Posts Tagged ‘Cello Technique’

This ebook, An Alexander Technique Approach to Cello Technique, is published on this website in a PDF format. It is very detailed and practical, and it will give you the physical tools you need to take the limits off of your ability to create the accurate cello technique you want without sacrificing your body.
This ebook is also for sale on all AMAZON websites in a KINDLE format.
Located in Albuquerque, New Mexico, U.S.A. (MOVEMENT THERAPY)
I’d like to use the word REPERTOIRE in a very different sense here, to have it be those applied physical habits that define your technique and posture, conscious and unconscious, when you play the cello.
I also want to treat your posture on the cello and your cello technique as one and the same, inseparable in creating fine cello playing.
If I were to ask you to sit down and write a book on cello technique, what would you say? My experience as an Alexander Technique teacher is that if I ask a cellist to tell me what makes and defines his or her cello technique, the cello player CAN give me specifics.
An aside here: If I ask the cellist or dancer to describe the mechanics of walking or sitting down in a chair, they have no clue. This means performers have acquired some very specific rules about what makes for great technique in their art form, but have no idea as to how they move or inhabit space on a daily basis.
One of the best gifts you can give to yourself as a cellist is to sit down and write out in detail what you live by as you play the cello. I’M CALLING THIS THIS YOUR “CELLO TECHNIQUE REPERTOIRE”.
You can never be too specific about the rules you live by on the cello. This is probably a brand new concept for you, because over your playing lifetime, you have moved from cello teacher to cello teacher, attempting to find a new teacher, each surpassing the previous teacher, to help you move closer and closer to an amazing cello technique. And you probably have never listed what you came to define as your rules of fine cello playing, and checked to see if these rules worked.
The only way to test if this has been so, is for you write the cello technique method you would write if a publisher asked you to write such a book.
Here’s what I think you’ll find. You will find that if you analyze, observe, and put into words everything you do in your body from head to toe as you play the cello, you will find how much you do as you play that you LEFT UP TO YOUR BODY.
Let me say that again. THE ODDS ARE THAT MUCH OF WHAT YOU DO ON THE CELLO WITH YOUR WHOLE BODY AND HANDS TO MAKE MUSIC HAS BEEN LEFT UP TO THE BODY TO FIGURE OUT, WHICH IS A PRETTY HAPHAZARD WAY OF GOING ABOUT BECOMING A FINE CELLIST. There are a couple of reasons for this.
First, posturally, when you started as a young cello player, the cello teacher said sit up straight, and that was it for the body. Think about it. SIT UP STRAIGHT IS AS CLEAR AS IF THE TEACHER HAD SAID SLOUCH. There truly are no specifics as to what “sit up straight” means. “Sit up straight” is NOT a definition of good posture!
Second, your specific cello technique, how you used your hands and arms, was demonstrated/explained in terms of position, when playing the cello requires the hands and arms to be in constant motion.
It is only through observing and listing all you do with your whole body as you play the cello, that you will discover your REPERTOIRE OF CELLO TECHNIQUE.
Once done, this list will give you the ability to keep what works, let go of what doesn’t work, and search for technique and postural solutions to what has been setting limits on your talent.
If you do what I just described with an Alexander Technique teacher, the Alexander teacher will give you a whole new vocabulary that will dramatically help you to define what it is you do on the cello, and what you would possibly like to change.
After I went to an Alexander Technique teacher to solve a carpal tunnel problem on the classical guitar, it wasn’t long before I was inspired to put into words what makes for great guitar technique and posture. This is because I finally had a clear vocabulary for what it was I did when I played the guitar, and how to go about changing what wasn’t clear to me, or to simply let go of wasn’t working.
IT IS ALWAYS A GOOD TIME TO BECOME YOUR OWN MASTER TEACHER AND PERFORMER.