Rhythm Archives

Conversation with Irene Sharp (December, 1997)

Interview by Tim Janof Cellist Irene Sharp has been acclaimed internationally for her teaching. She has given master classes for the American String Teachers Association (ASTA), the European String Teachers Association, the Australian String Teachers Association, and the Suzuki Association of America. Although based in Northern California, Ms. Sharp has worked with students in cities such as New York, London, Salzburg, Hamburg, Sydney, Tokyo, and Taipei. Currently on the faculty of the Mannes College of Music, she has also served on the faculty of the Meadowmount School for Strings, the Bowdoin (Maine) Summer Music Festival, and Indiana University's String Academy. Ms. Sharp is Artistic Director of California Summer Music, a festival for young string players, pianists, and composers ages 12 to 23 held at Pebble Beach, California. She has been [...]

By Tim Janof|2024-07-08T12:41:17-04:00February 22nd, 2021|Categories: Internet Cello Society Archive, Interviews|Tags: Irene Sharp, Interpretation, Teaching, Rhythm, Technique, Internet Cello Society, Pedagogy, ICS|

Conversation with Ron Leonard (February, 1996)

Interview by Tim Janof Ronald Leonard is well known as a soloist, chamber musician, and teacher. He has been Principal Cellist of the Los Angeles Philharmonic since 1975, and is the Gregor Piatigorsky Professor of Cello at the University of Southern California. He has performed concertos with Zubin Mehta, Michael Tilson-Thomas, Carlo Maria Giulini, Andre Previn, Simon Rattle, and Esa-Pekka Salonen. He has appeared as guest artist with the Juilliard, Guarneri, Angeles, Mendelssohn, Borremeo, Chilingarian, and American Quartets. TJ: You studied with Orlando Cole and Leonard Rose at the Curtis Institute. How did their teaching methods compare? RL: I studied with them at the same time, believe it or not. They were two very different musical personalities. They approached the instrument, both technically and musically, from quite different viewpoints, [...]

By Tim Janof|2024-07-08T12:43:10-04:00January 23rd, 2021|Categories: Internet Cello Society Archive, Interviews|Tags: Orlando Cole, Interpretation, Leonard Rose, Rhythm, Auditions, orchestra, bow technique, Internet Cello Society, ICS|

Conquering Coordination Through Broken-Rhythm Patterns

Reposted from Strings Magazine. One of the most common problems encountered by string players in virtuoso pieces is the coordination between the bow strokes and the left-hand fingers in fast running-note passages (passages consisting of mostly the same note values), especially when the majority of notes are played with separate bows or with a few small slurs thrown in. Examples of these types of passages abound—they include sections from the Finale movement of Wieniawski’s Violin Concerto in D minor, several episodes and the entire coda section of Introduction and Rondo Capriccioso by Saint-Saens, the majority of the Allegro movement from Kreisler’s Preludium and Allegro, and many, many other pieces. Without proper coordination training, playing these passages can create a feeling of the two hands “chasing each other”—and getting tangled up [...]

By Blogmaster|2024-08-08T15:22:07-04:00June 14th, 2017|Categories: Technique, In the Practice Room|Tags: Rhythm, Practice, Coordination|

The Britten Cello Suites (Part 3): An Introduction to the Third Suite — by Aron Zelkowicz

Britten chose to build his Third Suite for Cello around four pre-existing Russian themes: three tunes taken from Tchaikovsky’s volume of folk-song arrangements, and the Kontakion, the Byzantine chant for the dead taken from the Russian Orthodox liturgy. Rostropovich considered himself Russian Orthodox, and one can appreciate the impact of Britten presenting a score based on this theme as a gift to the cellist in Moscow. The Third Suite also serves as a dual tribute to Shostakovich. The second movement, Marcia, includes the signature “anapest” rhythm found in Shostakovich’s symphonies (“da-da-DUM”), and in a subtle yet ingenious linking, the final statement of the Kontakion in C minor employs the notes C-B-Eb-D: a reordered allusion to Shostakovich’s famous four-note D-S-C-H signature (D-Eb-C-B). Britten goes about weaving the Russian-themed motifs in [...]

By Aron Zelkowicz|2019-05-27T00:44:35-04:00November 12th, 2013|Categories: Performance|Tags: introduction, Suites, journey, audience, Orthodox liturgy, Rhythm, impact, Russian Themes, cellobello, blog, Russian-themed motifs, Technique, Benjamin Britten, third suite, effect, tune, melodies, Britten, Rostropovich, cello suites, Aron, consistent themes, score, cyclical closure, Zelkowicz|

Bach Suites and You – by Robert Battey

“In a work of art the intellect asks questions; it does not answer them” -Friedrich Hebbel Few tasks are more daunting than attempting to discern and convey J.S. Bach’s precise intentions for his Cello Suites. Just playing them is hard enough, but a true and meaningful interpretation of the Suites requires an entirely different heuristic model than that of our other repertoire. This is because the autograph of the Suites has been lost, and we are left only with several flawed and inconsistent copies. Since there is no original source, everything, from notes to rhythms to phrasings, must be questioned. With many pieces, one can rely on the fidelity and accuracy of a high-quality edition, prepared either from autographs or composer-supervised prints. There, you have the simple choice of either [...]

By Robert Battey|2021-07-26T15:08:34-04:00January 16th, 2013|Categories: Artistic Vision, In the Practice Room, Performance, Repertoire, Self Discovery|Tags: ambiguity, Pierre Fournier, cellobello, curiosity, transcribing, Instruments, liberation, Anna Magdalena, printing, Bach Suites, dilemma, uncertainties, virtuosity, lute, Anner Bylsma, publications, editors, enjoyment, lute arrangement, artistic, rainbows, flawed, recordings, meaningful interpretations, autograph, response, phrasing, genius, complexities, monochromatic, Pablo Casals, Bach Cello Suites, sloppy, challenges, historical, Battey, normal teaching model, Bach, Bach's original intentions, slurs, repertoire, inconsistent copies, robert, painting, Teaching, Bach’s precise intentions, study, colors, instrument control, Editions, parameters, Janos Starker, Barenreiter, text booklet, interpretive creativity, experimentation, paris, Rhythm, careless, textual, personality, interpretive ideas, accuracy, personal research, cello, conclusions, The Fencing Master, judgment|

Exploring Beethoven 5th, Variation One — by Jonathan Pegis

Continuing our discussion of Beethoven’s 5th Symphony, let us examine the first variation. As I did with the theme, I will first talk about the technical challenges of this excerpt and then look at the musical challenges. First of all, it is very important that you play this excerpt in the exact same tempo that you played the theme. A common mistake is to play this variation much faster than the theme simply because of that long first down bow. One trick that helps is when you finish the theme keep counting the quarter note rests at the end of measure 10, and then count off the two quarter note rests in measure 49. (Almost like you were making a cut!) You can do the same thing at the end [...]

By Jonathan Pegis|2023-05-01T13:22:31-04:00December 11th, 2012|Categories: Artistic Vision, Auditions, In the Practice Room, Orchestra, Performance, Repertoire|Tags: Jonathan, details, musicality, intonation, legato, shifting, Pegis, Sound, continuous vibrato, Beethoven, practice tips, sound production, bow technique, Rhythm, phrasing, bow control, vibrato, tempo, technical challenges, cello, attention to detail, cellobello, Beethoven Symphonies, Excerpts, dynamics, Beethoven's 5th Symphony, singing, cello excerpt, Preparation, melody|

Exploring Beethoven’s Fifth Symphony — by Jonathan Pegis

Here in just a few measures is an excerpt that has confused, befuddled, and downright scared more cellists than just about any other excerpt (please click image to enlarge): The theme from the second movement of Beethoven's fifth, along with the first two variations, shows up on the vast majority of cello audition lists. I thought it would be educational to spend some time exploring this theme, and future blogs will explore the first and second variations. To begin with, this excerpt is one of a handful that I have coached for many years where I am actually LESS confident than I used to be. Why? Because every teacher, every coach, and every conductor has had radically different ideas about all the different aspects of this theme. Temp, color, dynamic, [...]

By Jonathan Pegis|2017-07-15T05:12:25-04:00October 19th, 2012|Categories: Auditions, In the Practice Room, Orchestra, Performance, Repertoire|Tags: cellobello, confidence, education, teacher, Audition, Excerpts, pressure, Teaching, coaching, nerves, inflection, mistakes, dynamics, release, orchestral excerpts, orchestra, recording, Beethoven, accents, Preparation, singing, bow speed, blog, control, sustain, Rhythm, bow changes, Symphony, vibrato, technical challenges, phrasing, legato, cello, variations, practicing, markings|

The Tools of Embodied Music® – the Feldenkrais Method for Musicians (Part 1)

Before discussing what the Feldenkrais Method is and how it can help you make better music without injuring yourself, let me start by asking a few questions. Have you ever observed how very young children respond to music – with rhythmic movement, with sounds, with all sorts of other movements? Do you remember how you felt as a child, when you wanted to make music? Do you ever feel something akin to ecstasy when you hear a piece of a performance you really love? Is the sense of ecstasy only a thought or is it a feeling also in your body? Where in yourself do you feel it? Do you feel the rhythm? Can you feel that sometimes music makes you feel light and sometimes heavy, sometimes it is [...]

By Aliza Stewart|2019-03-04T03:03:24-05:00May 18th, 2012|Categories: Performance, Playing Healthy, Self Discovery|Tags: Listening, Stewart, expression, organization, Rhythm, movement, cello, cellobello, workshops, music, master classes, injury, musical imagination, Aliza, phrasing, Dr. Feldenkrais, movement lessons, frustration, spontaneity|

A New Look at Sight-Reading (Part 3) — by Robert Battey

Successful sight-readers move deftly around within a rigid hierarchy of tasks (“the Levels”). They’re like fencers, thinking ahead, anticipating the threats and challenges in the music, and adapting what they do on a measure-by-measure basis. They keep to the hierarchy, adding the next Level only when the lower ones are completely under control; experienced players do not jeopardize the ensemble by fumbling at a Level they can’t handle properly. Thus, effective sight-reading training is about understanding these Levels to the point where you can apply and adjust them instinctively, automatically. As I’ve said, it’s a different kind of thinking, almost like playing a different instrument. For most people, the most difficult concept to wrap your head around is that finding the actual pitches comes last. Simply chasing notes will quickly [...]

By Robert Battey|2017-10-24T03:47:44-04:00February 3rd, 2012|Categories: In the Practice Room, Self Discovery, Teaching|Tags: Effective, cello, perfection, cellobello, Coordination, music, Listening, Development, harmony, success, Janos, Technique, Starker, Battey, character, sight-reading, ensemble, Accomplishment, Rhythm, dynamics|

A New Look at Sight-Reading (Part 2) — by Robert Battey

"I can play something ok if I have some time to practice it, but I can't sight-read to save my life." How many times have we heard this lament or some variant, particularly among adult amateurs? It does express a common deficiency. Sight-reading is a specialized skill, which must be acquired separately and in addition to one’s general technical work, so it’s quite common for a competent player to be a weak sight-reader. The term “sight-reading” is a poor one since it’s both obvious (how else will you read music if not by sight?) and inaccurate (“sight-playing” is a little closer, though not by much). It’s been used to mean several different things, but the meaning we’re concerned with here, and the only context in which the skill level really [...]

By Robert Battey|2017-10-24T03:29:53-04:00January 1st, 2012|Categories: In the Practice Room, Self Discovery|Tags: success, Technique, ensemble, chamber music, Observation, Rhythm, ability, cello, Battey, cellobello, robert, Practice, sight-reading, virtuoso|

New and Old — by Yeesun Kim

This summer I had two very different experiences performing contemporary pieces. The first piece, as it turned out, had several performances spread over two months. Two concerts included working with the composer prior to the concert. The second piece was set up to be only performed once, without the composer's presence and with only two days of rehearsing. Both pieces were quite difficult in their own ways. The first piece called for virtuosity, stamina and the ability to clearly outline the structure and narrative in order to hold the piece together. The second piece was almost the exact opposite. Short and obsessively detailed in its use of sound effects, it abounded in the use of extended techniques. It employed extremely soft dynamics and seemed to purposefully obscure perceptible structure in [...]

By Yeesun Kim|2022-04-04T13:55:15-04:00October 7th, 2011|Categories: Chamber Music, Performance, Repertoire|Tags: Kim, ability, rehearsals, articulations, Yeesun, familiar, creativity, character, soundscapes, Rhythm, cello, composers, cellobello, music, unique, dynamics, challenges, virtuosity, confidence, structure|