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The bridge between two f-holes

Lesson 42 - Misplaced thumbs

2013-03-27 21:52:20

We continued the lesson from yesterday with more third position exercises from chapter 33 after a G Major scale to fourth position warm up.

Deryn then explained the music theory behind all the new positions I am now exposed to and the relations it has to all the scales and how we can recognise them just by the fingering on each key when on a specific position. We will go into more details about this in the few coming months so that I have a firm and solid understanding of all the positions, up to this point, before we go any further into applying them muscially as this means I will by then be much more familiar with the fingerboard and so know instantly a note that is found on the A string on the first position and that same note on a different string and a different position.

We then moved to Chapter 35 where Langin prepares us to start on the first position and on to the second, third and lastly fourth before going back to the first position again by playing the same phrase of notes he has us playing from previous exercises.

It was at this point that Deryn notices my creeping shoulder was actually creating more problems for me when she reminds me during a playthrough to lower itself throughout the lesson. Through thorough assessment of my thumb position on my bowing hand, it seems I have not placed my thumb on its proper place which is probably causing it to grip the bow which then has the domino effect of stiffening my wrist and arm and of course, the shoulder starts encroaching into places it shouldn't!

We then played open strings in a myriad of ways including walking whilst sitting, standing up, slightly crouched, with different lengthened end pins and even with a book balanced on my head with the new thumb placement and lo and behold, my shoulder has magically ceased creeping up and my thumb has yet to grip the bow or hurt after playing. It's a small adjustment that will definitely make an impact on my bowing hand in the future and something to get used to. Or rather, it's like getting reacquainted with the bow again :}



Lesson notes from Deryn:

1. Third Position (Langin III Chapter 34 Page 19)

- Because 4th position is the nearest neighbouring position that is most familiar, 3rd position is introduced in the context of its proximity to 4th position rather than 1st.
- Langin first introduces the nearest neighbour to 4th position: upper 3rd position, which is only a semitone down from 4th position.
- This is followed by extended 3rd position, where the 2nd, 3rd and 4th fingers remain in the same place as upper 3rd and the 1st finger reaches back by a semitone to the note usually played by the 4th finger in 1st position.
- Finally, he introduces lower (or standard) 3rd position, where the 1st finger stays in place from the extended position and the 2nd, 3rd and 4th fingers come down by a semitone from the extended position.
- After introducing these three variants of 3rd position on the D string, he introduces them on the rest of the strings.
- Langin does not introduce third position with backward extension - probably because it isn't visited all that often on the cello. For the sake of completeness, take a look at my third position and variants diagram to see all 4 variants of the position. Here's the link: http://thecellocompanion.files.wordpress.com/2011/01/3-third-position2.jpg

2. Popper Study No. 5

- Very good work on this so far.
- Have a closer look at the sections with amended fingering, and follow the 3rd position fingering marked in the score.
- Also focus on the last section to get on top of it.
- Pay very close attention to bowing - make sure you follow all bow markings and always consider what bow you should start on when practising isolated sections.

3. New studies (for 2nd and 3rd position from Percy Such New School Of Cello Studies Book 2)

- Rather than viewing these as pieces to be refined for performance, use them as a means of familiarising yourself with these new positions in a more musical setting.
- The second study for 2nd position is very long, so use the first half or so.
- Be sure to identify all variants of the positions in these studies and mark stretches in the score whenever you need reminding.

4. Combining 1st to 4th position (Langin Chapter 35 Page 22)

- These are excellent exercises for learning to move fluidly through all 4 positions.
- Try to incorporate sections from Ex. 35 - 35c into each practice session you do from now on.

Don't forget about your bow! Although much of our focus has been on the left hand to get you better acquainted with a larger range of the cello, it is vital that you balance your technique and keep working on your sound and the fluidity of your bow arm. Spend time working on your sound on open strings; challenge and establish your balance; check the stability of your cello 'hold'; stand up and play to experience how easily your arm moves when you're in an 'active' posture. Pay close attention to the placement of your thumb: inside tip, just next to the nail, should make contact with the edge of the frog (the corner between the frog and the stick), and the top knuckle should be bent most of the time, and flexible, not locked.
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info

Learning the cello as an adult started as a dare but has now turned into an ongoing love affair; I hope to one day make her sing to her full potential. In the meantime, all spare time and moments are dedicated to this wonderful instrument as I am unable to think about anything else, much to the dismay of my other half :}

This is an attempt to remember the classes I have taken so that I don't forget.

My wonderful teacher, Deryn ~ http://cellostudio.info/