For an semi pro cellist like me, I find this very helpful. I like how you break down the concepts so it's easier to understand. I'm familiar with Galamian and I practice the scale method often. Slow learner at first but once I get it I get it.
Thank you Yuki. It’s so nice to know these videos are helpful to people. Three cellist children? Sounds like a lot of fun, start saving up for the extra airfares. Haha. More stuff available on www.cellokartman.com Best wishes and stay safe. Stefan
Lol...I didn't understand a word of this, because I've been playing for only 2 months! Even though my 51 yr. old anatomy and brain currently struggles with 1st position scales, I love listening to videos like this, things way too advanced for me, in order to prime my brain for what is to come. I look forward to the elation of when I actually understand it.😊 It's also very encouraging to hear advanced players admit to facing difficult spots in a piece of music, and the need to practice, we are all still learning.❤️
Greetings and thank you for finding my video introducing Galamian style scales. I have to laugh also when I think about how hard I try to make sense of the subject to smart people who haven't been using musician's terminology. I tried to make the connection between simple and compound fractions from a mathematical perspective translated into the fractions we use to denote time in music. I think the challenge is to represent time in any sort of notation let alone the obtuse and confusing notations that have become the traditional ways that musicians understand. This is all about reading the rhythmic components of music and it's as fundamental to playing music as using symbols (the alphabet) to denote phonetics in speech. Without an understanding of how to create a predictable pulse (tempo) and divide pulse into equal lengths (subdivisions) music would be a chaos as groups of musicians try to play together. Over the years as a teacher, I often find myself trying to make relatable analogies to help people who understand other disciplines, but I cant always get my point across. If you have a question I can understand about the video, perhaps others would learn from our exchange.
@@FlorestanDuo it's true, music is another language altogether! Teaching is tough, but the thrill when a student "gets it" is pretty amazing. I'm a mom, that's how I know about that feeling, of course we mom's are our children's first teachers.😂 I also marvel how composers can write the different parts for all the instruments keeping all the notes and rhythms in time and tune to one another... it's all so fascinating to me! I recently learned what a slur is, so I'm working on bowing to accommodate all the notes in the slur before running out of bow; I'm assuming that is what this scale exercise is teaching, or at least, in part?
@@TheBereangirl Yes, the number of notes in each bow gets greater as the “subdivisions” increase. Starting with two notes per bow and one note per metronome mark of 60. That’s one note per second (60 seconds in a minute - get it?) Two “clicks” for each bow, or slurring two notes together. If we increase the number of subdivisions and corresponding notes per bow we also increase the notes per click. In the Galamian system, we start with 2 notes, then 3, then 4, 6, 8, 12, 16, and 24. The speed of the notes corresponds mathematically. That is why the notes are called “half-notes”, “quarter-notes”, “eighth-notes”, and so on.
@@FlorestanDuo I do get it...uh... mostly. But I will absolutely "get all of it" at some point. I'll probably be practicing the scale and then it will "click." That's what happened to me regarding major scales, such as C, D and G, and how they are marked on the staff. It was quite thrilling when I really understood it!😂 Or like how I was playing 'Ode To Joy' on the A string (still in D Major) when my sheet music had me on the D string, so I had to find the high note with a shift -- I DID IT!!! That was a thrill, lemme tell ya! I was high for the rest of the day!😂
Powerfully tips ....I have been playing by ear in that same way w/different songs using the melodies to chase and harmonize. Also anticipating unfamiliar melodies, you can antisipate playing the half or whole steps in given key. This opened another world in "Playing By Ear" Falling into songs, I surprised myself in playing many songs that are unknown. Knowing scales help . I first find the home note (key) in any song...(the note droning through the song), then the home note- chord...(the quartet). Once this is found, the melody is acquired. The result is playing most any songs without sheet music. Though, I do read. Played country for decades w/fiddle whereby I learned to play by ear. I then Al's mastered the cello the same way. I like the thumb use as a capo to create dow-ray-me scales anywhere. Thanx for tip info!
Good tips, but never forget ignore sound production and the various dynamics, colors, nuances and articulations that are necessary for a rich palette when practicing scales. Otherwise you could be mindlessly manufacturing a factory machine that is 'amusical' or even anti-musical. My opinion only.
Interesting! I tend to build my exercises off of tetrachord but the idea of the hexachord as a foundation of technique is very interesting. In thumb position it keeps us off of the thumb and in the lower position allows us to play within a tonality as opposed to within a position. Very interesting
Dear Aidan, thanks for your interest and for watching the scales video. I do use tetrachords for the basis of thumb position exercises (chromatic thumb position exercise) but as you mentioned, hexachords work for me in scales because it avoids the 12 12 123 combo that everyone uses and doesn’t fit any rhythmic grouping. Nice playing on your Saint Saens and popper. I like your go for it approach.
Thank you Ivan. So nice of you to say. Sometimes I wonder if anyone is watching the videos I make and then a new subscriber like you comes to my rescue.
@@FlorestanDuo I think that, when I started taking cello classes, I developed a different appreciation for musicians who share quality materials like this publicly and free of any charge. I am a late comer to cello and have been playing for a few years. I can do it as a hobby (which I take seriously, otherwise it wouldn't work) and it has been a terrific experience! But those who do cello and music in general for a living struggle, particularly during this pandemic time when people are unfairly prioritizing things (and artists in general are suffering, as we become less human avoiding concerts, theaters, museums, etc.), as gatherings for concerts are still restricted. Musicians have a special place in my supportive efforts to save the arts (and to feel more human, really).
@@irebustini Som glad to hear from you again. I am also glad you are enjoying your studies in music and particularly with the cello. Music and learning are beautiful things and the world is in need of beautiful things at this time. I hope you continue to enjoy your studies and deepen your knowledge and appreciation for the arts. The world is also in need of people like you who are willing and take the time from busy lives to learn about and appreciate what affect the arts have on the human condition. Thank you.
@@FlorestanDuo I had a student for three years during his HS (home schooled) sophomore through senior years that was tall, gangly, still growing and, when he first played for me, was very awkward and stiff at the instrument yet thoroughly committed to the cello. I asked him to take the leap of faith and dedicate himself to learning the Galamian scales and arpeggios with drones, singing intervals, Starker-esque serial exercises in 2, 3 and 4 octaves. This he did and in his senior year he both played in Carnegie Hall with his youth orchestra and won a city wide concerto competition performing the Saint-Saens. He was still tall, gangly and awkward looking, but he didn't miss any notes and had a coolness in his stage presence that was remarkable and testament to the lasting effects of learning the notes and how to get there from anywhere. (Btw. this is Alex Kramer writing, BM with BG, Rutgers 88-92. I'm Canadian now, eh! Really fun trip to get to see you play and teach on YT, Stefan; please remember me to Jeannie and love to you both from East Van, BC!)
@@cellohood Hi Alex, I remember you from Rutgers. Nice to hear from you. Glad you are in Van. Beautiful place. I used to spend summers with Harvey in Victoria bottom of vancouver island. I hope we can catch up some time. Maybe you can find my email? I don’t like to broadcast on RU-vid. I teach at university of Wisconsin.
Dear Zain, Thank you for your message. It’s very gratifying to know the effort I put into making the video is helpful to you. I hope you win the NYO audition. It’s a great program. There are other interesting videos at my website if you are curious: Www.cellokartman.com Best wishes,good luck, and stay well. Stefan
Thanks a lot, Stefan. This is one of the more interesting discussions and demonstrations of scale work on cello I have found. Tell me please, how do you approach the right hand when articulating each note in the scale (as distinct to slurring)? Thanks.
Hi Graeme, The scale routine demonstrated is meant to concentrate on rhythm and facility of left hand. The bowing would be two beats slurred and wouldn’t change from one rhythm to the next in this system. Sometimes my students get a little distracted by what they are concentrating on in the left hand and forget to maintain the same speed of bow, but one should find the proximity to the bridge that works a whole bow in two beats in the lower positions and then adjust closer to the bridge as one shifts up in position. Other bowings and articulations can be added with the scale to enhance the repertoire you are studying once the accomplishment of the left hand has become subliminal.
Sorry for the late reply. I used Tunable‘s for the drone app and I connect to Bluetooth speaker. If you have a choice use sine curve for the type of tone produced
Hi Stefan, Many thanks for your videos, they are very instructive. I have been searching for a seller of your 'An Artist's Guide to Cello Technique by Stefan Kartman' but have not been able to find same. Is the manual available in print or PDF? I hope you can assist. Best regards, Peter Reuter, Australia
Hi Peter, Thank you for your interest in the Artists Guide to Cello Technique and in my video. At the moment, I have sent my last copy out, but I am working on a reprint and should have one soon. I refuse to skimp on the production of the printed versions, so they are on nice paper and cost me quite a bit to produce. That's why they cost $20 plus postage. I can send you one directly and we can work out payment with PayPal, but I don't want to accept payment until I have some more copies in hand to send to you immediately. So far, students have mostly been purchasing these directly from me when I visit for masterclasses, summer festivals, and such. It might be quicker and less expensive for you to get one online. I can send you for $10 US. That way if there are updates, its easier to get them out as well. Let me know and thanks again for your interest. Stefan
Hi Peter, I started a website since there was so much interest in “An Artist’s Guide to Cello Technique”. Since I just got started, much of it is still a template, but the ordering for the technique book works just fine. www.cellokartman.com Should get you to the pdf and printed copy so that you can order a copy. I just sent one to Singapore and it cost me $25 haha. I set the website up for free shipping, but am just changing it now. I’m charging $20 for the book and $10 for the pdf. For you it’s smarter to choose the pdf. It would be cheaper to print it yourself in Australia than to pay the shipping. Also, I can get it to you right away.
Greetings to you David. Thank you for watching my video. You may purchase the method from the following website. Www.cellokartman.com Good luck and health to you and your family. I hope to her you play someday.
I'm a little confused by the demo of the hexachords at 12:10 in video. The music clearly printed the fingering 124124 but u were playing 123123 so which is which?!🙄🤔
Hi Steve, thanks for your question. You are correct. The fingering is not the same. In fact the notes are also not the same. I mentioned briefly in the video that I was transposing a section of a larger exercise to specifically cover the needs of this specific area of this particular scale. The fingering that I play in the video is the one that you should use. Sorry if that was unclear.
Hi Anthony, I’m glad you enjoyed my video and thank you for watching. I’m trying to avoid giving out my personal contact info on RU-vid, but you can google search my university email. I teach at Univeristy of Wisconsin- Milwaukee. Once we are in contact, I can sell you an online or printed copy. They are not expensive, I make them mostly for my students.
Hi Anthony, I’m just getting started on my website, so much of it is a template, but you can order “An Artist’s Guide to Cello Technique” there. www.cellokartman.com Sorry I took so long to get back to you. Stefan
Hi Kristi, I’m using different apps on my iPad and on my computer. So I can best answer your question, what is it that you are looking for? Is it having music on the same screen as the video? Writing on the music, switching cameras?
Dear Kristi, thank you for your kind words. The iPad app I use for editing scores is “ForScore” . It allows you to edit from a PDF of the music (fingerings, bowings, etc.) It is also possible to perform from the scores, if you choose that route, with a foot pedal to turn pages. I have hundreds of scores edited and safely tucked away in folders so I can easily find them when I am teaching. Glad you enjoyed the video.
