Cello, Bow and You: Putting it All Together

Table of Contents Prelude Forward Acknowledgements Introduction Part I: Sound Image, Cello, Bow and You Chapter 1: The Sound Image The sound image, or what you hear in your head Playing by ear or reading music Shaping the sound image Becoming your own conductor Becoming your own teacher Elements of the sound image Non- negotiable elements of a musical image Negotiable elements decided by the artist The cellist's objective Part II: Cello, Bow . . . Chapter 2: The Cello and The String Observation, the approach to the cello and bow The beauty of the instrument The bridge and the sound post The strings The nut, tailpiece and fingerboard The role of the bow Chapter 3: Stringing The intersection where the bow meets the string Stringing: the quintessence of string playing Chain reaction of vibrating the string Newton's laws in cello playing A sound: beginning, middle and end Articulations Volume of sound The varying amplitude makes the phrase Analogy to a triangle An exploration of placement Amount of hair touching the string The shape of the string Optimal placement of hair on the string Using placement for dynamic changes Placement on the four strings Chapter 4: The Fingerboard The fingerboard grid: an image-based approach The blueprint Harmonics Playing the grid Notes in one location Changing locations In support of intonation Learning the fingerboard: positions versus the grid Chapter 5: Tools of the Trade: The Left Hand and The Bow The left hand The left hand tool The bow Introduction to the bow Characteristics of the bow The hair The screw The length of the bow Gravity, natural balancing point and center of gravity Chapter 6: A Gravity Based Technique for Bowing The natural laws and how they affect bowing Gravity Weight Balance: the CG is the NBP Gravity-centered approach to the whole bow Differences in approach to learning: gravity based compared to traditional learning Changing the vocabulary for bowing instruction Legato, the soul of the cello The neutral whole bow Equalizing the weight of the two ends of the bow The shape of the bow guides the movement Changing directions respecting Newton Imbalance as an ally String crossings or changes, using the unbalancing factor Chapter 7: Short Notes as Part of the Whole Bow Stroke Short Notes: on and off the string On the string: détaché, martelé and accented notes Off the string: the bouncing bow Some things all bounced bows have in common Bounced bowing techniques The "scoop" spiccato The "ball bounce" spiccato Bowing techniques with more than one note in each direction Up or down-bow staccato/spiccato Ricochet or jeté Arpeggiated richochet Coda Part III: . . . and You: Putting it all Together Chapter 8: An Overview of You Coordination and the Alexander Technique Whole body playing Opposition as cooperation: co-handedness Chapter 9: Sitting and Holding the Cello: Anatomy and Application Anatomical vocabulary Sitting: the first technique The overview of the spine, torso, pelvic basin, legs and feet in playing Details of the pelvis The legs and feet as part of cello playing The coccyx, sacrum, lumbar spine and thoracic spine The anatomy of the head and cervical spine The role of the brain and spinal chord in playing How to sit: moving from standing to sitting The squat-sit process How to squat How to squat-sit Holding the cello: the relationship of the cello and the cellist Holding the cello: the perspective from a biomechanical engineer The weight of the cello The neck and the scroll The length of the endpin The size of the person Bring the cello to meet your body. Do not take your body to the cello Chapter 10: Breathing: Anatomy and Application Breathing The anatomy of the dorsal spine, ribcage, and breathing The function of breathing The cycle of breath The role of breathing when playing Breathing naturally Breathing for a purpose Chapter 11: Hands: Anatomy and Application Anatomy of the hands Functions of the hands Function of the metacarpals Function of the thumb Rotational function of the forearm and humerus Function of the fingertips Function applied to cello playing The left hand The three grips applied to the left hand Rotation of the left hand when playing Anatomy of the shape of the end of the finger and its role in playing Thumb position The right hand Rotation of the right hand when playing Chapter 12: The Arm Moves the Hand: Anatomy and Application The shoulder girdle and the shoulder joint The anatomy of the shoulder girdle versus the shoulder joint The movement of the shoulder girdle The movement of the shoulder joint The role of the shoulder joints when playing The anatomy of the wrist and elbow joints The elbow The wrist The anatomy and function is over Chapter 13: Playing the Cello: Anatomy and Application Bowing The whole bow Détaché Martelé Bounced bow strokes Shifting Shifting when using thumb position Timing of the shifts Vibrato The finger on the string The sound of vibrato The speed and width of vibrato Energetic force for playing Direction of force to the strings with both hands Equalizing the energy used by both hands Part IV: Practice Chapter 14: Practice as Process Creative practice as experiment Creative practice as research Progress is never a straight line and it takes time Two paths of learning Creating your practice space Creating concentration and consciousness Setting an agenda Assessments Pitfalls Embrace what is right Chapter 15: Rhythm, Melody and Harmony Rhythm Rhythm as coordinator: the time-space relationship Location of the beat within the body The intellectual beat The sensory beat The emotional The all inclusive beat Illustration of the inclusive beat Scales and Harmony in Music Scales and melody Scales and harmony Chapter 16: Auralization and Visualization as Learning Techniques Using auralization Using visualization Learning the skill Visualization as looking inward Chapter 17: Warming Up A practice warm up routine Warm-ups before playing A rhythmic routine away from the instrument Warming up at the Instrument Putting it all together Chapter 18: Practice Techniques Preserving our energy through no-energy practice Just the beginning of the note Correcting wrong notes Changing learned habits Reversing Postlude: Putting it All Together About the Author References Index