Lesson 94 - Last lesson of 2014

We started the lesson with 3 octave scales of the C and F major, using the universal fingering and paying close attention to the patterns and comfort in the higher registers.

Just like the arpeggios, the goal here is to know which keys and positions I'm currently on and going to; it's not enough to just know the patterns.

As I'm still learning the higher registers, it is a good idea to reacquaint myself with shifting in these positions. Whole tones and semitones are much closer to each other and the thumb should probably start stopping over 2 strings instead of the 1 string that I've been accustomed to. Due to this closeness of notes, it is much harder to make the cello sing and in turn, the precarious bowing that usually occurs here is the exact opposite of what one should be doing. Instead, generous and thoughtful bowing should be applied. Of course, not all cellos will perform as well as another in these higher positions and there are limits but one should still try.

We then explored the Minor key of C for both the Harmonic and Melodic scales noting the different fingerings before heading into Bloch's Supplication.

Generous bows and strict adherence to the metronome is key to tackling the tricky beat of the piece. There are also numerous augmented 2nds peppered around with tricky shifts, again in the higher positions so focused practise on those alone should contribute much to the tackling of the piece.

Here for texture and colour, augmented 2nds are played slightly sharper; something string instruments are capable of whilst still being in tune with the piano.

I remember reading about tuning pitches or more specifically, concert pitch and how official standards came about. The various differences between American and European tuning and even a plethora of preferences found in symphonies and orchestras around the world. Soloists that prefer to be slightly sharper to stand out during performances and so on - totally fascinating.