Lesson 58 - Foam rollers, keeping fit, Tango!

Before we got on with the lesson, I recalled my observations to Deryn about the tightness in my lower left shoulder and how it only occurs during fast movements. I suppose in a way, the tightness is my body signalling to me that I should slow down to actually grasp what I should be learning at that point and not over do it. How odd it is to realise that my body is communicating in such a way; I will henceforth refer to this as a "hurt signal", unlike the "bat signal".

Deryn then proceeded to show me a myriad of ways to hopefully prepare my body better before approaching the cello, most of which were exercises recommended to her by her physiotherapist, ranging from warmups, stretches and even one where you used a physical fitness foam roller that you place under your back to roll on akin to sit ups but I guess in this case, roll ups? I refrained from laughing out loud in class but it all looked rather silly. I'm not the most fittest person in the room so this will deviate from my usual approach - mostly yoga-like stretches and such.


Slava and his toned arms. Yes, he is the ballerina.

A realisation that cellists need to be equipped with toned arms to be able to do anything sufficiently well on the cello is apparent once you start learning the instrument and to play it with ease and comfort has probably everything to do with the fitness of the player in both mind and body. Now my only hurdle is to approach the cashier with the foam roller in hand without looking awkward.

We started the class with a few 2 octave arpeggios, namely C Major, F Major, E Major and two different ways to play E Minor. I admit to not having spent any time at all on scales other than the usual suspects (G Major and F Major) much less arpeggios. I keep meaning to really sit down and notate the common fingering patterns for the minor scales but have yet to actually do that; spending most if not all of my time on studies and exercises.

The only time I ever spend on scales happen during warm up using the Bunting Bowing Regime and even so, its not for the sole purpose of learning scales. My main problem being not entirely sure if I'm in tune at all. Because the fingering is the same, it just seems to me that I could plonk my finger on any part of the fingerboard, use the common fingering and tadaa - I've played a major scale without actually knowing what key it was in.

After having done this with the aid of the tuner, it has still left me rather unsatisfied about the whole process as I still had to keep checking target notes to make sure I was in tune! Suffice to say, little progress has been made ever since (read: none).

Anyway, we focused mostly on the Lee study today; a rather challenging piece that is technically demanding for both left and right hand. It is also currently my favourite study thus far because of that and the resulting effects of working on it has far improved my grasp on certain techniques gradually.

Before the lesson ended, Deryn accompanied me during La Cumparsita which was a lot of fun as this was the only non-classical piece I've been given thus far. Her aim for this piece is an exercise for me to let go and explore the genre, leash out my creativity and experiment on interpretation. Since there are so many ways to perform a tango, it is up to me to put my stamp on this particular piece without any pressure; a purely "play for pleasure" piece, if you will.

Now, if you knew me, you'll know that I'm probably the opposite of "leashing out" and more towards the meek and shy side of the spectrum so it was a tad nerve wrecking to play the piece with Deryn. I mean, I could definitely go all out in the privacy of my practise room but tango-ing in front of others? Eeps! Still, I suppose in time, I'll get over the whole self-awareness issue and "get stuck in", as Deryn puts in succinctly.