Is it helpful to learn how to
draw a completely even bow close to the bridge1? A benefit can be
that it may instil more consistency and control with a fuller, richer sound.
I’ve been taught this exercise but it wasn’t so that I then play all the notes in
the same way in my pieces! It’s meant to be one of many different bowing
exercises (not as a playing style in itself) so, when it comes to bringing
phrases to life in pieces, this bowing technique is then combined with other
ways of bowing to create the variety of phrasing and expressiveness needed. The
purpose of developing physical skills is to enhance your musical aims. One way
my tutor ensured this happened was to set me a demanding piece, then before
beginning it and during learning the piece, I was taught exercises which
developed the relevant, necessary techniques for playing it well and musically.
In addition, if difficulties arose within the piece then an exercise would be
added to overcome it eg Goltermann can give you a thumb injury if the bowing is
not completely proficient so extra tips and adjustments needed to be made. This
also meant that I could play the piece more confidently and feel relaxed,
physically and psychologically, as a result of the new-found ability and bowing
control. So I’d add that, in addition to the main goal of musical aims, other
benefits that come with technique is feeling more relaxed, confident about
playing/performing difficult pieces as well as injury prevention which not only
makes you a more physically relaxed, healthier cellist, it also means you can
practise for longer when you need to without side-effects. Hence, I’m a fan of
technique. However, I think learning technique shouldn’t be a chore otherwise
it’ll put the student off not only learning technique but also the cello! Not
to mention if you spend all day repeating the identical exercise, you’ll just
end up with repetitive strain injury! Tension, both physical and psychological,
is the enemy of good cello playing and creates further tension producing fear
of performing which is one of the root causes of stage fright/nerves. It’s also
ignoring all the important musical and physical work you can do away from your
instrument eg thinking through the score, learning about the piece/composer/era,
physical exercise to make you stronger, exploring different expressive options
and looking through the full score rather than just your own part (which I have
to admit I wasn’t taught to do by my tutors so it’s something I’m only
discovering for myself in recent years).
I’m sure students don’t like
technique because it seems boring compared to playing a piece and is often seen
as difficult to master. It’s the task of the tutor to show its relevance and
not overwhelm the student with too much technique all at once eg the
Rostropovich exercise I was given wasn’t long but was fun even though it wasn’t
an easy exercise because it was both physically and mentally demanding - a
co-ordination brain-bender!
Every good teacher should
educate/train the student in such a way that they can carry on without them
because they have all the skills they need for the job. Students should be able
to go beyond their teacher(s), strike out on their own, come out with different
ideas and s/he/they should be pleased and proud of them when they do.
As for practising hard, I think
we should practise hard, even when young! I did 3 hours a day on the cello when
very young and I enjoyed it but it was physically hard at that age. So I
invented a way to bandage my fingertips (as injury and pain prevention) to be
able to regularly play long hours but my mother cut it back to 2hrs a day so I
wouldn’t have to do that. It made it more manageable although I did find it a
bit of a tight squeeze for getting everything I wanted to get done per day
before my next lesson. Within those hours I did scales, arpeggios, technique
then an easy-ish piece as a repertoire warm up and then studied/played one of
my pieces in detail paying close attention to playing correct notes, tonal
quality, composer markings, structure of piece, phrasing, bowing, checking for
left hand tension and correct positioning of arm, posture, expressiveness,
emotion etc. until I knew it like the back of my hand, and could start playing
it at any point in the score and could express myself through the music with
ease. However, when you are very young you need a parent to help you check that
you are doing all the right things. Later you can use a mirror to check
posture, arm positioning and so on. Your cello, voice, is an extension of
yourself so eg the bow is part of your arm not separate from it so to speak.
Your cello is also your friend, don’t go into battle with it! My cello used to
stand next to my bed so it was there as part of my life right from the age of
5yrs 11 months, not something I left neglected in a corner and had to force
myself to play/practise. Well, the famous tennis player Arantxa Sanchez-Vicario
apparently used to sleep next to her racquet which was tucked up in bed with
her (or at least that’s what I heard!) so it’s not that weird to have my cello
next to my bed! At least it’s not in my bed!
1see Steven Isserlis’s
facebook post (11th April 2017) ‘Technique?’ available at:
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