Deryn Cullen Adult Beginners, Advanced Technique, Bow Technique, Cello, Cello Literature

Essay on the Craft of ‘Cello-Playing by Christopher Bunting: A Short Review

An essential read for any serious cellist or cello teacher. Christopher Bunting (1924 – 2005) was a world-renowned cellist and pedagogue whose methods and compositions have become an integral part of the cello-verse. He singled himself out as a teacher with his deeply intellectual and holistic approach to the learning process, stressing the importance of the psychological influence over the physical act of playing in each individual.

Essay on the Craft of ‘Cello-Playing goes into great detail on the psychology of playing, offering a great deal of food for thought and encouraging each cellist to closely examine his or her emotional and intellectual workings in order to assess why they encounter certain (well-known) physical hurdles on the instrument, and work out how to overcome them. Bunting clearly didn’t believe in short-cuts, and his playing was certainly a testament to this fact. Described by the Daily Telegraph as “a Master” and Die Welt as having “highly developed musical comprehension, prodigious technique and outstanding artistry”, we are left in no doubt as to what incredibly good hands we’re in from the first word to the last.

Christopher Bunting was by many accounts an intense and inspiring teachr with a fertile musical imagination and a dry sense of humour, all of which is evident and comes across rather beautifully in his writing. Expect silly puns at unexpected moments along with fabulous analogies and comparisons that put difficult concepts into sharp perspective.

Essay on the Craft of ‘Cello-Playing is more than a treatise on playing the cello, and also contains imaginative and hugely helpful exercises (many of which feature in the much more condensed Portfolio of Cello Exercises) with detailed explanations on what each is for, and how best to approach it.

Not an easy read, being fairly dense and packed with a remarkable amount of information and thought, but I can’t recommend it enough. Persevere if you find it heavy-going at first!

© D C Cello Studio

Deryn Cullen Adult Beginners, Bow Technique, Cello, Elementary Technique, Getting Started on the Cello, Holding the Bow

Holding the Bow

There’s that undesirable word again: hold. In this case it can’t be supplemented with anything else, because in order to get the bow from a resting position to the cello we have no choice but to hold it. Furthermore, we continue to hold it (if as gently as possible) once it is on the string. What we need to avoid right from the start is that urge to grip the bow, pushing the thumb against the frog and squeezing against the thumb with the fingers. Most people who pick up the bow for the first time without any instruction from a teacher or experienced player will approach it as an everyday task, closing the hand firmly around the frog without considering the impact this physical action has on the mobility of the wrist and even the elbow joint. This is not a problem when picking up a coffee mug, opening a door or opening a jar. All of these actions are over in seconds and often require a short burst of strength. But if we maintain that level of tension in the hand and forearm for a longer duration we soon start to feel it. Furthermore, the fluid movements required of the entire arm for producing good, well-controlled sound on the cello will simply not happen if there is excess, unyielding tension in any of the muscles.

It is not my intention to provide an overly prescriptive description of where to place each finger on the bow. There are many different schools of thought on this subject, and many readers will already have been given very detailed and specific instruction on it. All cellists settle on something that works best for them depending on the size and shape of their hands along with what they’ve been taught. Not only can it be desperately confusing when you’ve learnt one thing and someone comes along suggesting you do something quite different, I believe it shifts the focus from the important points of using the correct muscles, keeping the joints mobile and learning about fluid, balanced motion to battling with reshaping your hand and fingers, potentially building up the very tension you need to avoid.

I do, however have a few basic but useful tips regarding your hand. Firstly, you need to look for a natural shape which allows for free, independent movement of your fingers and thumb. Let your hand hang loosely in front of you, palm and fingers facing downwards. Your thumb should be roughly behind your index finger. If you gently bend its first joint, the right corner of the thumb tip will be opposite the middle finger, which is where it will be most comfortable and flexible when holding the bow. Secondly, you need to be aware of and maintain sensitivity in each finger. As bow technique develops and the cellist works on what will become his signature sound, the sensitivity of his fingers plays a major role in making subtle changes and articulations.

To become used to the idea of letting the bow hang out of the fingers rather than gripping it, it is very useful to practice with something of roughly equal width and weight, but much shorter length such as a marker pen, small bottle or container. Find the same natural relaxed hand shape (ensuring that the entire arm is engaged but relaxed and the shoulder is not pulling up) and place the object lightly between the fingers. There will be sufficient resistance between the fingers and object to prevent it from falling, but not so much that the fingers cannot feel its weight. Maintaining a relaxed shoulder and supporting the arm from the muscles around the shoulder blade (the infraspinatus muscles – see image a below) and in the chest (the pectoralis muscles or pecs – see image b below), practice drawing a straight line in front of you using the second joints of your fingers. You should start with your arm at your side and your hand slightly to the left of your shoulder; and finish with your elbow joint more-or-less straightened. At no point should your shoulder come up. Getting used to this movement, thinking in straight lines and using the arm as a fluid unit will make life a lot less daunting when you first take the bow in hand and draw it across the string. It will also help you to overcome your very natural first instinct to grasp the bow rather than letting it rest on the string.

An additional factor adding to the desire to grip the bow tightly is the understandable notion that one can’t get sound out of the cello without pressing the bow onto the string, which would require a strong grip. Many novice cellists use this approach with or without guidance to the contrary from their teachers. It serves them well enough – sometimes for several years. But they will always get to that painful turning point where they realise their bow technique can no longer progress, and they have to re-learn how to use the bow. I was one of those cellists, and it was not until I got to Music College, seven years after my first cello lessons, that I took that painful, time-consuming and hugely frustrating U-turn in my technical approach. I don’t recommend it!

So how is it possible to get anything other than a whispery, insubstantial sound without pressing the bow into the string? The answer is simple, but takes time to put into practice: arm weight and leverage. When we start a down-bow the weight of the arm is on top of the string, making it easy to apply as much or little as we want. As we draw the bow across the string, that weight moves further and further away, making it necessary for the arm to act as a lever in order to maintain the same amount of friction between the bow hair and string. The entire movement is driven by the infraspinatus and pectoralis muscles, which support the entire arm and make it possible to maintain a loose hold on the bow from frog to tip. This is another reason why I emphasised the importance of free movement in the hips in my seat and support articles. Being able to move the torso from the hips makes it possible for the body to stay balanced on the point of contact, or point of friction between bow and string. A skilled cellist practically dances around this point with well-co-ordinated, fluid movements.

Finally, it really helps to think of the bow as an extension of your arm. You may well have heard this before: many teachers find it a useful way to get their students to blend instrument, bow and body. Observe how much amazing movement is possible in each of your joints. Think of the join between your hand and the frog as another of those beautiful, flexible joints that enable us to use our bodies in diverse ways.

a)

Infraspinatus Muscle

b)

Pectoralis Major Muscle

© D C Cello Studio

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Deryn Cullen Adult Beginners, Cello, Getting Started on the Cello

Is Cello the Right Instrument for You?

Part 1: Considering the Costs

The cello is a very popular choice of instrument for learners of all ages. It has a wonderful and rich repertoire to explore, a long line of distinguished players from Pablo Casals to Zoe Keating and an evocative sound that is often compared with the human voice. The cello has become very popular in contemporary music settings too: electric cellos of all shapes and sizes are finding their way into pop and rock bands, and cello is often favoured as a solo instrument by film and TV composers. So it really is no wonder that this beautiful instrument holds such broad appeal. If you’re thinking of taking it up as a hobby, the following points may help you to decide whether playing the cello is definitely your cup of tea.

There are always costs associated with taking up an instrument and the cello tends to be above average in terms of how much it will set you back. Private lessons cost around £25 per hour and can cost substantially more depending on where you are and who you wish to learn with. If you’re thinking of taking lessons, you will no doubt already have thought of this.

You will also probably have looked at the cost of buying an instrument and noticed how wildly this can vary – even in the student or school instrument range. Be warned that the cheapest instruments always end up costing at least twice what you pay for them just to get them into a playable condition. In the higher price ranges there are plenty of lemons too: “deluxe” instruments that are structurally identical to those in lower price brackets but have frilly accessories which make no difference to the sound they make but push the price up by a considerable amount. How to choose a suitable instrument is a complex topic and potentially a lengthy article in itself. My advice is to hold off buying one until you’ve had at least three months of lessons and know that you want to continue. Of course you’ll need an instrument during that time and will need to find a shop or individual to hire one from. This normally costs around £80 per quarter, and you may be entitled to buy the instrument at a discounted rate when the hire term is over. If you happen to know someone with a cello going spare you may be lucky enough to borrow it for a few months.

In addition to your lesson and instrument costs, you’ll have books to buy and ongoing maintenance costs for your instrument. These include replacing strings, getting your bow re-haired and seeing to general wear and tear. Once you’ve graduated from the early beginner stages you may want to join an amateur group to enjoy playing with like-minded people and enhance your musical experience. You may also be interested in attending music courses aimed at adult learners. All of these activities cost money, some substantially more than others. Amateur groups tend to run themselves as charities with each member paying a small monthly or annual subscription. They often offer discounts to students and unemployed or low income members. Courses on the other hand tend to be much more expensive due to the fact that they offer intensive tuition along with accommodation and meals for the duration that they run, which can be anything from a weekend to five days.

With all these costs most of which are fixed, it’s always worth taking a closer look at your monthly outgoings to make sure you can afford the weekly lesson fees, instrument purchase and maintenance and perhaps considering cutting costs elsewhere in your expenditure if you can. As a cello teacher I have had many adult learners who have started lessons with great enthusiasm only to have to stop some months later because they simply can’t afford to continue. For the teacher who relies on each student as a stream of income it’s hugely frustrating, but for the eager student it can be devastating – especially if lessons were going well and they’ve gone and bought an instrument which is never easy to sell on. They always vow to continue practising on their own and return to lessons when their financial situation improves, but both very rarely happen. I’ve even had one or two return about a year later only to have the same thing happen again.

Once you’ve added up the costs involved you’ll be able to make a much more informed decision as to whether you’ll be able to make cello lessons work within your budget. If you find that you’re not financially ready, at least you’ll have a clear idea of how much you’ll need and an incentive to get your finances to a place that will enable you to pursue that passion.

In my next instalments of this article I’ll discuss the physical and musical challenges of playing the cello as well as what to expect as an adult learner.

Part 2: Physical Challenges for Adult Learners

Although the professionals make it look like the easiest and most natural thing in the world, playing the cello is a physically demanding activity which takes years to master. Although the many cello students are able to overcome these challenges with careful and dedicated practice, it’s worth knowing what they are.

Believe it or not, the first consideration for adult learners is the size of the instrument. The general assumption is that all adults are the right size for a full sized cello. Although this is mostly true, there are exceptions. Trying to play an instrument that is even slightly too big can cause injuries to the hands and forearms, back problems and a great deal of frustration. If you’re very petite or have smaller than average hands, you will probably be better off playing a 7/8th or even 3/4 size cello. If you’re unsure, visit a reputable instrument dealer to get advice and sit with smaller instruments to make an accurate assessment or discuss it with your prospective teacher before buying or hiring an instrument. If you are unusually tall you may also need to make adjustments to your instrument or find one that has already been modified.

Although full sized cellos don’t vary greatly in size, cello spikes come in different lengths. If the spike on your instrument is too short your posture will be adversely affected causing neck, shoulder and back ache. Excessively long spikes can make the instrument permanently unstable causing it to move around while playing. This too can cause unwanted tension which often leads to playing related injuries. Fortunately there is a solution to this too. Specially designed spikes exist which consist of two adjustable parts making it possible for them to bend in the middle. This brings the end of the spike closer to the player’s feet, making it possible to properly cradle the cello between the knees and prevent any unwanted movement while playing. Once again, it is best to get advice from your teacher or dealer before getting any modifications made to your instrument.

I have already made more than one reference to playing-related pain and injury. Even with the right sized instrument and any necessary modifications, this can often be a feature of learning to play the cello – especially in the early stages. If you are prone to repetitive strain injuries or suffer from a chronic condition such as fibromyalgia or arthritis, you may find that your progress is slower than you hoped, and could experience excessive playing-related pain or fatigue. This really doesn’t mean that anyone who suffers from one of the aforementioned conditions should abandon their dreams of learning to play the cello. One of my current beginner students is 73 years of age and suffers from severe arthritis in his hands and shoulders. I am helping him to find alternate ways of playing the instrument without aggravating his condition. His progress is far from rapid, but it is evident as is his enjoyment of playing and learning. What I do strongly recommend is that you find a teacher who emphasises the importance of posture, balance and freedom of movement in playing – ideally someone familiar with Alexander Technique or Feldenkrais Method. Make them aware of your physical shortcomings so that they can work with you to prevent additional pain or injury.

This sums up the physical aspects of the instrument and the player which are important to think about before committing to lessons. It is highly unlikely that any of these things will prohibit you from learning to play, but being aware of them can certainly help you to make the right decisions about the instrument and teacher you choose, both of which will make an enormous difference to your enjoyment and progress.

Part 3: Finding Time to Practise

People have many different reasons for wanting to learn the cello. For some it is the fulfilment of a lifelong dream; many people regret giving up music lessons when they were younger and yearn to give it another go; and some people simply feel that they need something that they can call their own outside of their busy and demanding work life. Whatever the reason, it is important that you think carefully about why you want to play, and whether your schedule can accommodate regular practice.

Realistically, those starting lessons in adulthood have left it far too late to reach a professional level of playing, and it is fair to say that I have never encountered an adult learner who thought they were going to be gracing the concert halls in the near or distant future. That is not to say that you won’t be able to reach a very competent level and find like-minded people to share your talents and skills with, but this depends entirely on how much time and effort you are prepared to put in. Lessons alone will not transform you into a musician.

With the best will in the world, there are only 24 hours in a day. With a full time job, a family and the pesky requirement of regular sleep, not many if any of those hours are left for undisturbed practising and playing. Much like the financial issues which I discussed in my first article on this subject, I have had many students start lessons without having really thought about whether they could spare the necessary time for practising. The result is always the same: progress is slow to non-existent, frustration sets in and the student stops lessons saying that he or she will certainly start again when time permits. They never do.

This does not mean that busy people should forget about taking cello or any other lessons as a hobby. Amongst my students I have a judge, a physicist, a university lecturer and a chemist – not exactly part time occupations. Sometimes their busy schedules mean that they don’t get as much time to practice as they’d like, but by and large they have managed to set aside a set time dedicated purely to their cello. Their families understand this and they are able to enjoy uninterrupted practice sessions most days. So the question you need to ask yourself is not “Do I have the time?” but “Can I make the time?”

Think about your daily schedule and what part of the day you could realistically take time out from all work and family commitments. To begin with it doesn’t need to be more than 20 minutes, but as you progress and the demands of the instrument increase you will need to be able to extend that to at least an hour. You may find it useful putting this to the test for a week or two before you begin lessons. Since you won’t have a cello to practice yet, decide on something else to do with that time such as reading a book or doing something creative that you enjoy. If you have a family, this will give them an opportunity to get used to the idea of you needing that time to be alone with your hobby, and you’ll get an idea of whether it’s feasible for yourself.

It is also important to remember that while you’ll be excited and enthusiastic about practising when you begin lessons and will hopefully continue to feel that way, there will be times when you really don’t feel like sitting down to an hour’s practice. Now and again it’s all right to give yourself a break, especially if you’re overly stressed or fatigued, but for the most part you need to be able to overcome that reluctance and stick to your regular routine. The more you allow yourself to skip practice sessions, the less motivated you’ll become. In contrast, the more accustomed you become to regular practice, the more you’ll look forward to that time and enjoy the progress that comes with it.

© D C Cello Studio