celloblog

Celloblog2019-10-30T15:51:31+00:00

Remembering Anner Bylsma

I play early music on period instruments because of the great Dutch cellist Anner Bylsma, who passed away on July 25 at the age of 85.  When I was 14 I entered the classical music section of a Tower Records store where Bylsma’s recent release of arrangements of music for unaccompanied flute and violin by J.S. Bach, performed on his son’s 7/8ths-sized cello tuned like a violin, was being played.  I didn’t pay much attention to it until Bylsma hit the final note of the prelude to the E major Partita, BWV 1006. It ended a driven but, as I realized much later, subtly nuanced and very “spoken” performance. It seemed the energy stored by what had preceded the note was fully released by it: powerfully, beautifully, emphatically, and most [...]

By |August 28th, 2019|Categories: Performance|Tags: , , , |

The Joy of Feuillard – A Sequential Approach to Teaching Bow Technique (Part 34 – Feuillard No. 36 – Variations #39-42)

  This will be the final Blog in this series on using the Feuilliard "Daily Exercises" to teach bow technique.   Variations #39 and #40:         Variations #39 and #40 address chords over four strings. For #39 we have to use the full bow with the bottom two notes as grace notes. That means that they are played before the beat, with the top two notes on the beat. If playing with a piano, the pianist would probably play on the downbeat with the top of the chords. The string crossing is not too difficult at the frog, but playing the grace notes at the tip and then getting the main notes to sound strong is harder at the tip. I addressed two other important issues with [...]

The Joy of Feuillard – A Sequential Approach to Teaching Bow Technique (Part 33 – Feuillard No. 36 – Variations #30-38)

  Today we will continue with Feuillard No. 36, Variations #30-#38. Most of these variations work on double stops with string crossings, and legato strokes involving the upper arm versus wrist/fingers over four strings.   Variation #30: This Variation again involves both the Up-bow Staccato and Flying Spiccato strokes, which we have seen before dispersed throughout all the bowing exercises on these pages. It is one more opportunity to review the different ways of producing these two strokes - and George was able to verbalize the technical information required. Even though he had not practiced the Flying Spiccato as fast as I got him to play it here, it is always interesting to me that if one has absorbed the technique it is possible to speed up the tempos easily. [...]

By |April 29th, 2019|Categories: In the Practice Room, The Joy of Feuillard, Teaching|Tags: , , |

The Joy of Feuillard – A Sequential Approach to Teaching Bow Technique (Part 32 – Feuillard No. 36 – Variations #10-29)

  Today we will continue our journey through Feuillard with No. 36, Variations #10 - #29 on string crossings over four strings. Many of these variations are about sustaining the sound with legato or detaché strokes. As mentioned before it is very helpful to use the left/right motion in order to make it easier to get a big sound in the upper half of the bow. It is also helpful to use the "twist" motion of the upper torso in order to release tension from the arm and fingers, and to keep the vibrato going. Rather than lifting fingers, the twist in the upper body automatically helps to release the fingers. Variations #10 and #11: https://www.youtube.com/watch?v=E7Rh2uf9f-I&w=560&h=315   Variations #12, #13, and #14 The arm levels that I mentioned here were [...]

The Joy of Feuillard – A Sequential Approach to Teaching Bow Technique (Part 31 – Feuillard No. 36 – Variations #1-9)

  The final Theme and set of bowing variations in Feuillard is No. 36. This page deals with string crossings involving four strings. There are double stops, chords, various bowings, articulation issues, and different strokes. I use No.36 to reinforce many of the concepts from the earlier pages, and especially the "twist motion". The student should be aware of how the left arm moves in tandem with the string crossings, so that the elbow is higher on the C-string and lowest on the A-string. The student must also be aware that the contact point needs to change when going from the lower strings to the higher strings.  The "rule" is: "The Higher the String, the Lower the Contact Point" If we don't pay attention to the contact point, the intonation [...]