imagination

Sing. Paint. Dance. (Part 2)

Sing. Paint. Dance. (Part 2) Yes, we can place the bow one inch above the bridge and play various phrases for the purposes of mapping and sensory awareness. We can also take one step back and go about it from a different angle. As we listen to repertoire we can place a brush to canvas or a pencil to paper and emulate phrase length with our hands. We can isolate passages in the score and literally paint them. Feel the duration of notes, their inner lives, through your brush. See the color sustain or fade. Watch the brush as it moves up and down according to contour. For me, although away from the cello, this type of association is the most direct connection to gesture. Let’s be clear, this does [...]

Sing. Paint. Dance. (Part 1)

Sing. Paint. Dance. (Part 1) Sing. Paint. Dance. I am often reminded of a statement made by Tabea Zimmerman that alluded to the idea that all instrumental problems have non instrumental solutions. With that in mind I often advocate a number of non instrumental solutions to any issues that may arise in the course of music making. Each can be connected to one of three wings : Singing. Painting. Dancing. On the occasions that I played with the LA opera, I was around Placido Domingo as both conductor and singer. The latter is clearly his identity in spades. But to hear him sing every vocal line in a rehearsal always echoed quartet life for me. Listening with a sense of integration -each voice existing within the context of the whole. [...]

A Cellist in Kabul (Part 2) — by Avery Waite

After three months in Kabul I feel ready to write honestly about the challenges of teaching here. The thing is it’s almost impossible to separate everything about Afghanistan from my experience as a music teacher; it’s just such a complicated and bewildering place. And the weirdest thing is that the longer I’m here, the harder it is to write about my life. I suppose the overall experience itself is so consuming that I can’t properly distance myself enough to document it. But I will try my best to cover the challenges that I face on a daily basis. The most daunting challenge is teaching in a difficult foreign language. What I didn’t realize at first is that the language of music pedagogy is tremendously complex. It can be very simple [...]

Searching For One’s Cello Voice — by Bonnie Hampton

It is a remarkable thing that just as our vibratos show our  individual expression, so ultimately does our “cello voice” as we develop our sound with the bow on the cello. What are the elements which make up this search? It is a given that we can’t make a beautiful sound unless our bow arms are free and we are finding our energies all the way from the back, with none to the various joints or muscles adding physical tension or tightness.  We need to have in our imagination, the qualities of sound we respond to. Perhaps we have heard a wonderful cellist who has inspired us, or perhaps there is a tone quality in our inner ear which we strive for. We are so fortunate,  the cello is capable [...]

Bernard Greenhouse: January 3, 1916-May 13, 2011

Bernard Greenhouse left us May 13, 2011. Please scroll to the bottom of this posting and add your personal recollections and tributes for Bernie in the comment box. Bernard Greenhouse, one of my true cello heros and a man I loved and admired, passed away this morning in the middle of his 96th year. It was a peaceful death, middle of the night, in his sleep. It was not unexpected, yet it is so hard to accept. Thousands of friends, family and colleagues, generations of students will be saddened by this loss, for his music, his teaching, the legendary warmth of both his cello sound and his personality, have truly inspired the love and devotion of untold numbers. I had been eagerly looking forward to an upcoming visit to Bernie’s home on [...]

Defining the Intangible — by Melissa Kraut

Several years ago I was asked to contribute to an article for Strings Magazine on "what teachers look for in an incoming student."  I was excited about the article—what a fantastic idea—a compilation of suggestions from teachers who listen to 100+ cellists a year auditioning for music schools!  Despite my best intentions, I still haven't crafted a contribution. (Here is where I should publicly apologize to the cellist, who is no doubt reading this entry, for the 3 year delay in responding to your request).  My neglect  was not for lack of interest, or lack of knowledge or experience on the subject.  It came down to the difficulty in putting words to something that  is so nebulous—defining the intangible.  The title for this entry popped into my head during audition [...]

Practice Time: Inspiring and Productive? — by Natasha Brofsky

As musicians, a life spent practicing our instruments means that we need to be able to teach and inspire ourselves. The art of practicing well is essential in order to develop our own musical voice. The musical idea is everything. Awaken your musical imagination!! Is the phrase you are practicing lyrical or dancelike? Is it passionate? Melancholy? Stormy? Tender? Does a particular passage inspire a scene in your mind? What kind of a story does it tell? How do you want the audience to experience the music at that particular moment? Experiment! Try different bowings and fingerings for the same passage. What makes the music come alive?Remember that the phrasing and emotional impact of the music affect what techniques we use to play it successfully, so don’t decide on bowings or [...]

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