The Holy Sextet (Part 1) — by Brant Taylor

Think back to when you were shown how to use the bow to successfully produce different sounds on the cello. In all likelihood, you learned that there is a trio of "variables" that are combined in certain ways to achieve a desired result: WEIGHT, or how much of the right arm's heft is placed into the string from above (I prefer the term "weight" to "pressure," though they refer to the same idea). SPEED, or how quickly the bow is moved laterally. CONTACT POINT, or where the bow hair makes contact with the string relative to the bridge (or fingerboard). While each of these variables is critically important to sound production, the complete recipe for successfully controlling the string with the bow involves more. There are at least three other basics [...]

Do You Need a New Angle on Your Playing? — by Wayne Burak

One of the most tricky cello setup issues to self diagnose is the presentation of neck angle fatigue. Symptoms: You have to adjust your bow stroke to avoid hitting c bout edges.. The cello sound core is lost because your neck angle has dropped over time and is creating marginally successful practice days and challenging performances.. Nasal sounds are finding a home inside your cello...real clarity and power are only a misty concept... A single note repeatedly refuses to cooperate... A major attack simply evaporates without an actual sound... Your friends start to avoid you... You have thoughts of switching to viola...   Help: Seeing things from a different perspective can help your playing turn a corner.  If your instrument was made recently, say in the last decade or two, (or maybe even [...]