Category Archives: cello practice

cello practice

Of Dove

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I practiced last week. I wanted to do some honing after hearing pristine violin playing the other week. It works, funnily enough, that practicing stuff. But I find it also carries with it a risk factor in orchestra, that being over-fatigue. But now I see that that is only in the short term. Over a few weeks as of yet, it is becoming easier to play. I tactily know where I’m headed on the instrument, and I’m mentally less second-guessy and trepidatious. But this typing is a killer.

originally published on 3/2/07

cello practice

Lars

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I’ve been trying to lighten up – with my left hand, that is. I listen to Itzhak Perlman and watch his videos, and there is such a relaxed, easy approach he takes. I don’t see the lack of effort doing him any harm, certainly, and it is probably quite beneficial. When I loosen up my vise grip it doesn’t always give me the sound that I am striving for. I believe that once I get used to this freer, gentler sound, it won’t bother me anymore. It also seems that by concentrating on my left arm, there is a spiraling effect to the rest of my body, and my mind, too. It’s almost as if I have made one spot the focal point for all of the tension simmering within me, and if I let that go, everything else falls away, too, like a domino effect.

originally published on 8/4/07

cello practice

Larkening

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I somehow am under the misapprehension that you must be in a state of undue tension in order to make and emote beautiful music. I have been trying to relax as much as possible, as I have blogged previously, but once my initial tryout period fizzles out, I come back to what I must consider “real playing.” The relaxed version of my playing does not register in my mental musical associations. It’s like fluff. But I need to convince my inner self otherwise, not primarily for comfort, in truth. It really sounds superior on many fronts. It is really more in tune, and more ringing, and much easier to phrase and play around with colors.
I guess I thought that by impersonating Perlman in a sense, the looseness would come about and be absorbed and assimilated by sheer emotionality and love and admiration. I suppose my love for my own musical taste and needs supersedes that.

originally published on 8/14/07

cello practice

Lehigh

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I played on a chamber concert last night. What interested me was my relative level of tension. There seems to be an allowable quantity of muscular tension as I perform in contrast to normal playing, probably due to the adrenaline drug effect. The habits formed from innumerable past performances also contribute to this regressive tendency.
I realize that I need to remind myself, in lieu of a teacher, that although I perform with more tension than I rehearse and practice, I am performing with less strain than in prior concert situations. As they say, I can try to remember to compare apples to apples, if I’m comparing at all.

originally published on 8/16/07

cello practice, everyday observations

Resist

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I took a nap before the concert tonight, and it gave me an ease at the outset of the performance that I don’t often feel without a great deal of concentration and (non)effort. Last summer I blogged about trying to play with utter looseness, a la Perlman. I felt it oddly unnatural and unsatisfying to not exert much effort, perhaps due to the contrast from what I am accustomed to. Tonight I remembered another phase I went through – Krishnamurti immersion. He frequently talks about non-effort, non-conflict, non-worry and non-thinking. They are tantalizing concepts, but the last time I perused one of his books I was less than taken by his philosophizing.
I like the idea of extending the technical issues I have on the cello out to the rest of my existence. That’s of course been a great quest and fantasy of mine for decades.

As the concert progressed, I gradually lost that pleasurable ease. It tends to be fleeting like that. It’s as though I like to have something to butt up against. I like friction, resistance. I need them, more to the point. I realized that I also like to hear other performers with some of that taste for friction. I am unmoved by totally comfortable, unperturbed players. It’s like watching a piece of cardboard play music.

originally published on 1/26/08

cello practice

Borrower

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It’s the oddest thing. I am one day out of my orchestra’s season, and I feel utterly different sitting at the cello. I am able to focus on a different array of technical and psychological facets of playing – perhaps better ones, I’m not sure yet. It once again proves to me the inexorable link between the mind and the body.
Something I had attempted to describe to a student started to manifest itself as I was practicing – the role of the different right hand fingers. I said that the first and fourth fingers are not really doing the brunt of the work, they are more like steerers. It’s the second and third that are in the thick of it. Generally I’ve found I can demonstrate or describe things to students far more effectively than I can actually do them when left to my own devices. Teaching is so interactive. It is infectious. If I teach the kid something, I catch it too.

I also noticed that when I enhance my awareness of the right hand fingers, the left hand ones respond in kind. They become more sensitized. When the subtleties of the bow control increase, it gives me the possibility of finessing the touch of my left hand further. I often find my right hand/arm is my left hand/arm’s teacher.

originally published on 6/4/08

cello practice

Barley

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I’m enjoying playing pretty music. I hope it continues.
I realized why I have been so interested in using every millimeter of the bow lately. Extending to the very frog and very tip extends my body motions just that little bit more so as to provide a greater sense of freedom and openness. If I’m not mistaken, I also think vertical movements of the arm(s) also enhance that feeling. These roomier motions aren’t limited to any one bow stroke or note. If you space it out among many measures and lines of music, it accomplishes the same goal. For instance, originally I thought it only worked for long, slow bow strokes. But briefer notes that are placed in varying portions of the bow hair can convince the brain of the same sensation.

As was observed last summer, coincidentally, deeper inhalations and exhalations also give terrific opening sensations. It’s like your lungs are a bow, and vice-versa.

originally published on 7/30/08

cello practice

Cruella

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I am now noticing that there are a number of things conspiring against my efforts not to curl my fingers. Pizzicato, vibrato, shifting and staccato strokes all have a tendency to encourage that shape. I must be vigilant in order not to fall right back into my old habits.
Another ally I have is the thumbs. Although they have their own leanings towards hooking in the opposing direction, when I focus on keeping them more neutral, the fingers do respond in kind.

originally published on 11/9/08

cello practice

Billfold

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I noticed tonight that I sometimes have mini-explosions in my left hand when I play. Little baby spasms. It’s a good thing I think. It may be a road to more efficiency. It is the briefest length of tension possible, and then you instantaneously fall into relaxation. There are many gradations of the spike as well, depending on the material. You can request from your mind and hand that it be an extended, shallow hump, kind of like a long slur marking. I was also somehow having the image of a volcano, with different types of eruptions. Having this as another parameter in the mix of cello techniques is rather effective I think. It adds a far greater range of control over tension levels.

originally published on 3/19/09

cello practice

Intertwixed

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I’ve had a couple of good days of musical digging with my friend. We’ve gone through my concerto movement by movement to understand what is being portrayed. I was reminded of Bull Durham in the sense of the wise adviser and the semi-mindless pupil (me being Tim Robbins). It’s amazing to me how I can embody either role depending on the circumstance. Also how it is impossible to imagine myself in the alternate position during the other.
Although I feel better physically simply when I am exploring and extracting things musically, I have also come upon another technical idiosyncrasy which I know you will care about. Focusing on releasing the hand/arm affects the opposing one in like fashion. I guess I already knew this, but now I am seeing the true benefits of this approach over direct relaxation. It is much less likely to backfire. I perpetually undermine my efforts to relax (!) by overdoing the relaxing mantra I am working for at the moment. I become obsessed over the body part in question to the exclusion of all else, and I end up quite imbalanced as a human being. You may be surprised how easy this is to do to myself.

On the other hand, the indirect approach to looseness seems to prevent this overfocusing. It also has the benefit of affecting a more well-rounded proportion of my body.

originally published on 4/27/09