Lesson 31 - New Piece Satie

Today's lesson began with Langin Book 2 Chapter 23 page 18 where we played different variations of the C major scale. I seem to find difficulty with 4 note slurs as I tend to concentrate too much on both bowing and fingering at the same time.

We all know this is a recipe for disaster when it comes to cello as that's just not the way the cello works. Or probably any musical instrument, really. It seems to play is to play subconsciously and visually, with feelings!

Well, not really. You just need to be so firmly grounded with the basics that you shouldn't have to be aware of it. Time and practise will take care of this. It's like playing with your eyes closed, literally.

I am to pick up to 2 random scales and apply these variations each time I practise to familiarise myself with all the scales that are available to me up to this point. Deryn says that it is vital that I know all the scales as that is a basic neccessity before even beginning on book 3. Thus methodical practise of the keys will be a focus for the following week or so.

Next, we covered Chapter 24 with more focused fingering techniques. Deryn says that this exercise may seem straightforward and simple but it stresses on a technique that allows the cellist to efficiently use the left hand when it comes to fast, successive note playing like the accompanying cello pieces of the Classical period. If practised right, a cellist will easily recognise the finger pattern needed to play phrases that might otherwise startle and infuriate a much lesser abled cellist. More focused repetitive practising to be applied here!

Then we played the 2nd and 4th movement of the Concert piece. Focused practise have certainly improved my overall performance but I am still to do more focused, repetitive practise on problem areas like clean string crossing and uneven bowing as evident on the resulting tone of those areas and how I end up with an up bow instead of a down bow on some bars. Thankfully, Deryn has marked the offending bits on the music sheet.

Another issue being the stop, shift and placement of the left hand so that my C sharps and F sharps are not as flat. I tend not to shift enough but that's mostly because I assume a measured distance instead of going at it via the scientific method of shifting and then placement; one of those "A-ha" moments when done properly!



Finally, I get a new piece to learn for the following weeks ~ Chez le docteur by Erik Satie from Time Pieces for Cello, Volume 2. This encompasses Langin's Chapter 24 which will greatly benefit my playing the piece if practised properly.