hi, i'd appreciate a lot for you to talk about the harmonics, I mean, seeing you playing, when you get to the harmonics and the way you play it, i feel like it's a whole technique there to learn, specially I struggle every time i play them, so I hope you could talk a bit about it
Hey Jamie! I can't remember if I ever commented on your videos. But I've been attentively following you for the past two years. And I can say I am always delighted when I see something new pop on here or your website! You are a remarquable reference in cello technique and talk about very intricate and important stuff that makes all the difference! Really wish I could study with you, but I am glad I have access to these! I will keep a lot of the things you teach with me for a long time, and hopefully teach them someday, along with the discoveries I maie along the way, Oh, and I really like the fact that you talk about your own journey and the evolution of youe though, technique and teaching. I have similar thoughts sometimes and it's really validating and inspiring. Take care!
Thank you so much for taking the time to write your kind and encouraging words! I'm glad to hear you enjoy my videos and website! I will have more videos out this summer. Thanks again!
I am almost positive that most people do NOT know that. I'm not sure if "most people" know who St. Saens is... or even what a cello is. (Also, thanks for more bowing tips! And frogs!)
Any insight on why my right shoulder goes up and tries to attach itself to my ear when I play? I really appreciate knowing the science behind why it all works the way it does, and that it's all a matter of which choices you make. That means there can be no "perfect" cello technique - only that which works best for you.
Ah yes, I could have covered that! Sounds like you have a case of "helium shoulder" haha. You don't want to use your trapezius muscles to "shrug" your shoulders up when you play. Keep those relaxed. Interrupting your playing with some shoulder shrugs up and down when you feel or see it happening (as in a mirror) can help.
As a former massage therapist, your anatomy knowledge is superb and yes, you’re saying things correctly. Thank you so much for this information.! I already have chronic pain so it’s helpful to see ways to mitigate injury.
Thanks a lot, Mr. Fiste! I really appreciate your light and precise expalanations which help me a lot to understand the complex movements the cello is affording. Please keep posting here your profound and comprehensible knowledge.
I like to think of the force applied to and by a pool cue. A proper cue hold at the back end is very relaxed and gentle, like a cello bow hold, but force is focused at the point of contact in a myriad of ways.
Yep. Basically, having a pronated hand (palm down) with the elbow up put us at risk for shoulder injuries. I actually have a whole presentation ready that I gave at the MMC (Michigan Music Conference) about these risks but not being a health care specialist I wasn't sure it was a good idea to post the video.. Hmmm....maybe I could have someone from the CMU medical school look it over.
Haha Yes, I've heard he smoked a lot. I learned hand rotation from my teacher, who was a Starker student. I have also been influenced by Gerhard Mantel's book "Cello Technique".Thanks for watching!
one way to find it fast is with no pencil or anything, just see where your thumb can "fall" into your hand (and into middle finger) without losing the loose hand and then grab the pencil by leting your thumb fall there again instead of "using" it actively pencil will fly a couple times, guaranteed, but your are now using the thumb without actively pushing it. Probably very useful for violinists left hand and for thumb position
Hmm...interesting idea but I can't get my thumb to oppose the 2nd finger on its own by just relaxing it. Let me know if I am misunderstanding what you are saying. Perhaps for your thumb or others it works so it is definitely worth a try.
@@CelloProfessorI am probably using a different muscle, I just wooble my hand and "guide" the thumb without messing the writs movement, the more I do it the more I can control the thumb around (I am not trying to oppose anything, I just see where it reachs and it falls into the 2nd, at first it only wanted to be near the index) And now, being just 1 day of doing this I can activelly move the thumb and dont mess the wrist movement, it feels like teaching your muscles like you said on the vid
That instrument is exquisite in all aspects! Way to go, Steve! Your artistry and craftsmanship are the best of the best. The instrument's tone and sound color match the visual beauty of the instrument, if that is even possible!
I have quite severe tension on my traps when I am playing, to the point where I can finish a practice session without feeling sore in my traps. I have tried to slow down and play lightly but my traps sort of tense up slightly throughout and I have no idea how to release the tension, as it is very subtle, but it is there for sure. Any advice would be appreciated, cheers.
Thank you so much for this video!!! I have been looking for a long time to see a video that would explain to me how relax facial muscles. Really appreciated!
For the Robot Wave, does the impetus come from the shoulder or the elbow? That is, is the movement in the shoulder joint active or passive, or is the movement in the elbow active or passive?
In the robot wave, the motion is from the shoulder and is active. The active motion is the upper arm, rotating in the shoulder socket. The other movement is also active. The hinge is the elbow with an active motion in the forearm. I hope that helps!
Hello Professor! Glad to see you’re still recording these amazing videos. I always find myself looking back on our lessons together whenever im trying to release some unnecessary tension! I wish you well
Glad to see you making videos again. You were really useful during my first few months especially. I'd love to see a video on hand tension if you haven't already. I always put loads of pressure on my left thumb to try and press the strings down hard enough and I'm not sure how to correct that
Thanks for the video, Mr. Fiste! Regarding your last point: Do you mean that a beginner shouldn't be taught a hand position that is based around the balance of the fourth finger, but that they still should learn to use the fourth from the beginning? Or would you recommend to start solely with the lower fingers and then work your way up to the third, and lastly the fourth? Also unrelated question: What cellists, as well as other musicians, inspire you and your playing the most?
Yes, that last point I said kind of quickly and it wasn't very clear. In the string world there is a point of view that beginners should start on the fourth finger with all four fingers down and work back to the first finger. In my experience, on the cello, a beginner is going to put all four fingers down with the very finger spacing problems I'm addressing in the video. It works great on violin but not so well on the cello, IMO. I much prefer to start with first finger and work my way up to fourth finger. It's much easier for the beginner to correct the spacing problems this way. That's a good question! I think different cellists inspire me in different ways. I love the musicality of Yo-Yo Ma and the way he uses his vibrato. I love Jacqueline du Pre's energy and expression. And I love the vibrato and sound of Rostropovich. I love Janos Starker's approach to the cello and his clean and effortless playing. I love how Navarra approached the bow hand and arm. I love the way Paul Rolland, Hungarian violinist, approached movement on the violin. Those are a few anyway! Thank you for watching and listening!
@@CelloProfessor Ah, I see. Yeah, I can see both point of views on that one. Thanks for claryfing! Also, great list of cellists. I just recently discovered Paul Roland. Seems like an interesting man with interesting ideas. Cheers
