Antonio Pérez González, Cello
Performance practice; Federico Mosquera
Name of main subject teacher: Herre Jan
Stegenga
17/4/2017
TABLE OF CONTENTS
I. THE STORY OF MY RESEARCH
The
Story 3
Documentation and Description of
the Artistic Result
5
Reflection on the Process and the
Artistic Result
6
II. INTERVENTION CYCLES
Intervention Cycle
I: Paul
Tortelier 7
Intervention Cycle II: Pau Casals
23
III. APPENDICES
Appendix 1: Media review 42
Appendix 2: Network 43
Appendix 3: List of
exercises
44
THE STORY OF MY RESEARCH:
A. The story of your research
One of the main reasons why I
decided to come to Codarts was because after my Bachelor in Spain I felt I
needed to improve many technical skills of my playing and
particularly everything concerning my right hand technique. My main
subject lessons with Herre Jan Stegenga went very much in that direction but still I felt I needed more specific information in order to deepen my knowledge in this field.
I wanted to know each function of my right arm, why and how they work like that
and I wanted to know how to improve them, to be able to solve my own technical
problems. Besides I want to teach and I
want to convey the right needed information to my students and be able to solve
their technical problems by analyzing their lacks and using this knowledge.
That is why this Artistic
Research represented the perfect opportunity for me to spend time gathering
information about this topic, and then be able to answer my research question: How can I improve my right hand technique by
applying the most relevant contributions on that field of great Modern
cellists? Therefore my motivation is not just becoming a better and more
informed player but also being able to provide that information to my future
students.
I did enormous discoveries
concerning the right hand technique. Nowadays I can easily speak about function
of each part of the right arm, something that before was totally impossible
because I didn’t know enough about it.
So I feel pleased with this Artistic Research because thanks of it I
discovered the figure of Paul Tortelier and Pau Casals of whom I didn't know enough
about and I have learned so much.
I
chose the methodology of the case study as a strategy to gather and compare
data during my research. This strategy comprises three different sources in
order to gather all the existing information from three different perspectives
and therefore create a general and wider idea of the topic. The three sources I
used to collect the data were: Books & Articles, Analysis of video recordings,
and Interviews with experts. I followed this order in both Intervention Cycles.
The first Intervention
Cycle was devoted to the figure of Paul Tortelier, (21
March 1914 – 18 December 1990) so
I searched for books which speak about his technique, treatises or any
information which I could find regarding how he played and how he taught. Fortunately Tortelier wrote himself a book named Paul Tortelier. How I Play How
I Teach. Chester edition (1975)., in which I found all his knowledge concerning
right hand technique. It is curious to mention that when I bought my first
cello they also gave me this book by Tortelier with the instrument, so I always
had this book with me but I never paid so much to it until I started this
research.
The
data concerning right hand technique was quite scattered in Tortelier’s book
therefore I organized it in different parameters, which I used as well to look
for information in the recordings. The parameters were: General position of the
right hand, bow position, articulation, bow strokes, dynamics and relationship
between breath and bowing. Once I watched all his performances in YouTube, and
all his master classes and documentaries, I sought for these parameters and
then I realized the reasons behind his specific exercises recommended in the
book and also its results in motion while he was playing. Immediately I started to experiment with this
material too and I become astonish of the achieved results. After experimenting with Tortelier’s exercises and analyzing
his recordings I had an interview with my teacher, Herre Jan Stegenga, who was
student of Tortelier. We were working together those exercises which he clearly
knew how to approach as a direct disciple. Besides that on March 17th
2017 I went to Begur, little village of Girona in the Northeast of Spain, where
I had the chance to interview Marçel Cervera. Marcel was also student of Tortelier
and he totally recommended me Tortelier’s book. He refered to this book as the
Bible of the cello. Both, Herre Jan
Stegenga and Marçel Cervera, agreed on the fact that I should always see the
figure of Tortelier not as a theoretician of the cello but rather as a very
practical oriented teacher and performer, who wrote his book based on the huge
experience he had as teacher trying-out his exercises with very different
cellists.
The second Intervention Cycle was
devoted to the figure of Pau Casals (El Vendrell,
29th of December of 1876 - San Juan de
Puerto Rico,
22th of October of 1973). I followed
the same methodology I used in the previous cycle, so I searched for books about him, treatises or any information regarding
his way playing and teaching. Unfortunately Casals left us nothing written by
himself, therefore I had to fill this gap gathering information through books
written by his disciples. The first was Diran Alexanian, (1881, Constantinople –
1954, Chamonix, France) and
I took his book Alexanian,
D. The Technique of Violoncello Playing. Paris: A. Z. (1922.) as a reference point and the second one
was Maurice Eisenberg, (February 24, 1900 - December 13, 1972) of
whom I took Maurice
Eisenberg. Cello playing of today. Lavender Publication (1966).
These
books comprise all the knowledge I got from the literature sources. Once I read the books I searched again for
the same parameters used in the previous cycle: General position of the right
hand, bow position, articulation, bow strokes, dynamics and relationship
between breath and bowing. I also looked for these parameters in video recordings
of all his performances in YouTube, and all his master classes and
documentaries. I could notice that many of the ideas that were explained in the
books were applied by Casals while he was playing. So after experimenting with all this
knowledge and analyzing the recordings I interviewed Marçel Cervera, who had a
lesson with Casals, and also was student of Alexanian and Cassado (direct
disciple of Casals). He was also talking a lot about the differences between
Tortelier and Casals and their way of teaching. We were speaking about the best
position to hold the bow and the best way to move the arm, always according to
his vision, which in a way is closer to Tortelier than Casals.
After these two years of intensive work with the inspiration of these
two great cellists (Tortelier and Casals) it’s easy to appreciate the big
change I did. Now I see the entire path
and I realize how much I woke up the awareness of my body, and particularly my
right hand technique, using it now as a tool to produce the desired sounds. Moreover,
I’m able now to consider the difficulties and think how to tackle them, in
order to overcome these difficulties in the least possible time and with the
biggest results.
B. Documentation and description of
the artistic result
My result consists of a series of exercises inspired by the ones
proposed by Tortelier and Casals which I incorporated to my daily practice
routines, together with recordings of fragments of pieces in which I apply the
technical aspects learned during this Research.
|
|
Technical aspects |
Exercises |
|
|
Paul Tortelier |
·
Straight
movement of the bow (parallel to the bridge). ·
Development
of the interior muscles of the hand. ·
Applying
finger function. ·
Awareness
of the wrist action. ·
Bow
distribution. |
·
The
rail’s bow. (video) ·
Tapping
the ash. (video) ·
Interior
sensitivity. (video) ·
Boomerang. (video) ·
Balancing
the bow. (video) ·
Bow
speed. (video) |
|
|
Pau Casals |
D. Alexanian |
·
Development
of the forearm. ·
Awareness
of the wrist action. ·
Legato
in string changes. ·
Legato
between bow changes. |
·
Increasing the forearm use. (video) ·
The good handling. (video) ·
Avoid breaking the line. (video) ·
Legato between bow changes.(video) |
|
M. Eisenberg |
·
Straight
movement of the bow (parallel to the bridge). ·
Bow distribution. ·
Applying
finger function. ·
Awareness
of the wrist action. ·
Legato
in string changes. ·
Legato
between bow changes. |
·
The
rail’s bow. (video) ·
Bow
speed. (video) ·
Balancing
the bow. (video) ·
Acordes wrist. (video) ·
Avoid breaking the line. (video) |
|
This is a chart
which shows the main attention points of the three cellists whose treatises I
studied and the coincidences among them.
|
|
Straight movement of the bow |
Development of the interior muscles of the hand |
Applying finger function. |
Awareness of the wrist action |
Bow distribution. |
Development of the forearm. |
Legato between changes. |
|
Tortelier |
ü |
ü |
ü |
ü |
ü |
|
|
|
Alexanian |
|
|
|
ü |
|
ü |
ü |
|
Eisenberg |
ü |
|
ü |
ü |
ü |
ü |
ü |
C. Your reflection on the process and the artistic
result
Before carrying out this Research, my playing was
missing certain essential points related to right hand technique: I had a lack
of articulation therefore my musical ideas were not fulfilled. Because of that I used to play with tension
in my muscles and I got several injuries therefore I had to stop playing for a
while. During this research I have removed tension in the neck, shoulders,
forearm and thumb, etc., because I have increased the activity of certain
muscles and also I have established the proper function of each. As a result of
that my music flows naturally and I am able to express much better my musical
ideas. That’s why I think this work was so beneficial for me and it will be
relevant during my further professional life, not only as a performer but also
as a teacher.
Moreover, I developed many cellist and performer’s skills such as
coordination, accuracy, sensibility, sense of control, self-confidence.
Particularly I woke up the interior sensitivity of the right hand, which is one
of the ways to prevent the tension of the hand, letting the hand dropped
naturally instead of grabbing the bow. Also I developed the function of each
finger providing balance and sense of contact with the bow. I reduced the
movement of my wrist, in order to prevent lacks of sonority and therefore avoid
innumerable undesired situations that would make me feel unsecure and
uncomfortable. I developed the action of
the forearm which was instinctively used during my playing but not as it should
be, providing a great amount of thick sonority. I also removed the tension in the
muscles of my neck, which were wrongly connected to my body, providing so much
tension and so many problems in my coordination.
Through this Research I also developed the ability of critical hearing
and analyzing carefully each one of my movements thanks to the video
recordings. It also helped me to understand better the technique of other
cellists by analyzing carefully their recordings and processing the written
information they left (descriptions, technical advices and exercises).
To sum up, I think in the end the Research Question was the right one
because at the beginning of this process I wanted to study the right hand
technique of many different cellists, but as soon as I started with Tortelier
and Casals I realized that the amount of information was already too big to
open up to other names such as André Navarra who was originally in my
list. With that first plan, and
considering the time I had, the research would have been too superficial,
lacking all the analysis and details I gathered about Tortelier and Casals.
THE INTERVENTION
CYCLES:
First Intervention Cycle: Paul Tortelier
1. - REFERENCE RECORDING:
I decided to
record this piece because it contains many different technical
features regarding right hand technique.
Reference
recording, 01-10-2016 – Cassadó’s suite for solo cello I.mov; https://www.youtube.com/watch?v=FzqjsAU1xik
2. -
FEEDBACK:
My own feedback on the recording:
I feel that
I have tension on the right hand and
this tension prevents me to use all the weight of my arm improve quality and
quantity of sound. In my down bow hit the string and it makes
a noise that shouldn’t be there. About the tuning could be better in some places where more difficult
techniques are involved. I could be more precise with the rhythm of
the piece. I am missing many times the contact point with the string and therefore I kill the natural
sound of my cello. Furthermore, my understanding of the piece could be
deeper
Feedback from my teacher: Herre
Jan Stegenga. Cello teacher in Codarts, Rotterdam.
In general I
have to feel more the movement of my shoulder blade and play without tension there. In my right hand I have to make work the
middle fingers because they make a solid and broad sound. I need more activity
in the right hand to support the position changes. Nevertheless the energy
of the piece is fine, I just need to be a little bit more free.
Feedback
from my peers:
Elle van der
Mespel. Master violin student. Codarts, Rotterdam.
She remarked
that at the end of a big down bow I lose
the control and then I hit the string with the tip. The beginning
of chords could be more
accurate and clean, less crashed. Sometimes at the heel the sound goes like <> and I
need smoother bow changes. I’m not regular with the contact point of my bow, and this makes a bad quality of
sound.
Marta Cervera Alonso. Master
cello student. Codarts, Rotterdam.
In general
the character of the piece is fine, I like the energy. There are some
tensions in the right hand.
About the rhythm, there are a few passages that are not perfect. The idea of the beginning could be
better. The ornamentation could be played with more Spanish character. I
like the sound of the piece but in the low register you lose the right point of contact.
Summary of the feedback and key words: Right hand
technique => Tensions/I hit the string in the chords/
feel my shoulder blade/make work the middle fingers. Sound => Low
register / Contact point. Rhythm=> could be more accurate. Tune => general
it is good. The idea => could be deeper regarding the
understanding of the form.
•
How can I overcome the technical
difficulties of the piece? How can I control the hitting noise that I make when
I play chords? How can I keep a regular point of contact with my bow? How
am I going to track the progress regarding right hand technique?
3.-DATA
COLLECTION:
I decided to
use the strategy of the Case Study in order to find and gather the data. The
case would be Tortelier’s vision of the right hand technique.
3.1- Literature
How I play how I teach, by Paul
Tortelier 1993 Chester Edition.
This is one
of the essential books for this cycle devoted to Tortelier since this book was
written by Tortelier himself and deals in a very thorough way about his vision
of everything concerning cello technique. After reading the chapter about right
hand I decided to divide the information in these blocks:
-General position of the right hand:
Thumb – It
should be bent and placed so that the flesh is in contact with the corner of
the nut and the nail with the stick.
Middle Finger – It
should have its tip half on the metal ring and half of the hairs. Straighten
the first joint so that it feels not only the metal ring and hairs, but also
the stick, which should lie approximately in the bend of the first joint.
Index Finger – It should
be placed fairly vertically on the stick just above the bend of the first
joint. At the point the stick should be rolled slightly deeper between the
first and second joint to obtain more power.
Little Finger - It
should be placed just above the circle of the nut.
-Bow Position:
According to
Tortelier the right way to hold the bow starts with the horizontal position of
the arm. Keeping the forearm in
the same straight plane with the wrist. The wrist can be bent slightly to the right to make a
perpendicular angle with the cello strings. Tortelier explains really clearly
that the fingers should
not grab the bow, but they have to be dropped in a relaxed way under the heel,
this is right position.
To hold
correctly the bow Tortelier suggests an exercise that consists in keeping the
bow with the left hand from its middle and all the fingers of the right hand
except the thumb (which is
slightly raised) slides from the lower half to the heel. Once they arrive
to that position the first joints of
the hand move the bow to our position making a snap in the string. After this,
the thumb should be placed on the heel, and the left hand has to leave the bow
with the right hand placed on position. This exercise awakens the interior
sensitivity of the hand, seeking in the arrival the right position with
firmness.
-Bow movement:
To increase
the feeling of the course of the bow, Tortelier recommends the following
exercises:
Placing the
bow at the point on the D string and holding the tip firmly with the left hand
we must been in a parallel line with the bridge. Then as if on a rail, the
right hand slides along the stick on position. This movement has to be repeated
several times to let the muscles adapt and learn the right way of the bow. The
same exercises should then be done on the other strings watching carefully the
different directions that the bow adopts when changing the levels. There are 7
different levels on the bow. 4 for the four strings and 3 for the three double
strings.
To complete
the proper functioning of the bowing Tortelier dedicated the last attention to
the change of bowing on the heel.
This
extremely difficult action must be executed within de minimum space and with
great economy of movement. In slow motion there are three simultaneous
movements stemming from the wrist and hand. Combined
with a finger action identical to the “scratching” indicated on the 1st
exercise.
The
three simultaneous movements are:
•
A small lateral movement
on the hand to the left (
•
A small rocking movement
of the hand to the right pivoting on the little finger (
•
A rotation of the bow
towards the bridge obtained by lifting the wrist (or if one prefers, the hand)
while flexing the fingers barely losing their points of contract (
The
fusion of the three movements is represented by this diagram.
-Bow speed:
Another very
interesting aspect of Tortelier’s playing is his continuous relationship with
the bow speed. To take care and be aware of this concept he created one
exercise that consists of using the whole length of the bow to play a varied
number of equal beats (8, 7, 6, 5, 4, 3, 2) by changing the bow speed. This
exercise forces the cellist to estimate and calculate the quantity and bow
speed that is going to use. Therefore the goal of this exercise is to achieve
an even sound.
-Articulation:
One of the
most impressive skills of Tortelier's playing is his mastery of articulation.
Therefore we can find in his book many exercises which develop the strength of
right hand and the individuality of every part (wrist, index finger, little
finger, and thumb).
Regarding
the movement of the wrist on
the Up-Bow stroke, it shouldn't have vertical movement but always horizontal,
that's why he was asking to practice this movement on an absolutely horizontal
surface.
The exercise
consists of drawing a circle on the hinge of the right wrist and placing the
hands on a table, the index finger has to be placed one inch from the hinge.
The hinge of the wrist has to move till it touches the index finger. This is
the motion used in starting an up-bow stroke. The core of this exercise is to
understand that the movement of the hand is driven by the hinge of the wrist
and not by the tip of the hand.
One more
feature that Tortelier stresses in his book to develop the action of the wrist
is the so called "Boomerang" stroke: the purpose of this exercise is
increasing the activity of the wrist in a very fast movement. According to the
author: "The arm has to remain still
and propel the hand in a short and swift stroke, letting it return instantly to
its starting point as if releasing a spring".
To increase
the freedom and strength of the Index
finger, Tortelier created an exercise that works particularly this aspect.
The exercise should be executed striking the stick with the index finger as
indicated the rhythms above the stave. The action is like tapping the ash of a
cigarette. Tortelier, advised to combine this exercise playing short and long
notes to mix tasks
Exercise 1
Exercise 2
To prevent
weakness of the Little Finger and
obtain stability in the bow at the heel one should compensate for the unequal
weight of the bow between the index finger and the little finger by actively
pressing the latter on or against the stick. Using the following staccato
exercise designed to deal with this problem. Through this exercise that
Tortelier recommended, the Little finger muscle of the hand improves its
strength and activity.
Moreover,
there is one exercise to fight the immobility of the thumb and avoid the tension and wrong postures. This exercise
should be executed by moving the first joint of the thumb in a combined action
with the first finger. Tortelier recommends to practice it in two different
places of the bow: in the first quarter and in the middle. The exercise
consists of three different motives on quavers (8th notes).
The
next exercise that Tortelier recommends combines de the difficulties and
the whole musculature of the hand is working to combat weakness.
The
exercise "A".
The
bow is placed in the "C" string close to the frog, and then
a swift-bow stroke coming from the wrist puts the bow in
movement. The fingers of the Right Hand, especially the 1st and 4th
grab the bow keeping on balance the stick, the elbow and the inner part of the
forearm and wrist reset the position to play on the "A"
string and then the forearm moves out of the string till
the tip of the bow reaches the "A “string.
The exercise
"B".
The
bow is placed in the "C" string close to the frog. Then a
swift-bow stroke coming from the wrist puts the bow in movement. The
fingers of the Right Hand, especially the 1st and 4th grab the bow keeping
on balance the stick. Then the forearm moves the bow out of the
string till the tip of the bow reaches the "C" string again.
This exercise “besides overcome the weakness of the right arm” helps the
dissociate movements of the wrist from those of the arm.
To
dissociate the movements of the wrist from those of the arm Tortelier also recommended
the next exercise.
The movements of the wrist are opposite to those that are doing the arm in the bow-stroke.
-General remarks on
bowing.
Moreover he
explains the way to practice every kind of typical articulation (legato,
staccato, flying staccato, spiccato, sautillé). He affirms that all the bow
strokes should start in the
string.
Staccato -
Apply pressure to the bow on the string and releasing it upon making the
stroke.
Flying Staccato - Applying
a lightly pressure of the index finger on the stick.
Spiccato - While
vertical bouncing of the bow is maintained by the index and little finger the
wrist has a small action of movement.
Sautillé - Placed in the middle of the bow, first and second finger are active and the movement should alsocome from the wrist.
-Relationship between breathing and bow:
Tortelier is
aware of the problems that produce disorder in the relationship between bow and
breathing, therefore he seeks to achieve the independence of them. To avoid
these tensions Tortelier advised an exercise where these aspects are improved.
The first
exercise consists of playing a scale inhaling in the first beat of each bar and exhaling after four beats. The scale starts in down-bow stroke. The second
exercise consists of the same but starts up-bow stroke. In this way we work in
both directions.
In the
previous exercises the movements of the bow go together with the breath (in the
first beat of each bar). In the last exercise, Tortelier changes the order the
movement of the bow placing them against the rhythm of the breath, in the 2nd
and 3rd beat of the bar.
In this way
the breathing of each bar is independent to the movement of the bow. Practicing
this breathing and bow movements exercises helps to increase their independence.
Last exercise.
-Dynamics:
To vary the
tone-color and to avoid rigidity of the thumb by strengthening its first joint.
This
exercise should be executed by rolling the stick with the support of all the
fingers so that the hairs roll from one side to the other. When rolling towards
the outside edge the thumb bends and the hand caps the bow, resulting in a
crescendo.
Then,
gradually remove the 4th, 3rd and 1st fingers in order to eventually use only a
“ring” of the thumb and middle finger. This time the action emanates mainly
from the middle finger which is standing straight against the stick and “rubs”
it with an action similar to that of a smoker rolling a cigarette.
Furthermore,
Tortelier is aware of the weakness of the sound volume in the middle register,
and he wants to strengthen the sound in general. The strings instrument´s
weakness of sound in its middle register is due to the unfavorable position of
the two middle strings in relation to the winds of the bridge. Furthermore this
two strings situated at the axis of the instrument, present themselves to the
bow in a quasi horizontal position, whilst the A and C strings are on diagonal
levels. Since the inner strings are framed by the A and C strings, it is more
difficult to attack them from the sides, as is easily done with the outer
strings, (the A string being naturally played from the side with a down-bow and
the C strings with an up-bow).
In that
exercise Tortelier basically suggests working with a continue crossing strings
movements, in order to obtain a stronger sound and a “longer” bow.
3.2-
Analysis of recordings.
-General position of the right hand:
Whilst
Tortelier is playing is easy to appreciate the firm position of each finger and
understand its function the way he explains in his book. When the music
requires, Tortelier applies full contact with the finger flesh in the heel
playing with a powerful sound. We can appreciate this very well in this
recording.
Recording of
Tortelier playing Ravel, Pièce en forme
de Habanera; https://www.youtube.com/watch?v=QQvBm3lnd6M
-Bow Position:
The position
of his hand in the bow is always placed cutting the string and this makes an
accurate sound. He never presses down the string squeezing the sound, thinking
in a vertical way, but in a horizontal way.
As he
explains in his book, the forearm drives
all the weight of the arm; the hinge of the wrist has huge activity in
the bow-stroke changes, making the parallel line with the bow. The fingers are also used with an
extraordinary activity becoming as a shock absorber of the weight of the arm,
which are always adapting to each plane of each string. We can appreciate this
in these two recordings while he is playing the Sonata G minor Op.2 nº8 for two
cellos of Handel.
Recording of
Tortelier playing Handel Trio Sonata in G-minor HWV 387; https://www.youtube.com/watch?v=StheLEdWT_c
The same but
augmented with zoom.
Recording of
Tortelier playing Handel Trio Sonata in G-minor HWV 387; https://www.youtube.com/watch?v=3FZTYLjB3ic
In this
recording we can clearly notice how Tortelier uses the forearm just to parallel
displace the weight of the arm placed on the string (detaché)
Recording of
Tortelier playing Elgar's Cello Concerto in E minor, Op. 85 1st mov.
https://www.youtube.com/watch?v=XasNJ7rzZVU
-Dynamics:
The dynamics
exercises are also employed by himself in this recording. He uses the
natural features of the bow to produce different nuances, as we explained
earlier. We can appreciate how he turns the bow playing with less
hair and because of that he creates a huge range of soft colors.
Recording of
Tortelier playing Elgar's Cello Concerto in E minor, Op. 85 3rd mov.
https://www.youtube.com/watch?v=gQBuGS-0GmQ
-Articulation:
Whilst
Tortelier is playing is easy to appreciate how he leaves the natural weight of
the arm in the string without any tension but at the same time keeps a solid
position. The forearm remains in the same straight line than the wrist, which
is slightly bent to the right making a perpendicular angle with the cello
strings, it hasn’t a vertical movement but always horizontal, and the movement
of the hand is driven by the hinge of the wrist and not the tip of the hand.
The elbow is slightly raised to favor the “cut of string”. The hand is holding
the bow in a solid but flexible way using a great activity of the fingers and
the forearm has a huge activity driving the movement. This allows him to play
in the string and just leaving the weight without pressure.
Recording of
Tortelier playing Elgar's Cello Concerto in E minor, Op. 85 1st mov.
https://www.youtube.com/watch?v=XasNJ7rzZVU
-Bow speed:
We can
appreciate the control of his bow speed in this recording. Tortelier plays
with an accurate relation between bow and speed that allows him to create such
big and free sound.
Recording of
Tortelier playing Elgar's Cello Concerto in E minor, Op. 85 1st mov.
https://www.youtube.com/watch?v=XasNJ7rzZVU
-General remarks on
bowing.
Legato- There is no
specific explanation about this bow-stroke but of course Tortelier’s view about
it is implicit in some of the previous aspects, like bow motion chapter. Furthermore on this recording we can appreciate
the great ability that he had and the meticulous that he was for the Legato.
Nevertheless we can appreciate his trick: He anticipates the change of string
placing the bow closer to the other string.
Recording of Tortelier playing Dvořák Cello Concerto
in B minor op.104.
Staccato -
Apply pressure to the bow on the string and releasing it upon making the
stroke.
Flying
Staccato - In
this video we can see how Tortelier applies a light pressure of the index
finger on the stick to produce a flying staccato, letting the bow rebound
naturally. He uses the elbow to change colors.
Recording of Tortelier playing Paganini - Variations
on a theme from ''Moses in Egypt''.
https://www.youtube.com/watch?v=6QyJfz5U7NA
Spiccato - While
vertical bouncing is maintained by the index and little finger the wrist has a
small action.
Recording of
Tortelier playing Paganini - Variations on a theme from ''Moses in Egypt''.
Sautillé – We
can notice in that recording how Tortelier releases the contact of the 3rd
and 4th fingers with the stick and also we can appreciate how little
works the forearm and arm are working creating the movement by the wrist and
fingers activity.
Recording of
Tortelier playing Elgar's Cello Concerto in E minor, Op. 85 2st mov.
3.3-
Interviews and master classes with experts.
Ø Herre Jan Stegenga.
Since my teacher is a direct disciple of Tortelier he
always teaches using the knowledge contained in Tortelier’s book. He dealt with
these exercises himself and therefore he perfectly knows the proper way to do
them.
This is a summary of the ideas that Herre Jan told me
as memories of his lessons with Tortelier at Paris Conservatoire:
-General
aspects:
The idea of Tortelier was mainly to have a huge
control of the bow on the 20 first centimeters, then we could go to the tip
without losing sound quality.
-Bow
Position:
We have to use the inner muscles of the forearm to
have more weight into the string. The wrist must be slightly flexible.
-Articulation:
In order to improve the activity of the Index finger,
Tortelier was advising to practice an exercise to apply the “mordendo but not
accent” with the bow. In this way we achieve a huge sound.
-Bow speed:
Regarding these exercises to control the bow speed he
advised the following: “before playing you have to calculate the speed that you
want”, and like that you develop the mental ability to measure the proportion.
-Dynamics:
He only mentioned that the differences come from the
relationship between arm relaxation, hand pressure and the bow speed.
Ø Marçal Cervera.
On March 17th 2017 I went
to Begur, little village of Girona in the Northeast of Spain, where I had the
chance to interview Marçel Cervera. He was also a former student of Tortelier
but at the same time he had the chance to meet Casals and to study with two
disciples of him: Gaspar Cassadó and Diran Alexanian.
As soon as I got into his house I
realized that close to the piano, in the corner of the room, there was a stand with
Tortelier’s book How I play how I teach.
We started our conversation and he asked
me about my cello career. Immediately I told him about my research and we started
to speak about Tortelier. I asked him if he was working his
method in the lessons, and he told
me: “of course,
one year. Besides, in his lessons he did not need to explain so much, because he
was showing everything with his instrument and it was so clear and convincing that
there were no doubts”
We were speaking about the exercises contained in the
book and I asked him if Tortelier paid an especial attention to some of them or
if all were equally important. Marcel told me that he considered all of them
very important, and the theme and variations at the end of the second chapter are
also very important, totally recommendable. He told me that these variations
content an exhaustive knowledge and everything that you find there will present
in the entire cello repertoire.
He got very interested in the
conversation and he asked me to bring the bows that were placed in the furniture.
Then we started to speak about the
function of the fingers, the action of the wrist and how the movements of the
forearm should be. Marçel Cervera has a great position of the right hand and I
was happy to see that his hand position and movements were exactly those of
Tortelier.
He saw my right hand position and he
asked me to disjoin a bit the fingers, generating some space between each of
them. He asked me to let the fingers breath, and curiously Herre Jan Stegenga
told me the same in the next lesson that we had right after meeting Marçel
Cervera. I think I was totally
influenced by the latest findings of my research and the experiments I was
doing with Alexanian's data, who advices to place the fingers of the hand quite
close to each other. Cervera asked me to do the following exercises in order to
find the place of this space between them. The fingers should fall down
naturally above the bow. Exercise: video
He also told me told to place the
Index finger between the 1st and 2nd joint to avoid grabbing
the bow. Marçel told me to avoid excessive use of the pressure in the Index
finger, and that the use of the index finger can be left at the heel because
the sound is produced by the Middle fingers and Thumb.
Marçel Cervera told me that there
are two different points in the bow: the gravity center and the half of the
bow, and the secret is to find the proper balance between the use of the finger
pressure and the use of the natural weight of the bow in order to compensate
these two points. He remarked that this was something that Alexanian did not
explain and Tortelier did. This can be clearly seen in the following video of
Marçel Cervera.
Mendelssohn - Piano Trio No.
1 in D minor. (video)
As a very interesting and remarkable
anecdote I asked Marçel about the use of the Little finger and he told me that
at the end of his studies, for some reason, Tortelier started to leave the
Little finger out of the stick, and Tortelier asked Marçel to see how was the
playing without using the Little finger. Then Marçel smiled because he knew the
reason for that: Tortelier’s daughter told him that his father suffered an
accident and he injured his Little finger, that’s why he couldn’t use it while
playing.
Marcel totally recommended me
Tortelier’s book. He refers to this book as the Bible of the cello. Both, Herre
Jan Stegenga and Marçel Cervera, agreed on the fact that I should always see
the figure of Tortelier not as a theoretician of the cello but rather as a very
practical oriented teacher and performer, who wrote his book based on the huge
experience he had as teacher trying-out his exercises with very different
cellists.
Recording of
the interview. Unfortunately Marcel Cervera didn’t allow me to make a video recording
of our meeting, therefore I can only attach a link of the audio. (Audio)
List of
Tortelier’s exercises:
1- To
hold correctly the bow and awake the inner sensitivity of the hand.
There are
different techniques and ideas about how to hold the bow, but in
spite of the different advices of how to hold the stick or not, this exercise increases the flesh contact
with the stick and the inner sensitive. That lets us feel much more confident
and our sound become thicker.
https://www.youtube.com/watch?v=o2vum7aUlNY
2- To
increase the feeling of the course of the bow.
After
applying on a daily basis these
exercises I must admit that the results are immediately visible. The whole arm
learns the rail of the proper way.
https://www.youtube.com/watch?v=oEJ3DA9tdEA
3- To
complete the proper functioning of the bowing.
After working
the exercises recommended to achieve a good change of bow-stroke on the heel,
I’m happy with the results obtained. Now my bow-strokes changes are much smoother
and the expression becomes easier when right hand is stable.
https://www.youtube.com/watch?v=-plpPa9lbyg
And we can
easier appreciate on this recording in slow motion:
https://www.youtube.com/watch?v=Jf7OJwgiBoY&list=PLRvpvg6CGQoruzsMuPc0Aj-slYh6txOzQ&index=14
4- To
estimate and calculate the quantity and bow speed that we are going to use.
The outcome of
playing with the same speed is increasing the sound volume and let the
cello sings freely. Also good command of the distribution will help us to use
the full bow and therefore we will achieve better results.
https://www.youtube.com/watch?v=MevZCfTZD4M&feature=youtu.be
5-"Boomerang"
To increase the activity of the hinge of the wrist.
This
exercise increases the activity and the strength of the hinge of the wrist,
which is good to use it on the bow-strokes changes. The movement of this
exercise helps to develop the muscles of the
wrist in a horizontal way.
I found it
very interesting because sometimes on the bow-strokes changes I made sound holes,
or scratches, and since I am practicing and applying these exercises my
bow-strokes changes became more controlled and the shape of my music is clearer
than before.
6- To
increase the freedom and strength of the Index finger.
Before
practicing this exercise my Index activity was not my strongest point at all.
So as a very important part of the bowing, it was very necessary to improve the
skills of my Index finger. This exercise gives independency and strength to the
finger.
https://www.youtube.com/watch?v=bupQtIlJJsU
Once we
achieved independency on the Index the next step is to increase its functions. After
achieving the skill of biting the string through the movement of the index in
the bow, we will activate the string and we will improve our security in difficult passages
7-To
prevent weakness of the Little Finger.
Just like said about the Index, this exercise is also
very important to keep the balance of the bow. I’ve been practicing these exercises and those to combat weakness of the
hand and control the balance and I found them very useful. The hand becomes
stronger and because of that is able to manage the weight of the stick without
grabbing it in motion. With this skill we are able to go to the next step: playing
with the idea of feeling the weight of the stick on its movement. The benefits
of this exercises are totally recommendable in my opinion.
8- To
fight the immobility of the thumb and avoid the tension.
This exercise
reports a basic knowledge of the right hand. The main idea is to achieve a
flexible thumb without stiffness. Without that, it would be impossible to build
up any decent technique and any beautiful sound. So it was useful to be aware of this knowledge
and not playing with a stiff thumb.
9- To
combat weakness of the hand and control the balance.
According to
my experience this is one of the most useful exercises. It resulted in my hand
becoming stronger and helped me to be aware of the weight of the bow. The
results obtained are a flexible and stronger hand that doesn’t get stiff when grabbing
the bow when the bow-changes difficulties come.
10-To
dissociate the movements of the wrist from those of the arm.
Sometimes we can find in the repertoire movements that
are opposite of each other. These
exercises represent the key to achieve the dissociation of the movements of
each part of the arm and to get independency between them.
11- To
achieve the independence between bow and breathing.
This
exercise is also very interesting because it gave me awareness of the
importance between bow and breathing. After realizing the amount of tensions
that it could produce I applied it mmediately into my cello playing. There is
not much more to explain in this point.
12- To
vary the tone-color and to avoid rigidity of the thumb by strengthening its
first joint.
Once the
fingers of the hand are able to assume their roles we must use these abilities
to modify the pressure and the tone-color. This exercise comprises the skills
to develop the roll of the stick which will result in a tone-color change.
After applying all the exercises previously explained
I'm fairly satisfied with the results obtained. Just on the passage of this
recording we can remark a several points where it was totally necessary to
apply this knowledge: Straight
movement of the bow (parallel to the bridge), development of the interior
muscles of the hand, applying finger function, awareness of the wrist action,
bow distribution
Applying all
this knowledge to one piece:
Hadyn - cello
concerto in D major. 1st mov.
https://www.youtube.com/watch?v=JNts_sgtknY
I think it would
be really interesting to compare these results with a fragment of a recording
of the same piece made before meeting Herre Jan Stegenga, who has done an
unbelievable work with my overall technique.
There we
can appreciate exactly which were my problems and how much I have improved
since then.
Hadyn - cello
concerto in D major. 1st mov. https://www.youtube.com/watch?v=7q4k1BsZEWY
The weight
of my right arm wasn’t at all relaxed placed on the string. The activity of my
forearm was not enough and neither it use. I was thinking in a vertical way
instead of a horizontal. Moreover the
wrist was totally free, allowing the bow to get out of the string in all the
bow-strokes creating a feeling of insecurity everywhere. Furthermore the
position of my hand was not the proper one and to feel more the bow I was
grabbing it.
Since I started to be acquainted with the figure of Tortelier I became very interested on his technique. I checked all his recordings and I have worked the exercises recommended in his book with the target of achieving his holding position of the bow. There we can appreciate exactly which were my problems and how much I have improved since then.
Second Intervention Cycle: Pau Casals
1. - FEEDBACK:
After applying all the Tortelier exercises I knew that I still needed to improve many aspects concerning my right hand technique, such as: avoid breaking musical lines because of the string changes and improving the quality of the sound by using my forearm. I found in the figure of Pau Casals a great source of information to combat those and other technical weakness, that’s why this second Intervention cycle is devoted to this great cellist.
2. -DATA COLLECTION
I decided to
use the strategy of the Case Study in order to find and gather the data. The
case would be Casals’s vision of the right hand technique.
2.1- Literature
Unlike Tortelier,
Casals left us nothing written by himself
so I couldn’t find primary sources relative to the right hand technique, therefore
I had to fill this gap gathering information with secondary sources through
books written by his disciples. These books were approved by Casals himself.
Nevertheless the results are very interesting because it gave me the chance to
appreciate Casals technique through two different cellists: Diran Alexanian and Maurice
Eisenberg.
- Theoretical and practical treatise
of the Violoncell, A.Z MATHOT 1922 by Alexanian Diran.
This is one
of the essential books for this cycle devoted to Pau Casals. This book deals in
a very thorough way with his vision of everything concerning cello technique.
After reading the data of right hand I decided to divide the information in
these blocks:
-The way of holding the bow.
According to
Alexanian’s explanation: To prepare the hand to receive the bow one must, (the
hand being fully extended and 1st, 2nd, 3rd and 4th fingers pressed together)
close the Thumb over the face of the 2nd finger. One must then slightly close
the hand until the extremity of the thumb (still extended), reaches the joint
of the first phalanx of the 2nd finger.
Without
separating the fingers they should then be drawn inwards so as to form a hollow
in the hand. This drawing in of the fingers, that will be slightly for the 1st
finger and almost imperceptible for the 4th, will be fairly pronounced for the
2nd and 3rd fingers. By this difference in the curving of each of the four
fingers one will be able, (and this is important) to level up their still
joined tips.
The
following figure shows the 1st, 2nd, 3rd and 4th fingers placed under the
stick.
The
extremity of the thumb will fall then quite naturally on the beveled plane of
which the upper ridge is the continuation of the metallic edging of the frog.
The bow
should be held with equal firmness by the thumb and the 1st and 4th fingers.
It's stability being thus sufficient assured, then 2nd and 3rd fingers need
only lightly touch the stickup, remaining however in the line of the 1st
and 2nd.
Here are the
results obtained.
-Preparation for the use of the bow.
Alexanian
advises to work the bow's movements with long-drawn notes. The arm has to be hanging by the side
of the body, the forearm should
be raised perpendicularly and in such a way that it's extremity will be a
little to the left of the line of the elbow. (The inside of the forearm should be below the
outside; the elbow should
remain in its original position).
The
following figure represents the starting point of the movements that are about
to be studied.
It now becomes the region of the wrist to draw an imaginary line at right angles to the axis of the violoncello and running from the left to the right of the pl22ayer.
The simple movements of the arm consist of following with the wrist the imaginary line C-D, until the arm, gradually leaving the side of the body, is fully extended. This movement should then be repeated in the inverse direction. At no point of this movement should be the elbow higher than it is when furthest from the body.
-Bow
movement:
Alexanian
recommends practicing these simple movements and attaining certain easy in
their execution before passing on to the combined movements.
To increase
the activity of the forearm the
Alexanian's method advises the following exercise which should be practiced on
the middle part of the bow.
Alexanian
also advices us to apply the same exercise in the others strings. From D string
to A and from C to G string and with inverse motions.
The following exercise is to provide a proper handling of the bow. He recommends these exercises of a few figures that increase the ability to change of strings on the same bow stroke. Notice that the curve of the wrist in relation to the forearm should not be modified.
In these variations the change of strings is on the same bow-stroke.
To avoid
breaking the line when changing the string and the bow-stroke.
When we have
changes to one string to another, one must avoid break the line making an
interruption of the sound. The vibration must appear immediately when we change
of string.
Therefore
Alexanian recommend us to drawn this imaginary line that will help us to
achieve better results.
When this
new movement has been thoroughly mastered, the inverse may be practiced.
To overcome
difficulties on jumping with the bow over one or two strings to another,
Alexanian recommends us the following exercises:
When one has to play consecutively on two strings separated from each by one or two intermediary strings.
The change
of the bow will necessitate a mixed movement of the right hand and arm.
-General remarks on bowing
Moreover he
explains the way to practice every kind of typical articulation (legato,
staccato, staccato-legato, spiccato, sautillé). He affirms that all the bow
strokes should start in the string.
•
The
"Legato"
According to
the Alexanian the exercises requires the use of the entire bow. We will occupy
ourselves with the fragmentary use of the latter. I cannot omit a few general
remarks on this subject, although I know that their full succeed will not be
realized till have a long practice.
Alexanian’s own words: I don’t propose to undertake the
enumeration of all the movement that these diverse causes may engender. Several
volumes would be insufficient. I would content myself with analyzing the most
salient cases, of which the others are only derivatives. This study that cannot
proceed without being combined with that of the left hand will take us to the
end of this work.
When several
tied notes are played on the same string, the bow should be used as for the
prolonging of a single long drawn tone.
Exercise:
The exercise
consists of develop the skills of each hand. While we are playing with right
hand a single long drawn tone, the left hand is striking the string. The
striking of the fingers of the left hand should not spoil the uniformity of the
stroke of the bow. In the beginning, the absolute independence of the movement
is indispensable. Later on the necessities of expression will do away with it.
The role of bow is only.
•
The
“Spiccato
and Sautillé”
Alexanian
warns us not making the common mistake of uniting under the same name two
different kind of bowing, that have in common only the principle of the
rebounding of the hairs in the string. The “spiccato” is fluttering of the bow,
light, rapid, and dainty. Its effects on the eye and in the ear are equally delicate.
In the course of a good “spiccato” the ear should receive the impression of a
very gentle percussion, that the voice could reproduce quite faithfully by the
emission of a rapid succession of “d’s”.
The “spiccato" can be obtained only by
means of a “putting in action”, a “launching” of the bow. It proceeds really
from centrifugal force, and the speed acquired has a great deal to do with the
equilibrium of its regularity: thus, in order to stop it or to slow it down, a
special and indispensable effort is required.
The movement
of the “sautillé” is not, like the “spiccatto”.
The "sautillé" consists in
a fairly heavy fall of these hairs that are at once thrown back to their
original position, above the strings. The movements of propulsion (up-bow
or down-bow) are automatically combined with that of the “fall”, which latter
is only a nervous letting-go of the wrist that entails the inertia of the
weight of the hand. The resulting rebounds are much more clearly defined than
in the “spiccato”, and the acoustic effect is therefore much thick.
In the
"spiccato" the horizontal movement of the bow should not exceed about
half an inch. As for its intermittent elevation above its points of contact
with the strings, it could only be given in eights of an inch. Any exaggeration
of the rebound would destroy that aerial lightness that gives the charm to this
manner of bowing. The difficulty of putting the strings in vibration increase
in direct proportion to their lengthening. It is therefore better to try from
the very first to overcome the worst of the impediments. We will begin by
repeated attempts on the open strings, until the attack of the bow on the
strings has lost its "soapy" inconsistency of the beginning.
Alexanian says that the first step is to adapt the pressure of the fingers on the bow. We will not achieve our desired bow-stroke if we don’t adapt the pressure of the fingers properly. He advises us that the firm pressure should be carried out by the thumb and the first finger. The rest of the fingers should been applied to the frog with a lighter pressure, graduated in inverse ratio to the increase of the finger-numbers. Thus the 4t finger should only just touch the frog. Alexanian wants to prevent changes in the relation of the right hand and the stick therefore he advised to maintain the constant relations.
A A’= Inclination of the plane of the right hand.
B B’= Relations of the angle (stick of the bow)
Exercise:
To keep relations of the angle of the right hand and arm Alexanian recommends establishing the direction of the oscillation of the wrist. The ideal movement is the one that combines the horizontal and perpendicular action, from left to right and from front to back, (and vice-versa). The result is an oblique oscillation of the hand executed simultaneously on the right hand backwards: the arm should not move, but this without stiffness. It should be played with an adhering "detaché" to obtain almost a dislocation of the wrist.
The exercise
will consist in an open note, repeated without cessation: metronome: 50 per
quarter note; shading: "piano e crescendo" each note finishing with a
greater intensity of sound than at the beginning passing on to the next note
without a break, and whit out any attack by the bow. This exercise that seems
to have no relation to the "spiccato” will help us to acquire that
consistency of sound that is so indispensable for this kind of stroke of the
bow. Alexanian advises us that the point of the strings to be put in contact
with the hair of the bow is halfway between the lower end of the fingerboard
and the bridge.
The next exercise should be practice with a small adhering "detaché". The slightest attempt to make the bow rebound artificially would hinder any progress. It must be studied slowly.
•
The
"Staccato"
According to
Alexanian the "staccato" may be achieved it only by cellist that are
already initiated in the principle of the rebound of the bow.
The technique
for this case: if we want to achieve full sonority, we must play between the
middle and the heel of the bow, and if we want to play weak any part of the
hairs, as convenient. Also the arm
has to remain in tension with periodical supple lowering and raising of the
hand. The pressure of the hand by the thumb, 1St and 4th fingers has to be
firm. Whereas 2nd and 3rd would be touching lightly the frog.
-Dynamics
According to Alexanian explanation the manner of holding the bow is very slightly modificated by a nearly imperceptible drawing in of the 1st, 2nd, 3rd and 4th fingers. The stick should be brought under the fleshy part of the thumb, causing the small "roll" of the bow.
It is very
important that this" rolling" of the bow, that is intended to apply
to the strings an amount of surface of the hairs in proportion to the
intensity of sound of the moment, should become one of the instinctive
functions of the right hand.
To this end
Alexanian recommends this exercise: which consist in causing the nut to take up
alternately positions. A (all
the hairs) B (edge of the
hairs).
The pianissimo is usually played in that part of the strings nearest to the fingerboard, and the fortissimo is produced with all the hairs, an as near as possible to the bridge.
- Cello playing of today, LAVENDER
PUBLICATIONS 1957 & 1966 by Maurice Eisenberg:
-BASIC
PRINCIPLES OF BOWING
The natural arm
weight should never be entirely taken off the stick because if none were used
the bow would slide about the string at random. This would make the tone
unsteady. Many beginners make the mistake of confusing weight with muscular
force.
The basic principle in bowing is for the arm to move in and out naturally, in
once piece, so that the stroke of the bow follows the line of the bridge.
The continuity of the movement must not be disturbed
on the up bows by coming in with the elbow
either too high or too low. The position of the elbow constitutes the focal point in achieving continuity.
-CARRYNG
THROUG WITH THE RIGHT ARM
To get the feeling of the bow, Maurice advises us to
the following exercise:
Place the bow on the D and the G strings at the point,
using full hair. Then we must hold it there firmly with the left hand making
sure that the bow is parallel with the bridge. The line of the bow stick thus
arranged represents the exact direction and distance that the right hand has to
travel when drawing whole bow. Then we must slide the right hand backwards and
forwards along the bow stick, keeping the hand on position.
Maurice said that if the basic posture at the
instrument is good, the arm, wrist and fingers should fall naturally
into place for playing at the nut. The fingers will be elongated and almost
perpendicular, the wrist high, the elbow slightly bent and the inside of
the arm just touching the side of
the cello. As the arm pulls out,
however, a muscular adjustment is needed, in which the hand unit is lengthened,
the thumb is pressed against the stick and the upper arm is moved away from the body. By the time we arrive at the point
the fingers should have become more curved, the wrist should be very little
higher that the knuckles and the elbow
should be almost straight.
FLEXING THE WRIST AND CO-ORDINATING THE ARM ACTION
The wrist has to be flexed naturally, so that it is
high at the nut and lower at the point. Its movement should be so well adjusted
and controlled that even when playing at the tip of the bow the wrist remains
above the level of the hand and can dominate the action of the stick. The upper
and the lower arm should move
simultaneously, and the focal push point should be the elbow.
To produce a clear tone the bow must remain parallel
with the bridge. But as the bridge, the
angles of the strings are rounded, if therefore the bow is to follow the line
of the bridge, its angle to the ground will vary on ever string. The difference
is most marked on the outer strings; the central position is found when playing
on the two inner strings.
The pull of the first finger, together with the push
of the coupling movement of the thumb against the stick, will drive its course.
At the beginning of the up stroke, the first and second fingers guide the stick. When it approaches the frog, however the
third and fourth -specially the latter- add their pressure, and help to push
the bow inward.
The position of the bow on the outer strings can be
constantly compared with that on the inner ones. Watch where the bow cuts
across the strings to make sure that the perpendicular angle with the bridge is
being maintained.
Also he remains that the top of the bridge should be visible between the stick
and the hair. If the bow does not appear
to be straight with the bridge it means that the stroke is crooked and the
angle needs to be rectifying by applying finger pressure on the frog.
EXERCISE TO ESTABLISH EQUALITY OF TONE
The target of these exercises is to acquire the combination of bow distribution and equalization of intensity and quality in all parts. The sound must not vary and we must be aware to don’t make “air pockets” in the changing bow and string, and the bow should be as near as possible to the bridge, without making scratching.
To help in establishing the sensation of carrying the weight of the bow through the fingers, a further series of drills can be built up on the previous exercise.
Beginning the note on the string, one has to continue
drawing the bow about half an inch above it, in the air. Then without
interrupting the swing of the arm,
bring the bow down, so that it lands on the string on the last beat of the bar
to prepare the next note. In the lower bowing, change bow in the air after
playing the first beat.
Another form to practice this exercise: This one is equally useful, the movement of the whole arm continues without stopping between notes.
This exercise is very useful to increase the strength of the interior of the hand and improve the function of the fingers providing a bigger skill of balance.
EXERCISES FOR THE WRIST AND FINGERS IN CROSSING THE
STRINGS
To accustom the wrist and fingers to guiding the bow from string to string, begin by
practicing sustained notes on two adjacent strings:
Maurice recommends us to apply in a different motives
and patterns using the minimum of arm
and wrist movement needed to make the strings sound clearly as separate notes.
The bow’s basic position in these should be the same
as when playing on the two middle strings simultaneously, with the changes to
the A and C strings directed by the wrist and arm.
These bars of the Prelude of the Bach I Suite constitute an excellent study for crossing the strings:
The division of bow has to be very carefully
planned. Give normal pressure and little
bow on the first four notes and then next four require more wrist movement and
a greater expenditure of bow in order o preserve the same quality of tone.
Coming back in the second part for the bar the procedure is reversed, and most
of the bow should be given on the first four notes, then the arm weigh must always be controlled
when approaching the frog.
To preserving the legato when skipping over one or two strings: On the low notes, the bow should be swung forward as a far as possible to approach the A string saving the minimum space for it to jump. It can be practice on the Prelude of the IV Bach Suite.
Exercise:
BOW SROKES
Spiccato – It’s a
continuous percussive effect which came from a swift wrist action, controlled
and regulated by the thumbs pushing against the first and second fingers on the frog. The exact place on
the bow should be the balance point. The forearm
should be sloping from the elbow,
the wrist suspended from the arm and
the bow held fast in the finger-tips.
The wrist is slightly modify when plays on the A string. The wrist should be curved and the fingers stretched. Also in the lower strings the whole hand needs to be modified, and the arm needs to prepare the changes position
Staccato – Each individual
sound has to be enunciated through a biting accent made by the finger action of
the frog. Is produced by the combination of two entirely different movements:
the arm movement, and the fingers
and wrist action.
Flying
staccato - Is a form of staccato in which the bow comes off the
string between the notes.
Sautillè – is evolved from a combination of staccato and spiccato. One must always be conscious of the beginning and the end of the stroke.
Dynamics
The personal intensity needed to create dynamic power for musical performance must come from within. On the right hand affairs, its means expressed through adjusting the speed of the bow.
Breathing
control and bow control
Breathing fulfils the same elemental function in music
as in life: renewal of natural energy after prolonged effort.
3.2-
Analysis of recordings.
- The way of holding the bow.
The fingers are placed as Alexanian describes in the
method, but while Casals is playing there are some others actions that are not explained.
For example the activity of the fingers when the down-bow stroke is
far from the middle point of the bow. The fingers start to be more
flexible and trying to get as close as possible to the stick, with this action
he gets more confident because he has more contact which the stick. Moreover
the sound becomes thicker and it is not necessary to apply any extra pressure.
Recording of Casals playing Hadyn Concerto in D Major,
1st movement.
https://www.youtube.com/watch?v=23LDyxdDt6o
-Preparation for the use of the bow.
We can clearly see in the next recording the bow
movements of Casals. While he is playing as Alexanian and Eisenberg explains in
their books, Casals hangs the arm to
the side of the body, placing perpendicularly the natural weight of the arm in each plane of the strings. The forearm is raised perpendicularly and
its extremity is a little to the left of the line of the elbow. The inner part
of the forearm is turned to the left
to use the natural weight of the arm
into the center of gravity. The elbow remains in its natural position. At this
point we can mention that the wrist, which should remain above the level of the
hand in order to be able to dominate the action of the stick, is in a straight
line with the forearm, slightly firm
although keeping the flexibility for the strings-changes
and bow-changes, where the function of the wrist is to reset the weight
where correspond. Down-bow stroke, the
wrist is bent it slightly to the ground adding more weight or applying more
pressure over the string. The opposite movement is applied in the Up-bow
stroke: The wrist is raised, making a light arch on the hinge which gives two
physical sounds results. The first one is a tone change, producing slighter
nuances, and the second change is that the string vibration keeps in the bow
changes.
Recording of
Casals playing Hadyn Concerto in D Major, 1st movement.
https://www.youtube.com/watch?v=23LDyxdDt6o
-Dynamics.
Everything that needs to be explained regarding how Casals uses the natural features of the bow was already written by Tortelier, Eisenberg and Alexanian. He turns the bow playing with less hair when the music demands it. We can also appreciate in the recording how he creates colors by changing the place of contact.
Recording of
Casals playing Bach, Suite Nº 1 cello solo en Sol mayor, BWV 1007.
https://www.youtube.com/watch?v=9I_RFkyNxLo
-Bow speed.
We can easily appreciate the huge control of the speed
that Casals had. All the bows-strokes were played in the same speed, producing
a great sound. We can link all the exercises of Alexanian and Eisenberg
concerning to distribution of the bow and equal tone to this ability of Casals.
-Relation between breath and bow.
Regarding to
the breathing Casals always seems to be relaxed and every movement is
related to the natural behavior of his body.
3.3-
Interviews and master classes with experts.
Ø Marçel
Cervera
I asked
Marçel if he studied with Casals, and he told me he had a lesson with him and
Casals was so pleased that he invited Marçel to come back, but he started to
work in the orchestra of Winterthur and it was impossible to keep on with the
lessons. Nevertheless he told me that Casals didn’t like to teach so much, and
Casals always preferred to work with cellists already fully formed and
therefore give them only little advises. Marçel told me that he knew a couple of students
of him and he didn’t like their playing, therefore he was not really interested
on going on with his lessons.
I asked him
about Alexanian’s book and he told me that he was for many years his teacher,
and once he agreed in a conversation with Bernard Greenhouse (student of
Casals) that Alexanian wasn’t a very good cellist. Nevertheless they thought that
he was a great theoretician of music. Marçel wasn’t sure if Casals really
taught Alexanian but he told me that they used to speak a lot, so probably they
shared many ideas.
Speaking about Casals’ right hand
technique, he said that he was the figure that really started the development
of the modern cello technique and according to
Casals the core of the right hand is the thumb and the middle finger. It
constitutes the truly center of producing sound.
Recording of
the interview. Unfortunately Marcel Cervera didn’t allow me to make a video recording
of our meeting, therefore I can only attach a link of the audio. (Audio)
4- INTERVENTION.
Ø List
of Alexanian’s exercises
1.
To increase the activity of the
forearm.
2.
To know the good handling of the bow.
3.
To avoid breaking the line when
changing of string on a change of bow-stroke.
4.
To overcome difficulties when
jumping with the bow over one or two strings.
1- To
increase the activity of the forearm
I found “the
wake up of the forearm” a very important exercise for the cello playing in
general. The sound becomes thicker and the technique is more solid. Moreover
the tone becomes powerful and this exercise helps to realize the different
reactions of the harmonics on your cello.
2- To
know the good handling of the bow.
The goal of
this exercise is to increase the rail of the bow letting the muscles learn the
path of the movement from one string to another with the biggest possible
quality and quantity sound.
3- To
avoid breaking the line when changing of string on a change of bow-stroke.
Another
important aspect to gather with the other exercises is the change of string. We
can find changes of string in the same bow-stroke or in a different stroke. I
found Alexanian’s book, a very interesting book regarding this matter. The result
obtained with this exercise is to preserve the legato while doing the changes.
4- To
overcome difficulties when jumping with the bow over one or two strings.
As seen in
the previous exercises this one is also concerning the difficulties of changing
string but this time over more than one string.
It is very
important to get the idea of these simple exercises, because all of them are present
in the cello repertoire. This will also improve the legato in our playing
without breaking lines.
Ø List of Eisenberg’s exercises
1.
To get the feeling of the bow.
2.
To keep the right angle to the
string.
3.
To acquire the combination of bow
distribution, equalization of intensity and quality.
4.
To help in establishing the
sensation of carrying the weight of the through the fingers.
5.
To accustom the wrist and fingers to guiding the bow from string to string.
6.
To preserve the legato when skipping
over one or two strings.
1- To get
the feeling of the bow.
Like
Tortelier, Eisenberg recommends this exercise. In the course of this exercise
we will notice if we don’t know the way of the bow because the muscles will have
strange reaction, jumping above the stick.
https://www.youtube.com/watch?v=oEJ3DA9tdEA
2- To
keep the right angle with the string.
I found this
exercise very interesting because it makes you be aware about the leaks of your
bow technique. If the bow is straight in all the angles of each string the
sound produced will be wide and free. It’s very important to work on this
exercise to achieve a solid base ground.
3- To
acquire the combination of bow distribution, equalization of intensity and
quality.
I found this
exercise very interesting because it helps you to be aware about the different
emission of sound of each notes and the different pressure and weight that you
have to apply. It is very important to achieve an equal tone, because for instance
in D string F note sounds too much. It’s our task to balance the sound working
on the other notes.
4- To help
in establishing the sensation of carrying the intensity through the fingers.
I think this exercise is very interesting and the goal
is close to the exercise of Tortelier “the balance of the bow”. During this I
have increased the strength of the interior of the hand and improve the
function of the fingers providing a bigger skill of balance.
https://www.youtube.com/watch?v=U3_drLD7MmE
5- To
accustom the wrist and fingers to
guiding the bow from string to string.
Tortelier
has one exercise that works the same aspects of the hand. This exercise is very
important to increase the control and strength of the whole hand and will
report us benefits such as feeling the stick and the hand together in one
piece.
https://www.youtube.com/watch?v=KjdXdXawLpU
6- To
preserve the legato when skipping over one or two strings:
I found this
exercise very useful because being aware of these little lacks of sound helps
to increases our projection.
The goal of
this exercise is to preserve the legato and the sound within the strings changes,
avoiding to lose sound.
After
applying all the exercises previously explained I'm totally satisfied with the
results obtained. Just on the passage of these recordings we can remark several
points where it was totally necessary to apply this knowledge:
Use of the forearm,
to keep the right angle with the string, to acquire the combination of bow
distribution, equalization of intensity and quality.
J. Brahms -
Sonate E moiré https://youtu.be/USTRK4wFPBs
Avoid breaking the line when changing of string on a
change of bow-stroke, to accustom
the wrist and fingers to guiding the
bow from string to string.
Beethoven
- Sonata A major. 1st mov. https://youtu.be/RsRE85G5WzQ
APPENDIX 1: Media review
Literature
•
Christoper
Bunting.(1987) Cello Technique: From one Note to the Next. Cambridge University
•
Christopher
Bunting. (1999) the art of cello playing. Pirámide.
•
Paul Tortelier.
(1993) How I Play How I Teach. Chester edition.
•
Maurice Eisenberg.
(1966) Cello playing of today. Lavender Publications
•
Alexanian,
D. (1922.) The Technique of Violoncello Playing. Paris: A. Z.
Mathot. (1998)The violoncello. Kahn &
Averill.
•
David Blum.
(1977) Casals and the art of interpretation.
•
Jose María
Corredor (1957) “Conversations with Pau Casals”
•
Gerhard
Mantel.(1995) Cello Technique: Principles and Froms of Movement.Indiana
University Press.
•
Margaret
Campbell (1988) The great cellists.
•
George
Kennaway. Playing the Cello, 1780-1930 Routledge; Edición: New ed. (17 de abril de 2014)
Recordings.
•
P.Tortelier, Genial,
comentarios e interpretaciones. https://www.youtube.com/watch?v=gj9ixMa3AqQ&t=230s
•
Paul
Tortelier at the BBC - https://www.youtube.com/watch?v=rrspe5ntGfI
•
The
Tortelier Family plays Handel - https://www.youtube.com/watch?v=Ype1DM-lJzg
•
Pablo Casals
Master Class: Haydn D Major Concerto 1st movement -https://www.youtube.com/watch?v=sWuo1mweGkg&t=384s
APPENDIX 2: Network
Inside
Codarts
Herre
Stegenga, cello teacher in Codarts, Rotterdam. (Disciple of P.
Tortelier).
Jeroen ven
Herder, cello teacher in Codarts, Rotterdam. (Disciple of C. Bunting).
Job ter
Haar, cello teacher and coach in Codarts. Rotterdam.(Disciple of Anner Bylsma)
Outside
Codarts
Marçal
Cervera (Disciple of Casals, Tortelier and Cassadó)
Index of exercises
Tortelier’s
exercises
1.
To hold correctly the bow and awake
the interior sensitivity of the hand.
2.
To increase the feeling of the
course of the bow
3.
"Boomerang" To increase
the activity of the hinge of the wrist.
4.
To increase the freedom and strength
of the Index finger
5.
To prevent weakness of
the Little Finger
6.
To fight the immobility of
the thumb and avoid the tension
7.
To combat weakness of the hand and
control the balance
8.
To dissociate the movements of the
wrist from those of the arm
9.
To complete the proper functioning
of the bowing
10. General remarks on bowing.
11.
To estimate and calculate the
quantity and bow speed that is going to use.
12.
To achieve the independence between
bow and breathing.
13.
To vary the tone-color and to avoid
rigidity of the thumb by strengthening its first joint.
Casals’s exercises
•
Alexanian
1.
To increase the activity of the
forearm.
2.
To know for the good handling of the
bow.
3.
To avoid breaking the line changing
of string on a change of bow-stroke.
4.
To overcome difficulties on jumping
with the bow over one or two strings.
•
Eisenberg
1.
To get the feeling of the bow.
2.
To keep the right angle to the
string.
3.
To acquire the combination of bow
distribution, equalization of intensity and quality.
4.
To help in establishing the
sensation of carrying the weight of the through the fingers.
5.
To accustom the wrist and fingers to
guiding the bow from string to string.
6.
To preserve the legato when skipping
over one or two string.
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