once fin*ers are (ositioned on bo), ad7ust hand an*le b *entl rotatin* the forearm so that the outer bone of forearm is 5abo'e6 the inner bone+ The more the arm is turned 1(ronated2 the more (otential (ressure is mo'ed to the u((er (arts of the bo)+ 10e sure students do not chan*e (lacement of hand or fin*ers on bo) )hile turnin* arm+2 Tr dra)in* eyeballs on first t)o "nuc"les so the can 5)atch6 )hat/s *oin* on 1the eeballs )on/t be able to 5see6 the bo) on the strin* if the hand slum(s bac")ards+2 Flicking Water—!hile maintainin* bo) hold and continuin* to su((ort bo) )ith left hand, ha'e student sha"e ri*ht arm as thou*h flic"in* )ater off his handstudent/s fin*er (ads should clin* to stic", but 7oints of hand and )rist should be free enou*h to mo'e easil+ Push and Pull—!hile left hand resists, student (ushes and (ulls bo) in u(- and do)n-bo) directions7oints of hand and )rist should fle. and *i'e, but clin* to their s(ots, and the hand should ne'er fall bac")ards+
BOW ARM freedom— the MARIONETTE IMAGE o
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First )ithout cello, ha'e student ima*ine s3he is a marionette, )ith ri*ht arm han*in* loosel b side+ 18emember4 marionettes are made of onl (ieces of )ood and )ire for 7ointsno muscles92 :ma*ine there is a strin* attached to bac" of our elbo), and ha'e our 5(u((eteer6 raise our elbo) about half-)a u( to shoulder hei*ht+ ;i'e our forearm a sho'e )ith the left hand and see if it )ill s)in* loosel li"e it reall is attached b )ires+ No) ima*ine there is a strin* attached to the to( of the )rist, and ha'e our (u((eteer raise that almost to elbo) hei*ht+ S)in* the forearm a*ainthis is the basic d
STRING LEVELS— THE ELBOW SHELF—:ma*ine four 5shel'es6 b our elbo), one for each strin*+ ach time ou chan*e strin*s, let the elbo) rest on the a((ro(riate 5shelf+6 :t hel(s to 5(lo(6 the elbo) onto each 5shelf6 and ma"e it seem li"e it is reall restin* there 1mime-stle2 to disco'er ho) to use as fe) muscles as (ossible to su((ort the elbo)+
BASIC ARTICULATIONS & BOW STROKES o
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Dtachsmooth bac"-and-forth stro"e+ Motion is from elbo) onl, u((er half of the bo), strai*ht bac" and forth stro"e on the strin*+ Forearm s)in*s li"e a door on a hin*e, shoulder do)n and rela.ed+ 1See marionette ima*e, abo'e+2 !"ubber band# strokea faster 'ersion of the d
to brin* the bo) bac" to the startin* (osition+ o
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$rticulated Strokes 1Sto(-Sto(, 5Ta-Ta62t)o-(art stro"e4 =2 catch strin* firml )ith bo), (ut (ressure on bo) in an u(- or do)n-bo) direction, and #2 let bo) release in that direction+ 0o) mo'es across the strin* but not pressing into the strin* durin* the 5aaah6 (art of the stro"e+ %arying $rticulations—Sounds that )e use for 'ocal articulation contributes directl to musical e.(ression+ Sin* a (assa*e )ith sllables that seem li"e a natural choice for the "ind of music it is, and notice )hether ou are usin* a hard consonant li"e 5T6, softer ones li"e 5>6 or 5P6, or the softest ones such as 5?6, 5M6 or 5Y6+ @se that as our choice for articulatin* )ith the bo)+ Dance strokes &lifted or scooped strokes'—ha'e student 5dance6 their ri*ht hand in the air this natural liftin* motion is the same motion that ma"es beautiful articulation for most dance (ieces li"e minuets, *a'ottes, etc+ (egatostead, consistent sound durin* each stro"e )ith smooth, connected bo) chan*es+ :ma*e of con)eyor belt )or"s )ell4 belt mo'es at one s(eed, and sli(s around a little )heel at end of run )ithout chan*in* (ressure or s(eed+ Student can ma"e small circular motion at end of each stro"e )ith fin*ers and )rist+ :t is not necessar to use entire bo) for le*atoit/s often better to sta in one (art of the bo) to (ractice u(-and do)n-bo) chan*es+
shaping a beautiful legato phrase Fine masonry*:ma*ine that each bo) stro"e is a bric", and )e tr to la the bric"s so close to*ether 1smooth bo) chan*es2 that it is hard to see )here one ends and the ne.t be*ins+ The hei*ht of the bric"s 1consistenc of sound )ith (ressure3s(eed of bo)2 needs to be e.actl the same, so that )hen )e stand bac" the cumulati'e affect is of one 'er lon* bric"+ *becomes $"+, No) ima*ine those bric"s are malleable, so ou can sha(e them lar*er and smaller+ Ma"e the first bloc" start small and *et bi**er, then sha(e the ne.t bloc" to the e.act hei*ht of the (re'ious and continue the line, and so forth+ The idea a*ain is that )hen ou stand bac", it creates the illusion of one continuous line rather than se'eral bloc"s stac"ed alon* side one another+
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PRESSURE/SPEED/PLACEMENT— These are the three 'ariables of the bo) that create a (alette of sounds and dnamics+ a'e students describe them usin* colorful ad7ecti'es rather than loud3soft or *ood3bad+ 1See chart belo) for possibilitiesthere are no ri*ht or )ron* ans)ers9 ?et students ha'e fun describin* the sounds in their o)n )ords+2
Placement near fingerboard Pressure → li*ht hea' Cautious, distant S(eed ↓ slo) Feathery
Breezy, silky
medium
strained Pushed Rushing
Strangled Choked ripping
medium fast
Placement middle &between fingerboard and bridge' Pressure → li*ht medium hea'
gentle flowing free
thick Warm, generous Lush, old
dense Strong, proud stri!ing
S(eed ↓ slo) medium fast
Placement near bridge Pressure → li*ht hea' S(eed ↓ slo)
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"lectronic, glassy edgy metallic
medium
Sharply focused gritty coarse
intense grating scraping
medium fast +ranslating an emotional gesture into a sound—o) )ould ou use our hands if ou )ere trin* to sooth someone )ho is u(setB :f ou )ere bein* em(hatic about a somethin* im(ortantB
:f ou )ere the "in* and bein* re*alB Or ima*ine a scene4 o) )ould ou *esture to sho) a *rand, e.(ansi'e sceneB Or )hat lo) fo* on a la"e loo"s li"eB Transfer that *esture into a bo) stro"eit often translates directl into the e.(ressi'e sound ou/re loo"in* for+
THE LEFT HAND BASIC HAND SHAPE o o
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Create an o(en C sha(e )ith left hand+ Place fin*ers on strin*s"ee( the o(en sha(e rather than curlin* fin*ers u( moreou )ill be (lain* our on fin*er (ads rather than fin*er ti(s+ Thumb is o((osite #nd fin*ertouchin* bac" of nec" li*htl or not at alldefinitel not squeein*9 Fin*ers should an*le slightly do)n the strin*, rather than (er(endicular to the stin*sit )ill be easier for students to ma"e measurements+
Coat hanger imageto "ee( thumb from squeein*+ lbo) should be raised, )rist sli*htl de(ressed, and )ei*ht added to forearm, li"e the feelin* of han*in* a hea' coat on our han*er+ Careful4 :f )rist is raised and elbo) lo)ered, )ei*ht cannot be a((lied efficientl, and thumb )ill start to squeee a*ain+
The “ dead arm” exercise to disco)er how to use only the muscles needed =+ Student han*s arm lim(l at side li"e it is dead+ #+ Assistant 1teacher or fello) student2 (ic"s u( the dead arm b holdin* on to one fin*er, and sha"es it to be sure the arm is still lim(+ 1This ste( ma ha'e to be re(eated until student can *et used to not hel(in*+2 D+ A tin bit of life comes bac" into the 5dead arm,6 but onl in the one fin*er bein* held b the assistantenou*h that it can sta hoo"ed on to the assistant/s fin*er on its o)n+ The rest of the student/s hand and arm should sta hea', lim(, and 5s(on*+6 The assistant should be able to 5squish6 the student/s hand easil, and should still feel the student/s full arm )ei*ht+ E+ Assistant tries to sha"e off the 5dead arm6 but it stas clin*in* b the one 5li'e fin*er+6 1This motion is )hat 'ibrato )ill feel li"e+2 + This 5li'e fin*er6 attached to the 5dead arm6 can be hun* on the cello fin*erboard 5coat han*er6 stle+ 5
Hand shape/intonation o
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Natural fin*er s(acin* )on/t be bi* enou*h for first (osition, so students need to find )as to e.(and hand sha(e without tensing handthe s(acin* )ill be strained and difficult if muscles are too ti*ht+ Find spacing. then rela/ as man muscles as (ossible )hile retainin* the basic sha(e+ Students can e.(eriment )ith fin*er s(acin* a)a from the cello to disco'er )as to o(en the s(acin* of the fin*ers )ithout )orrin* about also (ushin* do)n strin*s+ Consider usin* onl one tape for the first fin*er, rather than one at e'er half-ste(+ Fourth fin*er (itch is eas to test )ith half-harmonics+ Sho) students ho) to use =st, #nd, and Drd (artials and sympathetic )ibrations to test notes for the best intonationlet those cellos rin*9 0nternali1e finger spacinga'e students define for themsel'es ho) bi* the s(acin* is bet)een their fin*ers 1i+e+, 5As )ide as : can stretch m fin*ers,6 or 50i*, but not quite as far a(art as : can stretch them+62 Students should be as"ed to feel measurements first before loo"in*+ 2easurements—Teach students to measure )here'er the *o in one (ositionno handho((in*+ + Measurements across the strin*s )ill al)as be lar*er because of the added distance from one strin* to another+ +endency 0ntonation4 #nd and Drd fin*ers tend to drift to)ard each other, resultin* in intonation (roblems such as a shar( #nd fin*er C natural or a flat Drd fin*er F G+ a'e students (ractice fin*erin* combinations of =↔DE and =#↔E, "ee(in* the half-ste( small, and ma"in* an e.tra )ide stretch bet)een the fin*ers for the )hole ste(+ Fourth Position An eas and comfortable )a for students to e.(and ran*e on cello+ 0e sure student dro(s thumb as far as it )ill *o 1to the croo" of the nec"2 and then finds first fin*er in relation to the thumb 1usuall sli*htl 5flat6 to the thumb, thou*h sometimes directl o((osite itthis 'aries from cello to cello2+ The s(acin* of the fin*ers to reach the other notes are *enerall )ell in tune if the student can sli( a fin*er on his ri*ht hand side)as in the s(aces+ +arget practice—an e/cellent and easy way for students to practice their intonation3 Pic" one note that is re(eated se'eral times o'er a short (hrase+ Find the e.act (itch ou )ant to hear for this note, and (la it for a lon* time, stron* and clear+ Pla the (assa*e )ith a *enerall soft dnamic, e.ce(t for this note )hich is (laed stron*, lon*, and clear e.actl (itch e'er time+
Extensions
0e sure students understand that an e/tension affects the spacing between first and second fingers only3 >ra) it on the boardbe sure the reall can see it9 o
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Can you point4 For 5do)n)ards6 or 5bac")ards6 e.tensions 1to reach 0b/s, b/s etc+2, (oint first fin*er, and be sure thumb stas )ith second fin*er+ For 5u()ards6 e.tensions 1to reach FG/s, CG/s, etc+2 (i'ot on first fin*er and drop the rest of
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the hand+ Tr the e.ercise (ictured here to *et comfortable )ith the 5dro(6 feelin* of an eas e.tension+ Tr it on the cello, at first )ith the first fin*er touchin* the side of the nec", then on the A strin*+ !hen hand dro(s, fin*er can la strai*ht a*ainst nec" 1a hel(ful e.a**eration of the motion92 Hand should end up in the same shape, )hether motion came from the 5(oint6 or the 5dro(+6 .tensions are easier to learn startin* from the A and *raduall )or"in* across to the lo)er strin*s, since the on the lo)er strin* side the fin*erboard slo(es a)a from the hand, ma"in* it more a)")ard to reach+
Shifts o
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5now where you6re going, Student should first familiarie him3her self )ith the note or (osition b s(endin* time hearin* the note, sin*in* the (itch, *ettin* familiar )ith the feel of the (osition, hand sha(e, etc+ Short shifts should happen in one 7uick motiona li*ht sna( or clic" in the hand+
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(onger shifts should be thought of as a cur)ed line, )ith a hand or fin*er *lidin* li*htl alon* the strin*, then arri'in* firml on the note+ Tr usin* the ima*e of an airline flight map, )ith cur'ed lines to (recise destinations+ Practice shifts with confidence, e'en if the shift is missedsim(l re-e'aluate ho) far the hand needs to mo'e and tr a*ain+ Hand preparation3 a'e student (la current note )hile ma"in* sure the hand is read to mo'e to ne) (osition4 shift fin*er is as close to arri'al s(ot as (ossible, thumb is free, ener* is to)ard the ne) (ositionthen release hand9
Vibrato—Motion for cello 'ibrato is from the elbo), li"e the motion that ou use to sha"e a can of s(ra (aint or a bottle of salad dressin*+ =+ Shake—Student (ractices the sha"in* 1'ibrato2 motion )ithout the cello #+ Slidemotion is (laced on the celloH hand should slide li*htl from first to fourth (osition, 'er fast but as freel as (ossible+ D+ Choose finger—Student chooses one fin*er 1usuall easiest )ith #nd or Drd2 and be*ins to add arm )ei*ht to that fin*er, usin* the coat han*er ima*e+ E+ $dd full weight—!hen fin*er (ad starts to burn, let it stic" do)n to the fin*erboard, but be sure not to chan*e the s(eed and )idth in the arm motion+ To continue freest motion, be sure thumb doesn/t start to *rab+ Fin*er (ad should squish, not roll, on strin*3fin*erboard+ + Stay wide and free, 0e sure student realies that the fin*er stas (ut because it is stuc" do)n on the fin*erboard, not because the motion of the arm *ets smaller+ This 'ibrato )ill be )ild-and-)ool soundin*, but that is o"ait/s much easier to tame this 'ibrato than to o(en u( a ti*ht 'ibrato+ I+ 2onkey %ibrato—for lo)-(osition 'ibratin* that tends to feel a)")ard4 Put fin*erti(s on shoulder, and folded-u( arm e'en )ith our bac"+ 8oc" the forearm and hand for)ard, then bac" to startin* (osition, as if it )ere rotatin* on a rod throu*h the u((er arm+ lbo) can be braced a*ainst )all if it mo'es too much+ %ibrato one of the most directly e/pressi)e techni7ues a student learnsand the usuall can/t )ait to do it9 :ntroduce it as earl as (ossible since it/s one of the best reasons for students not to squeee thumbs+ +he 8lbow Switch—As students *et more familiar )ith 'ibrato, be sure to remind them o that the motion is comin* from the elbo) and arm, not the fin*ers, so it is not necessar to sto( 'ibrato from fin*er to fin*er+ Turn on the 5elbo) s)itch6 and "ee( it runnin* )hile fin*ers chan*e+ Also *ood to install a !dimmer switch# for 'aried 'ibrato9 o
SPEED and WIDTH are the # 'ariable dimensions of 'ibratoculti'ate each as(ect se(aratel and to*ether+ To be*in, tr )ide3slo) and )ide3fast, narro)3slo) and narro)3fast )ithout the bo)+ Then e.(lore each )ith a loud, medium and soft dnamics+ >isco'er )hat combinations )or" the best, and the amain* 'ariet of sounds that are (ossible )hen ou combine colorful 'ibrato )ith our (alette of sounds )ith the bo)9 Clinic (resented b Cornelia !at"ins $JDE 8ailton ouston, TK JJ%&% J=D-&$-JJ& rosindustLearthlin"+net )))+rosindust+com
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