Daily Exercies #2, 32. may be on IMSLP
Feuillard, Amazon Prime Yellow
Feet on ground
Bow hand - pinky finger. Use full bow. Use elbow, not finger, to cross strings. Full contact with bow. Check bow distribution.
Scales: check posture. is it tense?
Whole notes, slur by two notes, repeat note in next slur. (play as two half notes). Slur by three notes per bow. Then four notes per bow -- repeat the tonic note (e.g., C for C major). Then two triplets, six notes per bow. Two group of sixteenth notes, eighth notes, also repeat tonic.
Pay attention to phrasing, and quality f sound.
Piano means less pressure on the bow. Forte (generally) means more weight on bow, and (usually) more bow. Think about where to play to create contrast and piano. tempo for dotted quarter note: 60. Aim to have 72 in the end.
Play down bow on C to repeat C
Keep 2nd finger down when playing 3rd finger
Don't collapse 3rd finger
Keep fingers above strings, close to position, like a keyboard
Move left thumb to the right, so it's more center
Keep shoulder still when playing third finger.
Extend endpin, play scales in tune, awareness of 4th finger on left, pinky on right, exercises.
Watch thumb on A string
Right angle, on left hand in fourth finger
Shift down starts with arm
Anticipate elbow when changing strings (A to D)
Check bow placement on string - minimal
A melodic - different up and down
G# F# G flat F flat
Try Ex. 32 #7 with pinky on top, #9, same, do 7-11
Remember full bow when necessary.
2 on other strings.
Do more subdivision when playing rit.
Exercieses #6, 7 on positions
Excerise 32# 7, to keep bow straight, focus on having all hair on string. For #9, do it with two variations -- hard bow with strong bite and with bounce. Pay attention to sharps.
Extension too much with 4th finger. Use more of 2nd finger. 3rd finger should be on spot.
Place cello higher on chest.
Rest above the string.
Relate which notes in a new shift to notes you know.
Always play the shifts slowly and surely before speeding up.
It's easier to speed up what's right.
Text for music reading exercise.
Learn on first finger, right hand.
Adagio, Diminuendo, Bar 1.
Same squence, must relate
Find a sound and memorize it.
Phrasing - think about tension and release.
On A string, left hand, keep thumb in
The faster I go, the slower I need to think
It's good to play fast things slowly, but it's different from playing
long short, short long
Bow stays even
Keep bow on string
Cresendo - extend increase length of notes
18 - make sure reach C before bow.
Bow always comes after left hand
Shift on up bow : make precise
Slurs are most important
Remember to have as little movement as possible
Ex. #11 A, La, first two bars.
Ex. #6 Think about the other hand when struggling. Group notes together.
Ex. #32 Same articulation up bow and down bow.
Same notation = same articulation.
Beats one and three more important in Baroque
Perfect the intonation!!
Every note should ring
Work on bow changes
32, Group notes together. Think of three related notes as one idea.
Adagio, bar 6, cresendo then decresendo.
Make sure the first note has the right impulse
Allegro beginning: Down bow emphasis.
When shifting, make sure the left hand moves before the bow
We don't want to hear the shift!
Q: How to keep third finger bent in sixth position?
Allegro, #18 less bow on slurs
More smooth bow work in long scales
Make sure the bow doesn't put you in a place that makes it difficult to play.
Pay very close attention to bow speed.
Down and up bow start and end in same place
Practice with open strings, slow practice
Pay attention to whether the shift is on the up or down bow. If on up, swing the bow a tad slower so left hand can reach the note faster.
Promise: the left hand is always in place before the bow moves.
Rhythm is important when doing shifting exercises (play with metronome), shift with the rhthm
Work on string crossing, Ex. 32
Bach - Don't stop the bow when crossing bow in chord - it's one gesture.
My bow is late to lots of the string crossings.
We want more suppleness in the bow.
Mostly beats 1 and 3 are important.
Bar 14, the string crossings are 'one' gesture.
Slurs shouldn't have bumps.
The pencil doesn't stop when drawing it.
- No sudden changes in the elbow
- Bow crossing should be elegant
- They should retain the singing quality.
Don't move left shoulder
Exercises - show rhythm - good rhythm
Pay close attention to finger-bow synchronization
Bach - Play banana bow on separated noes
Practice a little slower. Make sure every gesture is fluid. Make them round. Pulse comes first. Know the pulse.
Keep left elbow out - don't squeeze the bow
Pay attention to the elbo when you have a bow change
Related to pull back shoulder
Keep working on smooth bow
- Beautiful legato, remove the bumps
- Especially apparent when have different stuff on left hand.
Shifting: Keep the bow continuous when shfiting, #30, my Fl is flat. Make sure I find the pitch center of each note
2nd Minuet: Minuet #37 - make more sound by being closer to the bow, not using more bow. Remember banana bow.
Clarity and synchonization on 28
Shift between 44 and 45
Keep practicing slowly
Tempo: 112. Make first quarter on 26 longish
1st: Think proud, elegant, noble
1st beat is heavy, 3rd is light.
Bar 7, up bow starts with shoulder, leads with elbow, then wrist, applies mostly to fast stuff
Practice slow with slides to practice the distance
And slur it to hear the intonation
Allegro: string crossings, ex. Bar 20
Phrasing helps with technique
Think about the questions, groove, punctuation
Breathe. Visualize myself performing
Fingers in bow hands stiff when nervous
Lots of slow work on the allegro
Make sure left hand is not locked
Remember finger flexibility
Practice mode vs. Playing mode
Playing mode shouldn't hvae so many things to think about
Make sure left hand is light and able to move quickly.
Think about big ideas
Watch the thumb in the center
Tightness at the end of the down bow
Work on independence of hands
My left hand is too tight to be fast enough
Speed exercise is good for warm-up
Left hand: uwe seight of elbow into the fingers
Relax the center of the hand. To get that and strength of the finger, use the natural weight.
Stand up with fingers on edge of the cello.
Height: the scroll goes into the curve of the nose
Dane Roustique (Fast), Chanson Trist - slow, Bercuse
Books to read over break
Know which mode I'm in
Sometimes I play without thinking
Full control of bow when changing bow
Know exactly where and when to change bow
Bow control and bow awareness
Neck and head to relax as pitch increases
First position, balance in the hand for each string
The elbow should be dynamic and active, not passive
Page 13, A La A first two
Practice 3rd D to 3rd G shifting, 5th position higher than I practiced
5th position needs to be more precise
Practice stomping on 31
The hard part about shifting is doing it in time
Tempo 50. This is related to grouping
Do the middl with metronome
Fast slow bow fast slow, ..etc..
Watch out for half note in the middle
Work on intonation
Practice making the cello ring more closer to the bridge
Use my ear more when I'm practicing the shifting exercises. Sing the tune before I play. Sing with care, make sure my first pitch is correct.
I need to work on listening.
Relax left hand when doing extension.
More supple! Especially in slow pieces
Sing (think) tone more before plaing the fourht
Making the ear work!
Make hand more flexible.
Slips often result from tension
Careful with rhythms
Work on 6 notes per bow
F minor melodic
When shifting 3rd to high A, lead with the second to G#
What's hard is slow bow and shift fast
Less portato with the bow.. want bow speed constant
Listen for center of pitch on A
Ben mercato - Italian well marked - choppily, like with a dash. - long, long long
Slurs are legato (more difference)
Bar 10, 33, 34, Work on syncrhonisation to make more precise.
Bow alone, finger alone, together with rhythm
Short long, long short
Left hand too lazy during fast part.
Want opposite of sluggish. Light and precise.
My Chanson Trist is very good, vibrato, intonation,
phrasing is better,
work on Largo page 6
Relax left fingers when not in use
More listening and less leading with finger
Fingers follow ears; the ears guide. They are ahead.
Need more care to hear the changing steps
The ear is much more refined than any finger memory we could have
Big difference when we use our ear
I have a tendenc to play F#
Exercises on page 6 (shifting)
32 make sure have a strong bite
Have bowing as precise and incisive as possible
Need to hear the tune in ear before in bow
Bow was guiding too much!
Remember to subidivide! Count in terms of the lowest note!
90% isopropyl alcohol on string and fingerboard
Work on rhythm! Think about the bite more!
I'm too butterfly like - think
Don't put the metronome on subdivision
Metronome for big beats!
Quarter = 66 tempo
Up bows need to have a clear beginning!
Focus more on not being on fingerboard
Clear spoken notes!
Middle part next time
Loosen my hand more during extension
to relax, focus on index finger
1) bow hand - keep thumb relaxed
2) flexible and supple
3) focus on index
4) relax the shoulder
Left hand - only contact finger needs weight
Relax thumb on left hand
Thumbs work together
Let the open string notes ring more
A lot about relaxing index and fourth finger
Remember to breathe before you play scale
Did you check you're relaxed? Shoulder, neck, fingers.
Hear for the natural ringing of the instrument.
Relaxed fingers go faster. Push myself to play the eighth notes faster (after you've done the slow work)
Don't go faseter unless you're happy with the result. Push yourself.
Thumb - know how to put down 3, then 1
Play in 1st position first
Clapping forces you to embody the rhythm
Good rhythm has a groove to it
Should be able to clap along the beats
Sometimes there is hesitation when I play
When I count, I can't hesitate
I need to have confidence in my rhythm
I should be able to know where everything lines up
Don't leave anything up to chance
Work on speaking rhythm
Playing should have the same feeling as the pulse of clapping
We want strong sense of pulse! It should be effortless
Rhythm is in three ways: sound, listening, seeing
I've got to develop my own pulse!!!!
People should be able to feel it
Left hand should be rhythmical as well!
Try singing the rhythms. Feel it in the fingers!
I really need to work on not playing on the fingerboard.
The fingers should filter anything in the arm
Be more supple
Remember to have quicker left hand, and bow follows, but they need to be more in touch. Bow cheeks in with left hand
Play sixteenth notes on the balance point of the bow.
Feeling the pulse is the new normal
69 bow getting in the way of rhythm
i.e., feel the intentional pulse
When have repeated notes, change bow articulation
Lift left arm. "pronate"
I extend too much to the Ab
I need to lead with my ear more
Practice singing the pitches
There are small but important differences
Nexessary! Can't get same precision. Can coured
Work on sixth and eighth notes per bow
Thumb. All hairs on string, don't cross
Major third: two whole steps
Minor third. half then whole
Every time I shift back, I pull my bow back
Don't do that
Make up bow clearer
Count when I play 68-74
My weight on each finger doesn't seem balanced
Check if each finger has balanced weight
Balance changes with each finger -- lean on it
Could practice vibrato with each finger
Once I've finished each finger, take out the pressure. Each finger is a bucket. And each finger we're playing needs, a full bucket
I can release the extensions when they're not being used. This creates a natural vibrato
Work on six notes per bow
I hestitate on the Ab
Need to be a bit heavier for the rustique
There's no dots on the notes, so they can be a little longer than I've been playing.
Need to sound like a bit of of an overweight
I have a . we want .--
Don't go too fast!
What's important is the chracter of it
Concept of (good) sound
main two parameters pressure and bow speed. Other two are location and angle
Cracks can come from too much pressure and not enough speed
Make sure I have enough bow!!
Relax neck, face when counting
(Should come with practice)
The open note tones should be in my head so much that it bothers me when it's off
Also, the G-Ab step is smaller than I thought.
I'm not listening to the note after I play it.
If I can't fix it, then I'm going too fast
Not too fast and practicing slow, hear the stepps
Practice with replacing. Really listen to half-steps
I should also feel the ring in my fingers.
1) I need to have more fun with the piece. Bring that concert mode, enjoyment out. Switch the mindset
2) Work on paying attention to where I put the bow -- it's sliding onto the fingerboard
3) Tempos - I slow down on the rhythmically challenging part. Bring beginning slower and other part faster. Four note chord - play 2+2. Three note - hold the middle note a little longer
My fourth finger on the 4th position tends to be flat
Keep articulation consistent throughout. Make sure I play the correct articulation in the right part of the bow. And rhythm.
Every time I moved to the frog, my bow change is very sudden, so I need to make it smoother
Every time I change the angle, I change the sound. I won't be able to keep a consistent sound. If I stay on the same bow, I don't have to restart my bowing
Make sure m hand is balanced on the 1st finger
Do this by shifting my weight back
My hand and bow should be coordinated like a conductor's hand.
More control on fourth finger when bringing hand closer
My shifts need to be more coordinated.
Watching out first finger and fourth finger
I should meditate on the purity of the intonation
Work on bow placement, keep bow smooth, etc.
Allegro - bow then left hand
Vibrato and Thumb position
The pinky controls the angle of the bow
Bring the left thumb in
Work on my intonation - remember the intervals!
Practice eharing with slurs
Looking ahead at the notes helps grouping.
When I practice, practice grouping.
Page 2, 16, 17, 19, 20
Review page 6 - two exercises
Arpeggios, see 3,4,5
Page 32 #7,10,11. Work on my pulse :)
Thumb position, warm ups
I can lighten up the notes with grouping.
Try to be more free, refined in the form
We need to emphasize the down beats when playing syncopated rhythms
There's a point on the bow where I don't ahve to move very much to switch bows. Accentuate the beginning of the phrase - Near the balance point. There's a hierarchy to the notes. Not every note is created equal
I still have a lot of tension in the extensions. Think balance
C# - D interval needs work.
Remember to replace fingers
Ternary, the beat is divided in three
Notes 12 8. Beats 1 and 3 are the most important
Bring the left thumb closer to the fingers
My bow moves when I change
Relationship between thumb and first too wide when I play 2 and 3, don't move 1 around,
Make sure joints not locked, fingers should form an arc
Put thumb on both strings when playing harmonic
My bow end moves in too many directions
When I play 4, put 2 and 3 down!
Sound quality bow speed pressure
Rearticulation comes from pressure
Need more weight focus for vibrato
Sound enhancement by left hand
I need to work on weight flow
The elbow will naturally raise. Make sure wrist remains flat.
Think about massaging the string.
Go fast on scale with metronome on 60.
Warm up muscles, then shrugs.
18 bow need smaller stroke on down bow I'm losing the bite - I need to go back to the exact same spot of the bow.
Let pointer and ring to drive the bow
Dissociate the hands -- left hand shouldn't affect the phrasing in the right
One every line, do the bow alone and sing the part
Left hand be as supple as I can,
so there's no squareness to every shift.
Need left to be more fluid. Start bar 6 next time.
Keep the integrity of the rhythm. Put metronome on 1 and 3. Brush gesture with the bow
Remember to have the notes in your head!
The muscle memory is not precise enough to guide us.
Higher/closer to the
I need to explore my cello to hear what sound I want.
Contact point has 3 parameters -- where, how much pressure, and bow speed.
Then I have more options. I'll know what colors I want and how to get it. Be in that mindset when I play the strings.
I'm lifting my pinky up too high
1) Bow hold - pinky curved, relaxed
2) Left hand contact point. Be aware of every in thumb
3) Brain to rest - once I know something, more direct connection
4) weight transfer of left hand
5) Lead from thumb in the scale when going up.
6) Bring thumb up
7) The third finger, slight arc
8) Bow contact point. All hair on string - can get all hairs at different angles.
Think about keeping the sound in the left hand.
Try keeping the bow moving.
Visualize the sound.. Sound is like moving through the pool of water...
When I start at a new piece, try to play with a warm, loud, strong, healthy sound.
Work on my up bows!
Make sure not to "let go" of the down bow. This is called definition of the up bow.
Quality: Type of contact in hand, each of the finger. Make sure the intonation is 100% there, which I find very well in slower tempo
Left hand should be on the same track.
Pay attention to perfect intervals. Fourth and fifth octave.
Hear dist between C# and D, then feel relief, D-D
Harmonic - can feel it in the thumb and in the sound
Practice chords together
Left wrist needs to be flexible
Use the whole arm when doing up bow, not just: the forearm. Want to know exactly where the up bow is going to start/stop
If you start right, you don't need as much bow. The bow helps a lot.
More contact on left fingertips
Diatonic vs harmonic. Diatonic gets rid of the augmented second. Harmonic is usually considered more oriental
The augmented second not used in classical music.
Need to think more about intervals
Don't be automatic
Be aware of where the thumb is and where itshould be
1 and and and 2
Slow music - think about subdivision
We can tell when a music can feel the pulse.
Visualize where my fingers go
All fingers down in thumb position
Melted chocolate sound
Need more suppleness in left hand
Let the hands
Put all fingers down when playing thumb
Separate then together.
Put all the fingers down when going down. Sixteenth and eighth notes good for syncrhonizations and much more.
We just did A major. E major for F#, C#, G#, D#.
Book how equal tempererament ruined classical music
Don't raise my D when I move from G to D
Practice the shift
Really lead with my ear
The faster the hand, the lighter
First finger stay in its track
Double stop: Put both fingers, but play one line
Then, fingers balanced both strings
Play notes by themselves then together
Fourth positions: thumb under second finger
I should practice bigger chunks
Practice being able to keep correcting very quickly. Don't allow yourself to redo. What's very important is inbetween the notes. Vibrato is nice. Check the rhythms in 11 (not too slow). and 14 (twos not too fast).
Work on shift from C to D on 2nd finger
D melodic minor
IN thumb position, the F# high on D and G is low on D string
Subdivision is the key! I need to keep bow on the string
Scales, thumb exercise, shifting exercise, bow technique, Hillary Ann, then Popper studies
Music point of view - phrasing, vibrato, more musicality. Each works on something.
Sound production. We measure progress by playing old pieces. Quality practice matters more than quantity. Practice, play through, write practice plan for next day. This would make practice more strucutred. Also play through then identify. Left hand is weaker, on some of the easier intervals. Sanint - saens concerto. PLay by end of next year. 3 years of really good practicing and I can get where I want to be. 1.5 hour in the morning then in the evening. FInd a better cello. The most important thing is that we enjoy the music and find it to be nourishing. Don't forget about the big picture. It's not something we can easily check boxes. It's intangible. Discipline, purpose, and heart is what makes good musician. We don't play msuic for the reward, but that's nto why we play. Our journey is what matters
E major -> F major
Need more teeth
Want to be in full control of the bow and fingers
B flat major, D minor -- two octave slow bow first, light hand
Keep fingers down, thumb exercise
Keep bow smooth - no portato
#9 make super even
Arpeggiated chords practice two notes at a time
A: E, C#, G ... No Eb
D: A, F#, C
G: D, B, F
C: G, E, Bb
Marcke more with my bow and fingers
Make sure I know where I'm going to play and how much bow I'm going to use
Try using metronome. See if my fingers are fast enough. Then dynamics
Bring it up tempo-wise. Mark more -- two times wrong then mark
Klengel page 7, third line
Practice the little spot I mess up after the run through
Practice 6 and 8, Bb to C and C to Bb shift
Arpeggio 2+1, 1+2, then 3
Put the notes into groupings
Learn to avoid hesitations in my hand (and head)
Say aloud the half steps, the whole steps
Pay attention whether I'm tilting my hand. The tilt hand is a specialty position. Normally keep perpendicular. When we go into thumb, tilt hand is normal, 1-4, perpendicular is normal. Essential for thumb, second finger always under thumb