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Left Hand

The Secret Life of Cello Strings: A Cello Harmonics Tutorial

April 30, 2022 by Jonathan
Left Hand, Pedagogy, Practice, Shifting, Technique

 

The Secret Life of Cello Strings: Harmonics for Cellists - Cello Life Blog - Jonathan Simmons, cello

The Secret Life of Cello Strings: Harmonics for Cellists

 

The Secret Life of Cello Strings – what a title!

This indispensible book by R. Caroline Bosanquet begins with a foreword by Janos Starker who calls the book “both amusing and amazing” – high praise from such a master of the instrument. The book breaks down both the notation and explanation of harmonics so that anyone from beginning cellists to seasoned professionals can benefit from it.

Why study harmonics?

Harmonics allow us to map the fingerboard. See this previous blog post that explores the use of harmonics as one of three landmarks that aid us in shifting and thoroughly mapping the fingerboard. Demystifying where the harmonics are on the cello and what notes sound when we play them aid us as we navigate everything from the neck positions to the stratosphere of the possible pitches on the instrument and everything in between.

In an effort to make the book more applicable to visual learners, I have created a video tutorial to the pieces in the book. Here is the introduction video with some more information.

What does the book contain?

The book breaks down technical and acoustical language like “nodes” and “partials” to help explain where the harmonics are on the string and why they produce those high pitches.

Lest you be daunted thinking that harmonics are beyond your ability to understand or play, the book breaks down harmonics so that even the harmonics in second and third position are covered.

Most cellists learn the octave or halfway harmonic first, but there are a host of other harmonics across the instrument. Harmonics have the unique quality of getting higher the further they are from the center string. That means that certain notes can be found in multiple places on the same string. Number 4 in the book entitled “Changing Places” demonstrates this concept nicely in the video below.

See additional demonstration videos at this link. The full first chapter is available as of this writing, and new videos will be added weekly.

If you would like to purchase your own copy of the book, you can find it here. I would love to hear your feedback, so feel free to write a comment below or through the contact page on the website.

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©2022 by Jonathan Simmons. All rights reserved.

Rules I Break (Part 1 of 2)

December 7, 2020 by Jonathan
Left Hand, Pedagogy, Practice, Technique

Beginning cellists learn all sorts of necessary ground rules as they begin learning the instrument – how to sit, how to hold the cello, where to place the hands, etc. These rules are useful for establishing healthy habits for playing, but strict rules do not necessarily take into account the variety of techniques needed to play the infinite variety of music cellists are called upon to perform. Below are a few of the of the left hand rules that I break with the next blog post will focus on the right hand rules.

Rule #1: Left Thumb behind the neck

I first learned to place the left hand by putting the thumb directly under the other four fingers on the strings.

Cello Life Blog Jonathan Simmons - Left Hand Rules

Many times, this place is as good as any for the thumb. However, by no means is it the only place the thumb can stay. The thumb can move to either side of the neck for various reasons.

Moving the thumb to the left side of the neck can help combat a squeezing thumb, especially on the two higher strings. Squeezing becomes much more difficult (though not impossible) when the thumb would be squeezing to the right rather than up against the opposing fingers.

Cello Life Blog Jonathan Simmons - Left Thumb Rules
Practice moving the thumb to the left side of the neck when you feel the urge to squeeze. Learning to use arm weight instead of thumb counter pressure to hold down the strings will relax the left hand allowing you to play more freely and for longer periods of time without fatigue.

In addition, resting the thumb on the right side of the neck can also serve to our advantage. For example, when playing on the C string, you may find moving the thumb to the right side of the neck is helpful. Students often arch the wrist in an effort to reach the lower strings without touching the upper strings. Resting the thumb on the left side of the neck in this instance would only exacerbate the problem by keeping the wrist further from the neck than it could be.

Bad Left Hand Rule
Negative Example


Instead experiment with bringing the thumb to the other side of the neck. This allows the entire wrist and hand to come closer to the notes that the fingers need to reach.

Cello Life Blog Jonathan Simmons - Left Hand Rules 1

Rule #2: Thumb over 2 strings in thumb position

In thumb position, many students are told to keep the thumb over two strings. Many cello methods including Rick Mooney’s book Thumb Position for Cello advocate this habit. In general, placing the thumb over two strings is a beneficial habit to adopt. However, certain circumstances can require removing the thumb from one string or the other in order to play the music, especially for cellists with smaller hands. Two examples of this are open strings and large stretches.

An extreme example of open strings used while the left hand is in thumb position can be found in the Ligeti Solo Sonata. In the following section, the thumb can either rest on one string, the D string, or can come off both strings.

Personally I anchor my thumb on the side of the fingerboard to provide a reference point for the rest of the hand while raising all of the fingers during the open string notes.

For cellists with small hands, everything we can do to reach another centimeter is necessary on the instrument. Take this stretch in the Ligeti Sonata for instance.

 

With my small hands, I have trouble reaching the major seventh from A up to G# with the thumb over both the A and the D strings. When I place my thumb only on the A string, the elbow is able to come around just enough to enable the extra reach up to the G#. Large stretches sometimes necessitate breaking the rule of resting the left thumb over two strings in thumb position.

As you are practicing, experiment with what rules might need to be broken. Endless curiosity is a must! Let me know what you discover.

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Surviving Life as a Small-Handed, Short-Armed Cellist

November 7, 2020 by Jonathan
Left Hand, Pedagogy, Right Hand, Technique

            String players come in all shapes and sizes. Some violinists look like they were born to play the double bass, and other people like me seem so small that they should be banished to a partial size instrument into adulthood. If you are in the second category, I feel your pain. Although we must come up with solutions to the unique technical challenges that we face, playing a large instrument is not impossible even for petite individuals like myself, a short-armed cellist.

As a side note, this is not to say that adults should never consider a 3/4 or 7/8 size instrument or a shorter bow in some cases. Some physiques may require this. Be sure to seek your teacher’s advice on instrument setup (endpin length, angle of the instrument, etc.). Likewise students who are not yet fully grown should seek their teacher’s input before moving to a size that may be uncomfortably large. In this blog I simply hope to share several ways I have found to overcome the challenges that come with being a small-handed, short-armed cellist. Let’s get started.

I can’t reach the tip of the bow!

            With arms seemingly too short to play at the tip, what can we do to make use of the whole bow? Simply raise the right elbow up and out. Here is a video demonstrating the difference elbow height can make.

            The technical difference could be explained in great length, but suffice it to say that to use the whole bow, the whole arm needs to be involved. Video recording yourself and playing in front of a mirror are two ways that you can check whether you are truly using the upper arm to fly your elbow up and out into the correct position.

            In addition to the above video, try the following exercise by David Finkel to “make the bow feel short.” He demonstrates another excellent way to achieve the desired result.

I can’t spread my fingers far enough in first position!

            Even cellists with larger hands can find themselves with this problem. Beginners who start with tapes on the cello’s fingerboard can visually see that their hands do not spread wide enough to leave the fingers on the tapes. With every out of tune note, the ear also reminds us that the fingers are too close together. I suggest two methods to remedy this.

First, explore a slanted left hand. In general, cellists fall into two camps when talking about hand shape – (1.) square, fingers falling perpendicular to the fingerboard, or (2.) slanted, fingers falling perpendicular to the floor. 

Square Hand Shape
Square Hand Shape
Short-armed Cellist
Slanted Hand Shape

For those with large hands, my experience is that either the square or slanted hand shape can work. However for those of us with smaller reaches, the slanted hand shape is preferable. The following video demonstrates why.

Just a note, no matter what hand shape works best for you, be sure to align your arm so that you never hyper-extend the base finger joints.

Hyperextended first finger
Hyper-extended index finger base joint

Even with a slanted hand shape, you may find yourself still unable to reach notes. In that case, consider another alternative. The truth is, you only need to be able to reach one note at a time. The three fingers not actively playing notes, do not necessarily need to stay on the tapes for those notes. So long as the current note is in tune, you can rest the hand with the fingers close together moving the fingers apart just in time to play the next note.

Small-Handed, Short-Armed Cellist
Bunching Fingers

In this way, the fingers can walk across the fingerboard fluidly with each note seeming like a position of its own. Here is a video showing an example of the fingers “walking” in first position.  

I can’t reach extensions with my left hand!

            This common issue is address at length in another blog post here. In addition to everything written there, I have one additional piece of advice for the forward extension – drop the wrist. Watch this video to demonstrate.

 

So often cellists leave the wrist immobile for the forwards extension, but as was mentioned in the previous blog on extensions, the forward extension involves both a forward shift and a backward extension. To some eyes, the wrist may not seem to move at all, but rather the arm looks as if it is moving. Dropping the wrist is perhaps more of a sensation than an action. In other words, perhaps there is a feeling of dropping the wrist even if the actual movement occurs at the elbow.

Short arms and small hands should not prevent you from playing the cello! I am just one of many cellists to prove that point. I hope this post has been helpful in giving you some tools to survive as a small-handed, short-armed cellist. Happy practicing! 

For more information on surviving life as a small-handed, short-armed cellist…

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Six Things Recovering from Performance Injury Taught Me

October 24, 2020 by Jonathan
Health&Wellness, Left Hand, Right Hand

 

            Repetitive strain injuries plague far too many musicians, and I was one of them. These injuries tend to come at the most stressful times, before big performances and auditions, and last far too long. In my case, I was barely touching my instrument for five months leading up to graduate school auditions. Although problems did not go away immediately after auditions, I learned some valuable lessons that today allow me to play without pain. Here I hope to steer you toward some resources to help you achieve every musician’s goal – playing pain free.

WARM UP


            Let me begin by saying that I am not a doctor and am not qualified to give medical advice. Medical professionals such as physical therapists can help you determine steps you can take to avoid drastic measures such as surgery. One of those steps is warming up. My initial conception of warming up for cello was playing scales, and although scales are excellent for opening our ears, they are not enough. Perhaps you have heard musicians compared to “small muscle athletes.” With that in mind, we should warm up the same way athletes warm up, by stretching! I have recently begun to use a variation of these stretches from Kansas City Symphony cellist Allen Probus. Here is a demonstration along with his encouraging story of overcoming injury. 

HEALTH & FITNESS

            Being unable to do what we love to do for extended periods of time may be the result of physical pain, but such trauma can also result in emotional pain too. Lacking motivation to take care of yourself physically and mentally can result in poor diet and lifestyle choices that set back the already lengthy process of healing. Give your body every chance to heal by eating healthful food, staying hydrated, maintaining fitness without taxing already overstressed muscles, and getting adequate sleep. As I took care of my body I noticed improvement not only physically but also in terms of clear thinking and positive mental outlook.

REST

            As much as I hated to admit it at the time, resting was one of the most effective steps I touch to recovering from injury. The advice of medical professionals was a minimum six to eight weeks of rest, in my case. They defined rest not as reducing playing time but as staying away from the instrument completely and avoiding taxing activities for the injured muscles. One professional familiar with musician’s injuries pointed me to a book entitled The Musician’s Survival Manual that included a chart for beginning practice again after an injury. Imagine my surprise upon seeing that the first days of practice consisted of only 10 minutes of practice – two five-minute practice sessions separated by an hour of rest! Now that I practice and perform regularly, I still add times of rest between practice sessions as often as every 15 minutes of practice. 

 

            Understandably not everyone has the ability to go without playing for any length of time, especially when they provide their living through performance. I am very grateful for the cooperation my teacher and school with helping me find the road to recovery. Seek the help of professionals in finding the best way to rest in your unique circumstances.

MEDICAL EXPERTISE

I eventually ended up using a thumb brace which was just what I needed to avoid stressing my injury during daily activities. However not all medical equipment is created equal. I will not post pictures here, but if you so choose, search “thumb brace” online. You will notice that some products correctly orient the pinky is a straight line with the arm, and others align the thumb in a straight line. The second alignment, known as ulnar deviation, will not help in recovery, but rather would stress the body by holding an unnatural position for extended periods of time. Please check with a medical professional to find the right products for you.

ALTERNATIVE TREATMENTS

            Thankfully my journey through a performance injury did not result in the need for surgery, but along the way many types of alternative treatment did help. Chiropractic, electrotherapy, and massage therapy were all helpful in themselves, and along the way I learned better how to care for myself through the advice of therapists and doctors.

            In addition, I also discovered Silicone Cupping through the recommendation of a colleague who was working through similar injury issues. Although you may not be familiar with cupping, the technique is becoming more popular in sports. Watch previous summer Olympic games, and you will notice that swimmers especially often have red circles across their bodies. This is the result of cupping. Cupping can be used at home with the guidance of a physical or massage therapist.  

 

 

INSANITY

            Insanity has been defined as “doing the same thing over and over again, but expecting different results.” No matter how many of the above methods you pursue, if you return to your instrument and play in the same ways that put you in pain in the first place, you will likely find that you return to the exact same results, namely more pain. Instead, be proactive. Seek your teacher’s input and advice and explore body awareness through Alexander Technique, Body Mapping, Feldenkrais, and the like. Only through change of technique did I ultimately find lasting relief.   

One size does not fit all!

            What works for one person does not necessarily work for another, so seek help from competent medical professionals who are familiar with working with musicians. There is light at the end of the tunnel. I wish you well in your journey to pain-free performance.

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©2020 by Jonathan Simmons. All rights reserved. 

Learning Extensions Forward and Backward

October 10, 2020 by Jonathan
Extensions, Left Hand, Pedagogy, Technique

             String pedagogy tends to lump all extensions into one large animal. As cellists know however, not all extensions are created equal but rather are divided into two completely different categories of forward and backward extensions. Let us explore the similarities and differences below.

Jonathan Simmons

Jonathan Simmons Cello

Extensions

            To begin, we need to set two ground rules.

#1. Extensions always occur between first and second fingers in the neck positions.

            Once we understand this concept, extensions become more manageable. All the fingers remain half-steps apart from adjacent fingers with the exception of the first finger that will be a whole-step away from second finger. No need to worry about your short pinky not reaching forward far enough on its own. Rather allow the movement of the second finger to push the other fingers into position.

            #2. The thumb remains under the second finger at all times.

            This rule is fairly self-explanatory. No matter whether we shift or extend, the second finger and thumb move as a unit in the neck positions. We will flesh this rule out practically later in the post. Now on to the two types of extensions.

Backward extension

            Although nearly all orchestral string method books begin with the forward extension, we will begin with the backward extension instead because it is easier both to explain and to perform. This might raise the question of why the method books teach the harder concept first. My personal opinion is that many orchestral method books are designed with the upper strings in mind and subsequently are adapted to fit cello and bass. Many other factors in addition to extensions lead me to this conclusion.

            Enough of the rant. Let us continue.

            The backward extension is simply the action of straightening the first finger to reach a half step lower, what Wesley Baldwin of the University of Tennessee, Knoxville calls the “waiter, check please!” position.

Of course, much more goes into the process than that. At least two things could happen instead of an extension forming. First, you might straighten your first finger, and instead of reaching an extension, the finger points straight into the air (fig. 1). 

Cello Life Blog - Extensions
Figure 1

If you experience this phenomenon, all you need to do is angle your hand back so that the finger touches the string (fig. 2). 

Cello Life Blog - Backward Extension
Figure 2

This exercise demonstrates one of the benefits of the slanted hand position. Many teachers and performers fall on either side of the square versus slanted hand debate, but this ease of extensions for me is definitely a positive advantage of the slanted hand. 

Perhaps you straighten your first finger only to find that it is touching a lower string (fig. 3).

Cello Life Blog Jonathan Simmons
Figure 3

 In this case, all that needs adjusting is your elbow. Simply move your elbow forward until you find the correct angle to reach the desired string.

            One thing you will notice about this hand position is that it is sustainable. Instead of the fingers spreading left and right across the palm (fig. 4), the movement is the common motion of opening or closing the fingers.

Cello Life - Bad Extension
Figure 4

 If your hand is like mine, you may notice that, in addition to being easier on the hand, the distance between the first and fourth fingers is equal to or greater than spreading across, allowing us to reach larger intervals.

            You can tell the backward extension is being executed correctly when only one finger moves. Notice also that the wrist does not move, but that the uninterrupted straight line from the elbow to the base joint of the pinky remains unbroken (fig. 5).

Forward Extension - Cello Life Blog
Figure 5

Forward extension

            In contrast to the backward extension involving only one finger, the forward extension involves movement not primarily of the hand but of the arm. Whenever the left arm moves, I personally define that movement as a shift. For this reason, I consider the term forward extension to be a misnomer (though I will continue to use the term for the duration of this post). In fact the forward extension, as it is commonly known, should rather be defined as the combination of (1.) a forward shift and (2.) a backward extension. In other words, a true forward extension does not actually exist, only backward extensions! Allow me to explain by demonstrating how this change in thinking will solve some common errors in executing forward extension.

The first of these common errors is extending forward from the wrist. The resulting position breaks the previously mentioned line from elbow to pinky. A negative example looks like this (fig. 6).

Bad Forward Extension - Cello Life Blog
Figure 6

From this position, students often complain of being unable to “reach” far enough. This is the consequence of the hand and/or fingers attempting to move forward without the arm. Can you imagine reaching for an object six inches away moving only your wrist? Of course you would be understandably frustrated! Yet this is how many students try to “reach” for the notes forward extension. Have students try the following exercise to develop better habits for forward extensions. 

             Another error that students are prone to make is to extend forward without the thumb moving with the second finger (fig. 7).

Bad Forward Extension Thumb
Figure 7

             As mentioned earlier, the thumb and second finger should move together. An immobile thumb is uniquely a problem to the forward extension because only in the forward extension does the second finger move. Of course backward extensions can be hampered by a tense thumb, but the shifting portion of the forward extension becomes absolutely impossible because it prevents the arm from moving. The immovable thumb can also be considered a subset of shifting (extending) from the wrist. For this reason, I consider the forward extension a combination of both a forward shiftand a backward extension. Practice the extension in two distinct parts of (1.) a forward shift followed by (2.) a backward extension of the first finger to develop this sensation. 

            I do hope that you work through these exercises and experiment on your own to find the extension technique that allows you the most mobility and the least tension. I have heard other excellent ways to explain extensions recently and am constantly seeking to add more ways of thinking about this universal concept. Please feel free to add a comment and share what has worked for you!

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©2020 by Jonathan Simmons. All rights reserved.

 

The Most Expensive Advice I Ever Received

September 25, 2020 by Jonathan
Inspiration, Left Hand, Masterclasses, Musicality, Pedagogy, Right Hand, Shifting, Technique

            Developing as a musician requires learning from the greatest pedagogues and performers on your instrument, often taking place through public masterclasses and private lessons. Sometimes these events can be quite pricey as sought-after teachers can charge hundreds of dollars for a lesson. Below are five nuggets of advice that I have gleaned from some immediately recognizable cellists from whom I have had the privilege of learning. I will share their words followed by how I applied them to my own playing. You will notice that a few of these quotes are not original to the teachers from which I first heard the quotes. Where possible, I have attributed the quotes to those believed to be the original author. I do trust that I am not revealing any trade secrets that were meant to be kept for a select few. Enjoy learning the most expensive advice I ever received!

Melissa Kraut The Most Expensive Advice
 “It’s not the thing; it’s the thing before the thing.” Dr. Melissa Kraut

That’s it? I hopped on a plane, paying for an extra cello ticket to learn that? Of course I learned much more in the lesson than this simple statement, but this one memorable quote has stuck with me and influenced my teaching and performing in countless ways. Let me explain.

Many musical elements combine to make for specific climactic arrival points and thus deserve our attention and emphasis. A cadence, the top of a crescendo, and the culmination of an ascending line are just three of a myriad of examples. However as Dr. Kraut pointed out, what draws our attention is not only the event, “the thing,” but also the precursor to the event, “the thing before the thing.” We must take care to build to a climax and increase the anticipation by all the means at our disposal. Primarily this remark was meant to highlight musical elements, but preparation is also crucial in technical matters as well. A smooth string crossing requires preparation from the right side, and a successful shift requires preparation on the left side. Consider not only the end result, but also how you arrive there.

Zuill Bailey Most Expensive Advice
“I wish I had not known you were going to do that.” Zuill Bailey

            Mr. Bailey said these words after I had given what I considered to be a successful performance of some solo Bach. Indeed my performance was technically proficient, and to this day I still believe that I played very well. However this statement is not referring to technique but rather to musicality. I had played well but had committed a worse offence – I had played predictably.

            In music we often become stuck in the rut of playing musical ideas the same way consistently. Whether a sequence that we play with the identical inflection (which is what I had done in said Bach), or a series of repeated notes played in a monotone dynamic, our habits often override our musical sensibility and imagination. A way to rephrase Mr. Bailey’s meaning might be to say, “Never play things the same way twice.” Music making requires an endlessly fertile imagination, and we must never stifle the sense of discovering new ways of playing merely because one way is easier than another.

“Don’t shoot for a hole in one. Aim for the green and putt it in.” Lynn Harrell as quoted by Zuill Bailey

            Truth be told, I never actually had a masterclass with Lynn Harrell, but I did have the opportunity to see him perform Schelomo and to meet him afterwards.

Lynn Harrel Cello Life Blog

He was a generous person and a wonderful musician. (As an aside, on this particular performance, he began the first note of Bloch’s Schelomo on an up bow and used at least seven bows on that first note. Who else could get away with that?!) This quote comes via Zuill Bailey, and I take his word for it that this is an accurate quotation.

            This golf analogy has to do with our method of shifting. Instead of using only larger muscles to propel the hand forward and hoping for a lucky result, “a hole in one,” we should rather use the back muscles to get us close to our target note followed by minute adjustments in pitch using the finger once we arrive in position. This requires a loose hand frame in addition to a sensitive ear. So grab your putter and watch your shifting improve!

Stephen Balderston Advice
“Don’t press. Pronate.” Stephen Balderston

            Cellists hear about pronation beginning from the earliest lessons. However differentiating between pressing and pronating can take ages to truly understand. I would like to demonstrate the difference between pressing and pronating using the following video because words alone might not suffice to explain.

 The first motion demonstrates pressing, often confused with the second motion of pronation. In pronation, the elbow is near the level of the higher string, allowing the arm to drop and pronate sufficiently. This is demonstrated by the bow beginning on the A string and rolling to the D string using primarily a drop of the forearm. Notice that the bow hair does not necessarily need to be pressed closer to the stick when pronating, yet pressing will nearly always result in the hair coming closer to the stick. More on this in a future post about the bow.

            Properly understanding pronation makes a world of difference in stamina and tone. As we learn to use right arm weight and leverage to coax sound from the cello, we save energy, making cello playing a physically sustainable activity. In addition, a discerning ear can tell the difference between the sound produced through pressure versus pronation. As you explore the physical freedom that comes with learning this technique, also revel in the world of resonant sound that opens to you.  

The Most Expensive Advice
“When you first look at the music, it seems impossible, but the impossible just takes a little longer.” Wendy Warner quoting Nell Novak

            I leave you with this quote from my current teacher. The more I reflect on this statement, the more I find it to be true. No matter what your current skill level, you will come across some piece that seems impossible to play. However rarely is the barrier a physical barrier. You and I have the same number of fingers as Yo-Yo Ma (albeit mine are shorter than his!), two arms, two ears, etc. Our inabilities can be overcome as we learn to train our ears and to use our bodies in the same ways which the great musicians of all generations have learned. With training yesterday’s impossibility becomes today’s victory, and then you are off to conquer the next impossibility.

I hope you enjoyed these glimpses of the most expensive advice I ever received. If you like, check out the links below to learn more.

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©2020 by Jonathan Simmons. All rights reserved.

Thoughts on Shifting

September 17, 2020 by Jonathan
Left Hand, Pedagogy, Shifting, Technique

 

Shifting


 

Following on an earlier post about the left hand, today’s blog will explore some of the mechanics of shifting. How do we shift while maintaining an effective hand position throughout not only the neck positions, but also in thumb position. Let’s get started.

The Shifting Mechanics

The Shortest Distance Between Two Points or Lines and Circles

The left elbow’s position is not static as we play, but rather the elbow moves based on the needs of the music. The elbow moves to allow us to play in tune, to extend, and to shift seamlessly to wherever we need to go across the fingerboard. Today let us consider the action of shifting specifically, building on the concept mentioned in the last blog that extraneous motions should be eliminated, especially in fast passages.

That the elbow “leads the shift” is one point of technique about which many cellists agree in terminology, but in application this maxim can look quite different from one person to the next. A popular idea is that the left elbow leads the shift as the left hand moves by travelling in the shape of an arc, a smiley face, or even in the circular motion of a baseball pitcher’s windup (fig 1). From my understanding, this movement is intended either to add or remove weight from the fingers on the strings during the shift in order to produce the desired sound.

                                                        

Figure 1

Whenever I hear this advice, my mind immediately recalls the truism learned in geometry that “the shortest distance between two points is a straight line.” In the interest of removing extraneous motions, consider allowing the elbow to travel to its destination via a straight line. As an example of this kind of elbow movement, watch Yo-Yo Ma in the first three shifts of the following video. Notice that his elbow moves from one point to the next in a straight line free of unnecessary motions.  

 

 https://youtu.be/57TURi_EXRo?t=86

 

So if the elbow “leading” does not necessarily involve an arc motion in everyone’s terminology, what else can the phrase imply? In my own terminology, the elbow’s leading refers to the order of movement. The elbow arrives at its post-shift position one or more notes before the hand ever shifts. In other words, shifting is a two-part process. First the elbow leads, and then the hand follows one or more notes later. If this is the order of movement, the arch shape the elbow makes in movement is inconsequential because the elbow will not be moving while the hand shifts. Oftentimes shifting in this manner is so subtle that to an observer, a shift seems to be over before it started.

Lest I seem to be devaluing the teaching of such great string educators as Paul Rolland who encourage round shapes in movement, let me confirm that round motions are to be encouraged more often than not in strings playing. However shifting is one instance in my own experience and observation where accuracy of intonation is aided by thinking in terms of straight lines instead of arcs. My assumption is that this has to do with the accuracy of measuring a line as compared to an arc. A straight line between two points will always be the same distance, but the path of an arc can be slightly larger or smaller without our noticing, thus causing our minds  to measure them less accurately. In addition, hitting two moving targets at once, the correct elbow position and the correct finger placement is fraught with more challenges than finding the spots individually.

That being said, how does one know when the elbow is correctly located for a given position? In short, a range of acceptable positions exists. Wherever your hand can achieve the correct frame without undue tension can be one of many correct positions.

Landmarks

In our search to shift accurately and consistently, the elbow remains only one piece of the puzzle. Ultimately our hand must arrive at the correct spot on the fingerboard. The following three types of landmarks serve as aids in our quest for dependable shifts.

The End of the Neck

Both fourth positionand upper third position (also known as 3rd ½) rely on the thumb being placed at the very end of the neck to easily find the placement of the four fingers. I am amazed at how many students do not know this fact. I am equally amazed at the immediate progress they make in shifting gracefully and accurately once they make this one small change in awareness, namely using their thumb as a reference for these positions. The thumb always goes directly under the 2nd finger. So to find upper third position, the thumb goes as far as it can down the neck and 2 goes down on top of it, like this (fig. 2):

 

Figure 2

 

As the one exception to the rule, fourth position is the only neck position where the 1stfinger is placed directly above the thumb. So for both third and fourth positions, the thumb shares the same spot. However in fourth position, the 1stfinger will be will be placed above the thumb replacing where the 2ndfinger was in upper third position like so (fig. 3):

 

Figure 3

 

Substitution Shifts

A second aid in shifting, substitution shifts promote accurate shifts using a note from the current position as a reference. The following video demonstrates literal substitution shifts where on one note two fingers are substituted to play the same pitch.  

 

 

The sheet music for this exercise would be as follows in fig. 4.

  Figure 4

   

Notice that the final and highest note of this exercise is an F, a minor third above D, the highest note of first position. To find even higher notes, this substitution shifting process can be repeated beginning on higher notes, shifting up a minor third each time ad nauseam.

Harmonics

Finally most positions have harmonics that we already know and use which can serve as reference points for our shifts. As an example, take the ending of the Ligeti Sonata for Solo Cello. The penultimate measure has an A# that is incredibly tricky to find for many. However using the octave harmonic on the D string, we can shift early and help our chances of nailing the note (fig. 6). Below is written first the suggest practice method sounding the harmonic audibly. Eventually take out the harmonic but still place the finger as demonstrated in the following video.  

 

Figure 6

 

 

Until I discovered the invaluable tool of using harmonics as guide notes in shifting, watching performers seemingly leap into thumb position and find a note out of thin air astounded me. As I think back, the shifts still impress, but they do not seem unachievable anymore because I know one of the secrets of their shifting: they were shifting to harmonics along. With an awareness of where harmonics are in any given position, shifting accurately to distant pitches becomes possible. This is an example of shifting to the position instead of to the note (more on this later in today’s post). See the exercise below I have developed to help me grab the same notes in basic thumb position out of thin air (fig 7). Accompanying the music is a video of my demonstrating the first line of the exercise. Notice that the thumb is placed on a lower string than the higher goal note in order to develop the habit of keeping the thumb over two strings. For another exercise geared specifically to the neck positions, see last week’s blog here: https://jonathansimmonscello.com/left-hand-habits-for-success/

Figure 7

 

 

If you are not yet fluent in locating the harmonics on the cello, let me recommend the book The Secret Life of Cello Strings: Harmonics for Cellists by R. Caroline Bosanquet. This book thoroughly and concisely explains harmonics in an easily understandable way. It is truly one of the best resources I know of on the subject. 

Habits

Shift Early, Shift Often

In addition to utilizing the inherent landmarks on the cello itself, good habits can also facilitate more accurate shifting. One of the best shifting habits any cellist can develop is the habit of shifting as early as possible. If you noticed in the Ligeti example (repeated again below), an open A string preceded the shift.

 

Open strings are an excellent time to shift. If you arrive in general vicinity of the position early (not merely the note. Remember: Shift to the position, not to the note.), you have a better chance of landing in tune. More advice on that from Lynn Harrell in a future blog.

Shift to the Position, not to the Note

As has already been mentioned multiple times, shifting to the position as opposed to only the note we intend to play is critical. This concept involves multiple factors. First the hand must maintain its correct shape and orientation to the string. Stretching a single finger to reach a note does not constitute a shift. Rather a shift is a whole arm movement as discussed at the beginning of this post. Second we must develop an awareness of what some call “fingerboard geography,” an intimate knowledge of what notes lie under each of our fingers on all strings in any given position. Knowing the note corresponding to each finger in every position enable us to utilize the three reference points. This assumes a thorough knowledge of intervals and left hand frame that can be learned from a competent teacher.

I hope this post has been helpful to you. As always, feel free to comment and to subscribe. I would love to hear what has been beneficial to you and what I can make more clear. Updates will be posted on my professional facebook page at www.facebook.com/simmonsmusic.                                                                                                                                                                                                

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Left Hand Habits for Success

September 12, 2020 by Jonathan
Left Hand, Pedagogy, Shifting, Technique

 

            Solid left hand technique is vital to a cellist’s intonation, musical precision, and long-term physical health. However one technique does not fit all, in more than one way. Not only do many accomplished cellists play with vastly varying techniques, but differing types of passages require us to move in different ways. This blog will cover three habits necessary in playing in tune and with efficiency of movement, the latter a habit that is paramount when playing quickly.

Many highly recommended methods and etude books exist to promote good habits in left hand technique. For example Janos Starker An Organized Method of String Playing, Hans Jørgen Jensen and Minna Rose Chung Cello Mind, etudes by Cossman, Popper, and others to name but a few. May I submit to you that many of these technical books do not explicitly define the left hand alignment with words but rather model it in visual aids or infer the shape by the demands of the exercises. Of course a qualified teacher is indispensable in every student’s quest to develop good habits. This introductory blog to the left hand is designed not to replace a teacher but rather to clarify some concepts necessary for getting the most benefit from the previously mentioned resources. It can serve as a point of discussion for further learning in lessons. The following approaches spring from habits I have learned from lessons, masterclasses, reading, and personal practice over the years that can help you revolutionize the way you think about your left hand.

String Crossings

            String crossings on violin family instruments can be an intonation nightmare. Every time we move a finger from one string to another, we incur the risk that the finger might end up in a different place than the one we intend. I remember vividly a lesson in high school when my teacher stopped me at the top of a particularly out of tune scale. “I would be rich if I got paid for every out of tune first finger I have heard in this room,” she claimed. Knowing that string crossings pose such a great intonation hazard, how can we practice them to gain more reliable intonation? Here is one exercise I have found helpful in my own studio.

Measuring the Distance

Take a scale, say the two octave C Major scale beginning on the open C string. We will stick with first position fingerings for this example. On C 0-1-3-4. Once you have reached the F, continue to let it sound with all fingers down on the C string as you add the open G. The result will be a double stopped major second between F and G. As you prepare to play the first finger A, let fingers 2, 3, and 4 continue to rest on the C string resulting in a double stopped third between F and A (fig. 1).


 Figure 1

After you have placed the first finger A, the fingers on the C string may be lifted to prepare for the following notes. Repeat this pattern going up each string of the scale. Once you are comfortable with this procedure, let the bow return to playing single notes as normal so that the lower bracketed notes do not sound. However continue to let the fingers gently rest on the string as before.


            What about going down the scale? All the left hand fingers must be lifted to allow the open string to speak, so can we still apply this principal? Yes! When coming down the scale, the fourth finger must be prepared two notes early. For example, coming down the C scale starting on the A string would look like this:

 

Figure 2

Repeat the pattern as before, initially sounding double stops and later silently placing the fourth finger on the lower string. Once this skill is mastered on the scale, apply it to arpeggios, broken thirds, and repertoire. Incidentally this exercise often has the added benefit of making string crossings smoother for beginning students, as well as more in tune. This is in part because a truly legato string crossing requires an almost imperceptible moment of double stopping to connect the sound of the two strings.

Hand Frame on a Single String

Quiet Hands

            In addition to aiding in good intonation across strings, our left hand alignment also affects our intonation and physical endurance on a single string both when playing in position and when shifting. Today we will address primarily the hand frame only in terms of playing in position. A good left hand philosophy for playing quickly can be summed up in the adage “quiet hands.” In other words, a movement should consist of the minimum of motion possible like a golfer seeking to sink a putt from the green. Any tense or extraneous movements should be eliminated. These extraneous movements manifest themselves in several ways.

First consider the motion of lifting the fingers from the strings. Think back to the scale exercise. Were you aware of how fast or how high you were lifting your fingers from the string? Likely not! When thinking about left hand movement, most string players automatically think about putting fingers down to depress the string.  Just as maintaining a sufficiently light touch is crucial to maintaining a loose hand, equally as important is the motion of lifting the fingers. In general, strive to keep the fingers just clear of the string when lifting them. Overly exaggerated movement leads to excessive tension such as hyper-extension (fig. 3) and slows us down tremendously.

Figure 3

  This bad habit of lifting the fingers excessively high manifests itself both when playing in position and when shifting. The faster the tempo of the music we are playing, the more important this becomes because the closer the fingers are to the strings, the more quickly and accurately they can execute passages. Strive for quiet hands when lifting the fingers from the strings.

Alignment

            Just as the movement of the fingers up and down can be optimized, so movement to the left and right should also be brought to our best advantage. Perhaps the most common misalignment is the left hand knuckles angling away from the fingerboard so that the pinky knuckle is furthest from the fingerboard. Although this positioning can be a very advantageous for vibrato, as advocated in David Finkel’s Cello Talks, we are considering only the factor of efficiency today. Notice in fig.4-5 below that the pinky is in a particularly poor position and would need to move a considerable distance to even reach the string. Students often strain and straighten the pinky in order to reach the string from this disadvantageous position.

Figure 4

Figure 5

            This position commonly occurs after ascending shifts when the elbow either does not move at all or does not move enough (more on that in a future blog post). Not only can this alignment change the hand frame and interfere with good intonation, it also requires an additional motion of the arm in order for the fingers to reach the lower strings. Let me recommend the following exercises to remedy this habit.

While in first position with the 4th finger on the C string, place the 1st finger on the A string as shown in fig. 6. Notice that the knuckles are not parallel to the neck but rather that the pinky knuckle is closest of all the knuckles. This position is somewhat of an exaggeration, of course, but it is helpful in maintaining a strong, rounded 4th finger, the pinky being the shortest finger. 

Figure 6

Next bring fingers 2, 3, & 4 to rest on the A string moving only from the knuckles, not the wrist or elbow. The following video demonstrates two motions. First the video shows an incorrect motion from the wrist that takes the knuckles out of alignment followed by the correct motion from the knuckles. Repeat in all positions ala Starker’s Organized Method of String Playing.


                                                                              

As a brief introduction to maintaining this alignment while shifting, practice the following exercise (fig. 7) shifting between 1st and 4thposition. Keep the 4th finger rounded as is often necessary. Notice that the 4th finger is placed on the lower strings when possible. Keeping the pinky is rounded while on a lower string assures that the alignment will be correct. When bringing the pinky to the next string to the left, the pinky will still be round, assuming the correct motion from the video above. Again, repeat this exercises on all strings and in all positions to gain facility.

                                                                                 Figure 7

 

In one of the next blog posts I plan to apply these principles further to shifting and thumb position. Thank you for reading, and please be sure to comment below and to subscribe to the blog for notifications of future posts. 

                                                                                                                                              

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©2020 by Jonathan Simmons. All rights reserved.


 

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