Deryn Cullen Cello, Cello Accessories, Getting Started on the Cello

Which Rosin is Best?

Rosin is applied to the bow hair and is essential for all string players. It comes in the form of a small compact cake, and choosing the right type for you can be confusing and frustrating. It can range in price from £1 – £30, comes in different colours and consistency, and different types exist for different instruments, string brands and types, and even seasons.
My advice is to take much of the debate as to when and where to use specific types of rosin with a generous pinch of salt. There are so many variables that influence the overall effect of rosin in such subtle ways, that in the end it really just comes down to personal preference. I have a few tips worth considering when choosing your rosin. My aim is to eliminate some of the confusion associated with choosing the right product, or the need to visit forum discussions on the subject will only serve to make you more confused.
1) Beginner Students
When you’re in the early stages of learning how to play your instrument, the last thing you’re going to notice is the subtle difference between the grips offered by light or dark; powdery or hard; or metallic or non-metallic rosin. At this stage, all you need is a reliable brand of rosin which serves the essential purpose of keeping your bow hair sticky and allowing it to grip the string. There is no need to be extravagant, and no need to have your head turned by raging debates over which brand offers the best grip for various bow articulations. The only type I would avoid at all costs is the very cheap, nasty rosin that tends to come with very low-budget student instrument outfits and sometimes found on Ebay at around £0.30 per cake. In fact, my advice is to avoid these outfits altogether, but I appreciate that this is not always possible. My recommendation for beginner to intermediate students is the very popular Hidersine brand, which costs a mere £1 – £4 per cake and providing it is not lost or dropped (rosin is brittle and shatters very easily), will last most players for around three years. Also popular in this price range is a brand called AB Rosin.

2) Rosin for Synthetic and Gut Core Strings
More advanced players will experiment with different string types in their quest for the ideal sound. What strings to choose for your instrument is yet another thorny subject covered in my Strings article and also comes down to personal preference for the most part. Metal strings behave differently to gut and synthetic core strings, and require different types of rosin. Because metal strings are more widely used, most rosins are suitable for them. The following brands are recipes devised for synthetic and gut core strings: Melos Baroque Cello rosin (ideally suited to gut core strings) and Dominant Violin, Viola & Cello rosin (developed for use with Dominant synthetic core strings, but well suited to all synthetic core brands). Prices range from around £5 – £10.

3) Hypoallergenic Rosin

For those who are sensitive or have allergies to the dust produced by rosin, fear not! Several makers now offer hypoallergenic rosin made with non-irritating ingredients and allergy-tested. The best known of these brands are Supersensitive Clarity, Larsen Antiallergenic and Geipel Hypoallergenic. It should come as no surprise that these makes are more expensive than most, and are priced at around £8 – £15.

4) Popular Professional Brands
This is where choosing the perfect type seems to become an arcane science: humidity, heat, cold, preferred stickiness light, dark, medium, bleached or unbleached bow hair: the list of influencing factors goes on. By the time you have been playing for several years and have begun to develop your technique in more subtle and detailed ways, you will certainly be able to tell the difference between bad, average and good quality rosins. Getting too hung up on whether your choice of rosin ticks all the right boxes is not the best use of your time and efforts. The truth is, any reliable brand in the £5 – £15 price range will suffice. Try two or three different brands at a time and you’ll soon settle on something you like best. The following brands are firm favourites with advancing students and professional players:
Hill Dark or Light for Violin, Viola and Cello: one of the most widely sold rosins in the world. Average price: £4 – £6.


Gustave Bernardel rosin for Violin, Viola and Cello: this fine rosin has a reputation for leaving less dust than other brands and offering “just the right amount of bite”. Certainly one of my preferred brands.
Average price: £6 – £9

Pirastro Cello & Cellisto: one of the most widely recognised brands for strings. Pirastro offers qood quality rosin suitable for all string types and brands (even if the marketing suggests that the rosin has been specially formulated for        Pirastro strings).
Average price: £6 – £9

Kaplan by D’Addario: another widely recognised brand for strings. Kaplan rosin gets positive reviews for its quality, low dust and very practical one-handed box design, allowing the player to flip open and apply with only one hand.
Average price: £8 – £10

5) Premium Brands
If you’re feeling extravagant there are brands that will set you back as much as £30. Typically these types of rosin will last longer than most and contain ingredients such as gold and silver, hence the inflated price. There is no question that these are quality brands, but the difference will be noticed only by you! Avoid relying too much on the quality of your accessories to give you the perfect sound: 99% of this is down to your technique, not your tools! The following brands can be thought of as the Rolls Royce of rosin:
Andrea Rosin – formerly known as Tartini, this rosin comes in various different types including solo and orchestral. Prices range from £18 – £25

Larica ‘Liebenzeller’ Rosin – generally considered to be the very best rosin money can buy. Larica contains gold and comes in four different hardness levels and costs around £20 – £30 per cake.

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© D C Cello Studio 2011

Deryn Cullen Adult Beginners, Cello, Cello Positions, Elementary Technique, Intermediate Technique, Intonation, Left Hand Technique

Some Thoughts on Intonation

“Intonation is a question of conscience.” – Pablo Casals

So true on so many levels! A burning issue for all us bowed string players and the bane of many of our lives, intonation tends to remain a work in progress for many years. When examined up close this topic becomes less of a discussion and more of a doctoral thesis. And like so many aspects of cello technique, you’ll encounter significant differences of  opinion amongst players and teachers on how to tackle intonation problems.

I suppose this comes as no surprise – when I try to analyse precisely how I play in tune (I should point out that even after twenty-four years of playing this doesn’t always happen), I’m frankly stumped. There are obvious elements essential to good intonation such as accurate finger placement, an excellent grasp of the geography of your cello and well developed relative pitch (assuming you don’t have the rare gift of perfect pitch). But there is definitely more to it than that. Casals called it a question of conscience. Bunting suggests (quite refreshingly) that perfectionist attitudes to intonation annihilate freedom of movement in the fingers essential to so much more than just intonation. Both philosophies point to something other than a technical or mechanical  process. There is a strong  psychological aspect which I believe is all too often forgotten or discarded.

We all have specific feelings about intonation. For many of us those feelings may include fear, frustration and often denial – leading to a high tolerance for inaccurate tuning. Perhaps the ideal relationship with intonation is to view it as part of the artistic palette. Emphasising certain intervals (such as marginally sharper major thirds and sevenths in major keys, or flatter thirds in minor keys) can colour and define keys quite beautifully. To reach this ideal I believe one has to allow for a margin of error, which gradually diminishes as the physical memory becomes more accurate and the ear more exacting. This allowance should not be confused with the previously mentioned tolerance for poor intonation, which I have seen developed to an alarming degree in some cellists despite most of them having a “good ear”.  For a long time I was one of those intonation “deniers”, often thinking my performances had gone rather well only to listen back to those which had been recorded and cringe in horror at the glaring intonation errors.

Based on my own playing experience and that of my students, I believe there are three main negative emotions associated with poor intonation: fear, uncertainty and low self confidence. The first two are relatively easy to combat (although they take time to get rid of); the latter is trickier and varies a great deal from one individual to the next.

So, fear and uncertainty first! High register playing and large interval jumps are prime candidates for inspiring apprehension, which lead to physical tension, and we all know what impact that has on intonation. Take your pick of the major cello concertos for passages in the instrument’s upper range. How often do we hear (or give) performances of these works that are let down by those upper register passages when the sound is thin and some or all of the notes are off-pitch? Even after hours of repeating those passages ad nauseam in the practice room, they often let us down in performance. All too often the practice we do to eliminate the fear factor only perpetuates it. The root of the problem is not in the passage, but in the irrational fear of that portion of the fingerboard. So it stands to reason that getting familiar with that highest octave-and-a-half through slow, relaxed work on scales, arpeggios and studies is a much better use of our practice time than repeatedly trying to play a phrase or passage in an area of our instrument that frightens us because we don’t know it well enough. No matter how hard we try to make it sound beautiful, our attempts are undermined by inaccurate finger placement and incorrect bow placement. With enough repetition of the same high register passage, we might eventually become more familiar with that area of the cello. Equally we are in danger of constantly reinforcing incorrect finger placement and excess tension because our focus is more on trying to play the passage the way we think it should sound and not nearly enough on the mechanics behind the music.

There is certainly no shortage of technical material for the cello that covers the entire range of the instrument or concentrates on perfecting the upper register – Feuillard’s Daily Exercises for Cello, Yampolsky’s Violoncello Technique and the Galamian Scale System for Cello to name a few. Until we can comfortably play such technical material covering every inch of the fingerboard, it is unreasonable to expect ourselves to be able to play repertoire with these technical demands. However you choose to approach familiarising yourself with the full range of your cello, familiarise yourself you must and you really are better off using a method designed specifically for this purpose. When Elgar was composing his sublimely beautiful cello concerto I seriously doubt he ever stopped and thought: “Ah, this will do wonders for the bow technique!” He composed the work with those whose technique was already fit for purpose in mind. But I’m digressing somewhat. The point I’m trying to make is that through consistent, concentrated practising of scales and arpeggios of every shape and size we give ourselves a much better chance of making that magical and essential connection between internal pitch and physical memory – the marriage between the sensitive fingertips and attentive ears.

Low self confidence, as I’ve already pointed out, is a more elusive problem which can have its roots in such a vast range of places that it is not really possible to tackle with a single suggestion. I do believe however, that investing enough of one’s time in the aforementioned study of the fingerboard will at least serve to relieve some of the symptoms of the problem. I also know from my own experience and from watching my students develop, that intonation is often bad because we expect it to be. That expectation is built up over years: the majority of us start out with poor intonation, not because we can’t hear it but because we don’t know where or how to place out fingers. For some cellists the development of a dependable left hand technique happens in a nice upward trend and their fear of intonation disappears as their command of the instrument improves. But for many more – perhaps most – it is more of a jagged affair with frustrating flat lines and almost as many downward as upward spikes. Surely this trains us to feel negative about aspects of our playing and gives us reason to believe that we are more likely to be wrong than right in the placement of a finger or a shift to a new position.

Again, I refer you back to the good old-fashioned daily dose of scales and arpeggios. Add a metronome to that, and remember: it is impossible to practise too slowly whereas practising too fast is not only possible, it’s disastrous.

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© D C Cello Studio 2011

 

Deryn Cullen Adult Beginners, Advanced Technique, Cello, Cello Literature, Getting Started on the Cello, Practising, Teaching the Cello, Tips and Resources for Teaching

The Race to Grade 8: a Cautionary Tale for Teachers and Students

I was browsing a forum for classical music students the other day. My eye was caught by a thread entitled something like this: “What is the shortest time you can take to get to grade 8?” At first I was annoyed at the silliness of such a question. I was about to write an admonishing response, telling him how ridiculous he was to be so obsessed with racing toward a relatively meaningless qualification when he should be focusing on how to become the best he could at expressing himself on his instrument. But then I thought about myself at that age – around fifteen.

In my mid-teens I was fiercely ambitious and deeply dissatisfied at not yet having passed my grade 8 cello exam with distinction. I had only been playing the cello for around five years, but had already managed to perform Bruch’s Kol Nidrei (rather messily) at the local Youth Concerto Festival, and was regularly taking repertoire far beyond my ability to my lessons and nagging my teacher to let me play it: the Saint-Saëns Concerto No. 1; the Lalo Concerto; both Haydn Concertos and more. I wore him down and he let me take on the Saint-Saëns. I can honestly say I put a brand new spin on it, and not in a good way! I used eye-wateringly bad fingering patterns throughout – especially in the double-stop passage. My tempi were all over the place and bore no resemblance whatsoever to the score directions; dictated instead by my technical inadequacies, which were numerous and getting worse rather than better with my hours of hacking away at music beyond my reach rather than working on my weaknesses.

I eventually abandoned the Saint-Saëns Concerto: by the time I got to the third movement even I had to admit defeat. I never touched that concerto again except in a few sessions in my practice room many years later, when I would set down a pile of my favourite pieces next to my chair and systematically read through bits and pieces of them. But I certainly didn’t stop taking on repertoire that required much better chops than I had in those days. I wasn’t alone either. There were several cellists in my age group at the music school I attended, and the competition between us was stiff to say the least. We all played in the regional and national youth orchestras together, and the annual seating auditions were a tense, unpleasant affair. This was typical behaviour for young people of our age, and perhaps it was a valuable introduction to the fiercely competitive and political nature of the world we were planning to enter. Part of the problem was that our teachers were no better, and in hindsight seemed a little too focused on who had the most advanced students; whose students had played the most challenging repertoire and whose students had the most achievements behind them. Amongst those achievements of course, should be the coveted certificate proclaiming Grade 8 Passed with Distinction. This meant that we were never discouraged from our competitive behaviour – far from it in fact.

I played my Grade 8 exam at seventeen and by some unfathomable miracle, managed to scrape a distinction for it. I played the Allemande from Bach’s Third Suite in C; the second movement from the Lalo Cello Concerto and an arranged piece by Hindemith called Meditation. Each of those pieces was a struggle to perform with the accurate performance of certain sections always a matter of hoping for the best but expecting the worst. I remember coming out of the exam room in a state, having barely managed to avoid crying during the exam itself. I was convinced that I would achieve a low pass at best, and during the agonising wait for my results began to have rather sensible thoughts about slowing down and paying more attention to my desperately unreliable technique. Then the certificate arrived in the post and lo and behold: it was a distinction! All thoughts about sensible and necessary technical practice went straight out of the window and once again as my ego expanded beyond its previous inflated size I began to think of myself as a performer of great and terrifying repertoire.

When I arrived at music college around six months later I felt ready to conquer the classical music world. I was going to enter and win all of the major music competitions, play in all of the concerto festivals and make my way abroad on some fabulous music scholarship. I hadn’t bargained for the fact that my teacher – one of the most sought after in the country – had attracted a frightening number of cellists from all over the country, many of whom had been given a far more disciplined grounding than I. I was now a very insignificant fish in a much bigger sea. Furthermore, she did not suffer fools gladly and was certainly not going to indulge over-inflated egos in need of a reality check.

I recall my first lesson with her as if it was yesterday. I needed to prepare a piece to play for her, and I decided to play it safe with something I had learned three years previously and played many times since: Vocalise by Rachmaninov. I gave my customary emotionally over-the-top performance with much face-pulling and moving about. Instead of the flattery I had come to expect at the end of it, she gave me the brutally honest and detailed feedback I was to become accustomed to from her. Although I failed to see it at the time, it was in fact very encouraging, and essentially told me that I had raw talent and musicality in abundance, but that my technique was really in need of an overhaul. I was a little put out – if she thought my technique seemed insufficient on a piece like the Vocalise, what would she have said about my rendition of the Lalo Concerto? I was going to become more than a little put out as a battle of wills ensued. Of course many of you already know this part of the story as I touched on it in my previous post about efficient practising. At the risk of boring you with tails of my youthful foolishness, I shall continue this story as it relates directly to the point I wish to make in this post.

It went like this: I – still flush with the success of my distinction and a few other orchestral and performance achievements that year – was in no mood to be told that I needed to go back to basics in order to develop better and more reliable habits. My teacher, by no means confronted with the first upstart of her career, put her foot down firmly and used my attempts at proving her wrong to prove me wrong instead. I would bring something like Beethoven No.3, Op.69 to the lesson, and crash spectacularly within the first twenty-four bars. I would then mutter about how much better it was working in my practice room and have another few unsuccessful goes at it. Then she would calmly and patiently explain why things weren’t working. She would turn the focus of the lesson to working on whichever aspects of technique had shown up as weak. Then she would provide me with relevant studies or exercises which would inevitably end up at the bottom of a neglected pile of books in my practice room. It was about six months into my first year at music college when she handed me a study I had played sometime in my early teens. It was a very sensible approach to working on my spiccato bowing without having to focus too much on tricky notes, keys or upper register playing. Unfortunately I didn’t see it that way at the time, instead taking it as a personal insult. Surely such elementary studies were far beneath me?! I didn’t do much to conceal my indignation, and my teacher quite understandably began to lose patience with me. How she had managed to be quite so patient up until that point is anybody’s guess.

At the same time I was starting to experience prolonged bouts of muscle soreness, tennis elbow and tendinitis. I was also beginning to realise that I really wasn’t all that. I was on the back desk of the college orchestra cello section, I was not getting invited to play in chamber groups and I knew that I was surrounded by musicians – not just my fellow cellists – who were a great deal more accomplished than I was. A slow and painful process eventually lead to me overcoming my RSI issues and changing my mindset so that I began to listen to and apply what my wise teacher told me. More than a decade later I am still enjoying the benefits of her wisdom, and I hope that my students are too.

The moral of this story is, quite simply, don’t be hasty. Aiming to pass Grade 8 is a fine goal and a satisfying one to work towards. But it isn’t the be-all and end-all of musical achievements. It doesn’t imply that you have reached cellistic genius. It is no guarantee that you have truly mastered the technique required to play the pieces you chose. If you’re a teacher, exciting as it is to see your students reach Grade 8 level, you will do them far more good in the long-term if their focus is more on becoming a musician than passing exams. All it really means is that you’re no longer a beginner.

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© D C Cello Studio 2011

Deryn Cullen Adult Beginners, Advanced Technique, Bow Technique, Cello, Elementary Technique, Intermediate Technique, Left Hand Technique, Practising

Tips for Cooling Down After Practice

In the same way that a vigorous exercise session needs to be followed with cooling down and stretching, the same goes for a practice session – especially a demanding one. Cooling down and stretching are just as important as warming up for injury prevention. Where the function of warming up is to prepare the body and mind for a strenuous practice session, Cooling down should gradually step down practice activity, returning your body to a pre-practice state. A gentle stretching routine after cooling down will also help your muscles to recover after intense activity, but over-stretching can have the opposite effect.

There are many different ways to slowly reduce your level of activity as you wind down your practice session. I have always found the following suggestions to be very satisfactory:

  • A selection of scales which decreases in tempo, bowing complexity and range
  • Three short studies that you are familiar with of moderate to light difficulty – each played under tempo with a metronome, starting with the most difficult and finishing with the easiest
  • Three short pieces as above
  • A selection from the piece or study you worked on during your session played 3 – 4 times at a slower tempo each time

At the end of your cool down session, which should take around ten minutes, stand up and stretch your arms above your head as you would just after waking up. Stretching is a fairly instinctive activity: you’ll know which muscles feel most in need of it. Generally the wrists, forearms, shoulders and neck benefit from gentle stretching movements. But as already mentioned, gentle is the keyword here. If you notice tension building in any of your muscles during your practice session, standing up to stretch and breathe deeply and slowly for a few minutes is a very good idea. While it is perfectly normal to experience tension or even aches and pains while working on demanding repertoire or new techniques, it should not be perceived as part of the technique but rather as a message from your body asking you to find a more efficient way of performing the task. Beware of entering into a “no-pain-no-gain” approach. You’ve heard me say it before and you’ll no doubt hear me say it again!

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© D C Cello Studio 2011