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Right Hand

Rules I Break (Part 2 of 2) – Right Hand

December 15, 2020 by Jonathan
Pedagogy, Right Hand, Technique

          Cello Life Blog Jonathan Simmons

            In last week’s blog, we addressed a few ground rules often taught to beginning cellists along with some instances in which those rules should be broken. The right hand similarly has some rules that need to be broken in certain instances. Today we will address two of those.

Right Hand Rule #1: Straight Bow

            Playing with a straight bow is crucial for a clear, consistent tone free of scratch in the sound, but if you watch great cellists, you will notice that they do not play with a straight bow 100% of the time. Why is this? As helpful as a straight bow can be for producing a homogeneous tone throughout the whole bow stroke, a straight bow is not necessarily the best way to produce a broad range of tone colors. Watch this video in which Thomas Mesa demonstrates the 10 bow lanes on the cello and when he plays with a crooked bow on purpose.

            In addition to the excellent advice Mr. Mesa gives, angling the bow helps move the bow across the bow lanes. This exercise that I learned from Natasha Brofsky entitled “The Snake” is helpful in exaggerating the usefulness of the slanted bow. You can use this exercise to work on either keeping a consistent tone with a slanted bow or allow the change in your bow’s contact point to vary the tone.

Rule #2: Bent Right Thumb

            Many string players liken the fingers on the bow to shock absorbers, a very accurate and relatable analogy. Shock absorbers must be free to move in order to be effective. Similarly our fingers must be free to adjust and not be fixed in one rigid position. In other words, there is no one correct position for the thumb.

Like many others, I was first taught that a bent thumb was more relaxed and that a straight thumb was more tense. After all, just feel the thumb muscle with the thumb bent versus straight and notice how the muscle feels more supple and soft when the thumb is bent. 

However, music does not require a constant state of release but rather a fluid balance between tension and release. As a broad over-generalization, the thumb should be more bent at the frog than at the tip. Many of us need all the help we can get to reach all the way to the tip, and straightening the thumb moves us that much closer to the end of the bow. 

See this previous blog post for more suggestions on reaching the tip. The role of the thumb is too detailed to cover in one blog post, but suffice it to say that a flexible thumb is more desirable than a thumb conforming to a single position. 

What have your discovered about the right hand that is different than what you were first taught? Leave your ideas in the comments below.

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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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Inside the Right Side

October 2, 2020 by Jonathan
Pedagogy, Right Hand, Technique

 

            As with any aspect of cello playing, the bow hand serves us best when used in line with our anatomy. Not only will we avoid injury by using the body in the way it was intended to be used, but our sound will ultimately improve, as well. Let’s start the discussion by looking at a skeleton.

The Arm Structure


             Take a look at three of the joints that we commonly think of in the arm structure, the shoulder, elbow, and wrist. Notice the order of the joints from highest to lowest – shoulder joint (glenohumeral joint), elbow, and wrist. Maintaining this position takes little to no energy as the arm dangles at our side, and this ordering of joints from top to bottom in space should be the default position of the arm when playing cello. More on this later.

In addition to the three joints already mentioned, our arm structure also includes one more joint that is often overlooked. To find this joint, raise and lower your right shoulder while touching the right collar bone with your left hand. Move your left hand until you find the place where the movement originates. Your left hand should now be touching the joint connecting your sternum with the collar bone, the sternoclavicular joint. 

The sternoclavicular joint – the fourth arm joint


Maintaining an awareness of this fourth joint of the arm will give you more freedom of movement and will likely free up tension held in the shoulder. Our 4D movements require freedom in this joint to experience our full range of motion. For a more involved look into how an understanding of anatomy can positively impact your playing, consult Body Mapping resources available online and in your local area.

Adding the Bow

Watch your language!

In my teaching, I often remind students that “press” is a bad word (this applies equally to both the right and the left hands). Instead of pressing, we want to use our natural arm weight to produce the desired sound through the bow. Our arm weight flows naturally in the above mentioned order of joints, shoulder, wrist, and elbow through pronation, the same motion we use when pouring out a cup of water. The following video demonstrates the difference between pressing and pronating.  

The Elbow

            Bariolage, or repeated string crossings, are one example where cellists must be aware of the motion of the elbow. For our purposes, we will be considering bariolage between two adjacent strings, not across all four strings. Three possible options exist for the movement of the elbow in this case. The elbow can (1.) alternate levels based on the string being played, i.e. when playing on the A string, the elbow will be higher than when playing on the D string. Otherwise the elbow can (2.) remain on the level of the higher of the two strings with the forearm dropping to reach the lower string, or (3.) the elbow can remain on the level of the lower string with the forearm lifting up to reach the higher pitched string. The first two of these three motions are useful in varying types of passages, and the third motion should be avoided. For slower passages, the first motion of allowing the elbow to move between strings will produce a wonderfully robust sound as demonstrated below.

 

However quicker passages often do not allow enough time for the elbow to move such distances. In these instances, the elbow must remain on the level of the higher string, allowing the forearm to drop the bow to the lower string as in this example from the Haydn Cello Concerto in C Major. 

 Why is choosing the elbow position of the higher string preferable to the lower string? This is because leaving the elbow on the level of the lower string necessitates a forearm movement that lifts the wrist above the elbow. This position breaks the natural order of the arm joints discussed earlier (shoulder, elbow, wrist), thus hindering the transfer of weight into the strings. This often results in weak or scratchy tone.

The wrist

Another instance in which we are often tempted (or taught) to raise the wrist above the elbow is when playing at the frog. I humbly acknowledge that many fine teachers encourage a supple wrist at the frog. Indeed a stiff wrist will cause tone to suffer in any part of the bow, and a higher wrist can be advantageous in order to take weight out of the bow. What I caution you to avoid, however, is habitually raising the wrist higher than the elbow. Try the following exercise to better understand why. First form a fist and place it on the nearest surface such as a table as if you were punching downward into the table.

 As you lean into the table, notice the feeling of stability in this position. Next place your forearm on the table so that both wrist and elbow are flat on the table. 

 

 Again lean your weight into the arm and notice the stability in this position such that it takes virtually no energy to maintain this position. Finally place both your elbow and knuckles on the table so that the wrist is raised above the table. 

 

Notice the immediate uncomfortable sensation when you lean into the table. Once the wrist is above the elbow, we have little hope of transferring weight through the wrist into the string. The late violin pedagogue Trevor Williams agrees. In the December 1985 Strad magazine, he writes, “I believe it is not good to raise and lower the hand to compensate for the strength and weakness of the nut and point of the bow. The varying quality of sound thus squeezed and floated, however slightly, in alternate bows is noticeable.” 

In addition to the above exercise, also consider the hanging position as in the bottom of a pull-up. Trying to complete a pull-up with bent wrist would be next to impossible. Conversely completing a pull-up a stable, flat wrist is definitely within the realm of possibility for most people, even musicians!

The above exercises demonstrate why we must develop the habit of a stable wrist even at the frog of the bow. A raised wrist is a very weak position, making us prone to injury. Again flexibility is most definitely encouraged, but always with the natural ordering of the arm joints.

As you practice this week, raise your awareness of the arm. Notice how the collar bone moves when you play and be sure you are not holding it in a rigid position because it is in fact designed to move. Also remind yourself of the natural order of the arm joints and play within the framework of your body. Continually experiment to find where you can eliminate tension and add a sense of ease into your playing. Happy practicing!                                                                                                                  

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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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