Holy Cow! My teacher told me I may never learn this...that was a challenge! At least now I have a better idea of what it is and how it is different from spicato. Thank you.
@@cellodrew I do not have specific reasons yet, but I would like to include it in my scale work. I am an adult intermediate, and by mysteries ways I play in a skilled youth orchestra. I am allowed to jump over the hardest parts of the music, but I want to impress😊 In the coming year we are playing Nielsen’s Helios overture, Holst’s Mars and Jupiter and two coir works.
This is so helpful. As an older adult beginner, your teaching has really helped me slow down and try to get the beginning steps right. I’m only sorry I live so far from D.C. so that I could study with you.🎶
That’s a lovely addition at the end. I enjoyed your thoughtful explanation about the alternative harmonic fingerings. I’m looking forward to practicing it-many thanks!
Thank you! I do something similar in my warmup. After checking tuning and loosening up. I like the lane concept. Kayson B. Refers this as the Forte Freeway. I repeat that to myself as a mantra. I also use a mirror and find the angle is distorted. I see in the mirror my bow looks angled but when I look down it’s straight. Mirror and camera angles can be deceptive.
Thanks for your comment! I like the "Forte Freeway." I hadn't heard that before. You are right about the deceptive angles. When I look in the mirror, I think more than the angle, I'm watching to make sure my bow is not drifting out of the lane unintentionally.
Personally I think it is, until you learn how to control it properly, then you can go with the sound and do little variations. But that’s essential for beginners. Very useful video 🙏🏻 thank you for recording it.
This was a helpful video! I’ve been practicing closer to the bridge to produce a “core” sound, a sound that is focused, clear, and has more overtones that allow the sound to project. I notice that it is incredibly hard to play shorter notes because my bow cannot activate the string in such a short amount of time. Is lane 5 playing more suited for long notes and do we tend to play faster notes further away from the bridge? I suppose we have to sacrifice the core sound to play the faster notes, then?
Thanks for a great question! You are absolutely right that playing closer to the bridge produces a more focussed tone. Of course, it's all relative to the dynamics, articulations, styles, timbre etc. As you play shorter notes, you do need to move farther from the bridge than with sustained notes. For the most part, I am only in lane five for melodic passages in louder dynamics and more often in the higher register. I rarely play as close to the bridge as in the video but, that practice makes it easier to get closer to the bridge when needed. Truly beautiful and refined playing comes with many hours of focussed experimentation. We always have to strive for more but go with what our ears tell us. It sounds like you are on the right track!
Also check my Pre Vibrato video: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE--g9Ipo7m5G4.html The vibrato article I mentioned was by Alice Vierra and appeared in the American Suzuki Journal, February 1, 2017, ASJ 45.2
Huh? Are you kidding me? Your bow was CROOKED throughout the video! Best way to practice the bow is using mirror. Sorry to say youre not doing to well.
I hope you find this exercise useful. Check out this video of the great Canadian cellist, Zara Nelsova. I learned this exercise from her and in this amazing performance you can see she really practiced what she preached! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-RlJM3PsG12M.html
@@cellodrew Thank you very much for your reply, which is very useful and in part addresses my concern. I have being playing cello for four years. I started with a teacher who was following Dotzauer in addition to another old European method. I found those methods very rigrorous and good, although at times I felt they were little heavy on moral (they can be very tiring at. times). Due to me moving in a new city, I had to change teacher and the new teacher uses Suzuki combined with Mooney (Position Pieces). I found Suzuki very pleasant to play and I am learning a lot, but I fear that I am missing the rigour in building the foundations, which Dotzauer (I think) provided. I wonder whether I should complement Suzuki with some traditional technique repertoire...what would you think? Thank you very much again for your willingness to reply.
I don't even play the cello but if I were to pick it up I'd run straight to you channel. Your voice is very gentle and I like how you explain things. Honestly surprised you don't have more subs. Keep up the good work!!
