My second quarrel with the film is the way in which the music was presented visually and aurally. Each time the cello was played, its sound was soon drowned out by souped up symphonic enhancement while we watched birds flying or saw the intricate highway system of Los Angeles from the air. Not that I would have known how to “show” music playing any better myself. That’s a very tough challenge. Nonetheless, dance companies and musicals tackle this problem all the time. Too bad Dreamworks couldn’t have been a bit more imaginative in solving this predicament.

Still, it’s great that this film was made at all. The importance of friendship, the sympathetic portrayal of a schizophrenic, the eye-opening scenes of the down-and-outers in the greater Los Angeles area were all seriously and richly dramatized.

It’s like I am always saying: it’s better to have done something well, than not to do it at all because you can’t be perfect. So, go see this movie or read the book.

Reposted from May 2009

]]> http://www.veracello.com/archives/321/feed 0 http://www.veracello.com/archives/314 http://www.veracello.com/archives/314#comments Sun, 02 Jan 2011 00:09:04 +0000 Vera Jiji http://www.veracello.com/?p=314 CELLO-LEVEL 1

Performance Requirements

Scales and Arpeggios

• Memorized
• Metronome: Quarter = 60-69

Student chooses one from each category and its equivalent tonic arpeggio:

• One-octave major scale in G, or D (starting on open strings), or F.
• Two-octave major scale in C.

• Bowing for scales: Separate quarter notes, or slur two eighths. Use half or whole bows.
• Bowing for arpeggios: Separate quarter notes.
• Half or whole bows for all.

Etudes or Pieces

• Two total showing different styles. At least one of the two must have 16 or more measure without repeats. Memorized.

Sight-Reading

• None

Recommended goals for Level 1

• Good posture, good left-hand position and bow hold
• Good intonation and correct rhythm
• Pizzicato
• Bowings: détaché, staccato, legato
• Awareness of bow division
• Meters: 4/4, 3/4, 2/4

Examples of Music Suitable for Level 1

Note: Teachers may choose any other works of comparable level.

Scale Books:

• Charles Forbes: Cello Scales and Arpeggios (Galaxy/SCH)
• Galamian-Jensen: Scale System for Cello (Galaxy/SCH)
• Klengel: Technical Studies, Book 1 (SCH)

Etudes and Technical

• Benoy/Burrows: The First Year Violoncello Method (PAX)
• Dotzauer-Grant: Fundamentals of Violoncello Technique (Ludwig)
• DELFeuillard: Method for the Young Violoncellist, Lessons 6-13
• Grant: Beginners Guide to the Cello, Vol. 1 (Ludwig)
• Krane: New School of Cello Studies (Spratt)

Pieces

• Applebaum: Minuet from A. Magdalena’s Notebook (BM)
• Applebaum: Minuet (BM)
• Bartles: Seven Easy Pieces for Beginning Cellists (B&H)
• Bay: Fun with the Cello (Mel Bay)
• Etling: Solo Time for Strings (Alfred)
• Fletcher: New Tunes for Strings (BM)
• Grant: Easy Solos in First Position (Ludwig)
• Schlemueller: Six Easy Concert Pieces in First Position, Op. 12 (CF)
• Schlemueller: Six Easy Solo Pieces in First Position, Op. 14 (CF)
• Squire: In Dreamland (C.F.)
• Suzuki: Cello School, Bk 1 (Summy-Birchard)

Reposted from January 2008

]]> http://www.veracello.com/archives/314/feed 0 http://www.veracello.com/archives/302 http://www.veracello.com/archives/302#comments Sun, 02 Jan 2011 00:00:37 +0000 Vera Jiji http://www.veracello.com/?p=302 Is there an objective way to measure one’s progress? Yes. I will list the stages one by one.
Note: This list, taken from the American String Teachers Association, was compiled long before my book was published. So that’s why you won’t find it recommended below.

CELLO-FOUNDATION GOALS: BEFORE LEVEL ONE

Performance Requirements

Scales and Arpeggios

• Memorized
• Metronome: Quarter = 60-69
• Student chooses one scale:
  • One-octave D, G or C major scale, starting on an open string.
• No arpeggio required.
• Bowing for scales: Separate quarter notes
• Half or whole bows for all.

Etudes or Pieces

• Two total. Each one must have 8 or more measures without repeats.
• Memorized

Sight-Reading

• None

Recommended goals for Foundation Level, Before Level One

• Good posture, left hand position and bow hold
• Good intonation and correct rhythm
• Use of first, third and fourth finger
• Meters: 2/4 and 4/4

Examples of Music Suitable for Foundation Level

Note: Teachers may choose any other works of comparable level.

• Method Books:
  • Anderson/Frost: All for Strings, early parts (Kjos)
  • Applebaum: String Builder Bk. 1, early parts (Belwin)
  • Feuillard: Method for the Young Violoncellist, Lessons 1-5
  • Grant: Beginners Guide to the Cello to p. 16 (Ludwig)
  • Fischbach/Frost: Artistry in Strings, (Kjos)
  • O’Reilly: String Rhythms, p 3-8 (Kjos)
  • Villani: Things to Know about the Cello (Latham)
• Pieces:
  • Grant/Donegan: 48 Folk Songs Part 1 (Ludwig)
  • Suzuki, Vol. 1 #1-9 (Summy-Birchard)

Reposted from January 2008

]]> http://www.veracello.com/archives/302/feed 0 http://www.veracello.com/archives/296 http://www.veracello.com/archives/296#comments Sat, 01 Jan 2011 23:25:55 +0000 Vera Jiji http://www.veracello.com/?p=296 Charles Benedetti, an active reader of Cello Playing for Music Lovers, has written to tell me that, as he strove to get a richer tone, he pressed too hard on the bow and stressed out the muscles of his right thumb. Here’s another reminder that relaxation of the muscles of the hands is as critical as relaxation of the shoulders and arms. In fact, as you relax your right arm, it should become heavy, right? Now allow that relaxed heavy arm to fall onto the string. It is that relaxed weight which will give you a rich sound. I’m aware that this is easier said than done. Remaining relaxed takes much vigilance. However, it is very worth while.

Two other bow holds were suggested to Mr. Benedetti by another cellist: one  is, to place the thumb under the frog rather than against the bow stick, or place it parallel to the bow stick in a baroque-style hold.

I’m always pleased to hear how my readers are progressing and especially how the book is working for you. Keep in touch!

Reposted from January 2008

]]> http://www.veracello.com/archives/296/feed 0 http://www.veracello.com/archives/286 http://www.veracello.com/archives/286#comments Sat, 01 Jan 2011 23:23:38 +0000 Vera Jiji http://www.veracello.com/?p=286 Cellist Erik Friedlander, the performer on the CPML CD, has an exciting cello page on his website at erikfriedlander.com

Two New Video Lessons Are Posted:

Lesson VI. Curved Fingers – Left Hand Strengthening & Flexbility

This video shows you a simple way to improve the strength and flexibility of your left hand. When you play on the tips of the fingers you force your fingers and hand to get stronger which is a very good thing!

Lesson VII. Get A Grip: Taking Hold of the Bow

This is a simple way to orient your hand on the bow in a relaxed, natural way.

His lessons are very helpful, and these two are for beginners.

Reposted from December 2007

]]> http://www.veracello.com/archives/286/feed 0 http://www.veracello.com/archives/277 http://www.veracello.com/archives/277#comments Sat, 01 Jan 2011 23:14:20 +0000 Vera Jiji http://www.veracello.com/?p=277 “August Rush” is a new release, a fairy tale of a movie about loving music that features a cello playing Mom, a guitar playing Dad and their child who seems to be more precocious than Mozart, since Mozart’s Dad taught him everything, while this little boy, separated from his parents at birth, knows how to play a guitar and organ at first sight without having had any prior instruction. However, if you can totally suspend your disbelief, it’s a charming fairy tale with a happy ending.

The cello playing Mom is played by Keri Russell. In an interview in the Chicago Sun Times on Nov. 25th, the film’s director, Kirsten Sheridan, answers the question:

“Is it true that Keri Russell had to learn how to play the cello in just a few weeks? How could she do it?“

by saying:

“It’s true. We had her playing Bach in 12 weeks and she had never picked up a cello before in her life. She basically went from “Twinkle, Twinkle Little Star” to Bach. It was amazing.“

Hmm. Anyone care to comment?

Reposted from November 2007

]]> http://www.veracello.com/archives/277/feed 0 http://www.veracello.com/archives/270 http://www.veracello.com/archives/270#comments Sat, 01 Jan 2011 23:08:50 +0000 Vera Jiji http://www.veracello.com/?p=270 I dropped music from my life for 47 years, while I taught English and raised my family. Although I missed music intensely, I said, like many other people, that I had no time for music making. What I really meant was, “I don’t have time to practice enough. I can’t play as beautifully as I would like to. So I am quitting this field totally.” Only in my 60′s, after I retired from my job as a teacher of English, did I go back to studying and playing the cello.

Hearing that I’ve gone back to playing music, people often say, “Oh, I love the sound of a cello! I wish I could do that. But I KNOW I can’t.” Music is absent from their lives.

Listening to their sad voices, I feel very sorry for them and very frustrated. Why are people so afraid of trying to play music? So sure that they can’t? Without ever trying, they’ve denied themselves this opportunity. Sometimes it’s because they never had any musical instruction in childhood and simply assume that all musical training is formidably difficult. Unfortunately, many music teachers and self-styled experts perpetuate this myth, by repeating how difficult it is to learn any instrument, how much practice it takes, and so on. Sometimes they add that the cello is among the most difficult of all. Other adults were forced to take piano or violin lessons as children and didn’t like practicing, so they decided at the time that they had no musical talent. Or a school teacher said they couldn’t sing in tune, so they shut their voices down forever. Or, worse yet, a demanding “old school” music teacher completely discouraged them. Unfortunately, such stories are far too common.

But that’s such a pity! Playing music is one of life’s most glorious experiences. Nobody should be deprived of it, especially through an unwarranted fear of any personal inadequacies or music’s difficulties.

I’m not promising that learning to play an instrument doesn’t require practice and repetition. It certainly does. Nor do I promise that older beginners will learn to play complicated pieces beautifully enough to perform in a concert. But that’s not what counts. If their goals are modest, they can learn to play well enough to bring real pleasure to themselves and, possibly, to fellow amateur players in their circle.

“Well enough.” What does that mean? People should decide that for themselves. For example, Noah Adams, a commentator for NPR radio, decided that he would be a successful musician if he could perform Schumann’s Traumerie in a private concert just for his wife. His book, Piano Lessons, describes his experiences achieving that goal.

I studied music and the cello as a child. Along with the lessons came the unspoken rule that studying music was a sacred obligation like becoming a nun: all or nothing. I managed until college. Then, challenged to succeed in my college classes, I quit both my music lessons and my playing. All or nothing? It had to be nothing.

It took me forty-seven years to realize how wrong that notion was. Amateurs who play bridge, golf, contact sports or even the guitar are not derided for being less skillful than professionals. They play as well as they can, for their own pleasure, not for paying audiences, that’s all. Why shouldn’t the same standards apply to amateur chamber musicians?

They do, once you find a congenial group. And now, after a 47 year gap, and sixteen years of being an amateur and a senior citizen, I can declare myself blessed, playing for the love of it, happy.

Why is that? First of all, you can’t be “retired” when you’re playing a musical instrument. You are as physically involved as an athlete during a game. Your heart is pumping hard, your juices are flowing. Second, you are not using language, that deceptive, tarnished medium, to communicate with your fellow players. You are passing musical lines of dialog back and forth among you, and your lines were written by geniuses. That dialog is irresistible.

There is a joy in the exactness of the music’s timing and dynamics (getting louder and softer), as your part fits in with the others. You experience the sense of team work producing an invisible yet beautiful object. When the music calls for a slowing down and then a sudden pick up to the previous speed, you all do that together. This can happen only if the players are listening very carefully to each other. How often do your companions listen to you and echo you so closely that you are sure you have been thoroughly heard? That seldom happens except when playing music. There, the literal and figurative harmony of the moment is truly exhilarating.

Beyond all this is music’s ability to speak directly to our emotions. If you were fortunate enough to play music when you were a child, returning to it can help you recapture that expressive quality that you may have lost. It’s no less joyful for beginners. I have shown people how to move the bow back and forth across the cello’s four strings to unleash its gorgeous sound in a few minutes, and seen them happy achieving that goal alone. Let me encourage you to participate in this extraordinary world.

Reposted from November 2007

1. Use a reputable string instrument dealer in  your area. Check with a music school or with local cellists or violinists who can recommend a dealer.

2. While I suggest buying a cello, because it represents a greater commitment on your part, you can also rent cellos from dealers for about $50.00 a month.

3. Get the right size for you. Cellos for small children are available in a one-quarter size. They are also available in half, three-quarter and 4/4 sizes (the last, for adults.)

4. The age, national origin and reputation of the maker strongly affects the price. Cellos are available from about $500.00 to six million. If you cannot afford a fancy name, do not worry. Choose by the cello’s sound and condition.

5. Do Nots: Do not buy over the internet. You cannot see or hear it, and will have difficulty returning it if necessary. Do not buy a plywood instrument. The body should be made of maple for the back and ribs and spruce for the front. Do not buy a brand new instrument, unless you are sure that the wood has been properly aged.

6. The front of the body should be arched in the middle, and slightly indented around the edges, not almost flat.

7. A cello that has cracks in it may be fine, as long as they have been glued. Check its condition, and ask the dealer to show you any repaired cracks. The edges may have been worn down. Make sure the instrument still has some overlapping edging around the lower ribs.

8. Listen to its sound. Every cello has its own voice. Let the dealer pluck the four strings slowly in turn and listen to the vibrations die away in the room. A good instrument will sound resonant on all four strings.

9. Then let the dealer play a slow scale on all four strings. Is the sound mellow, rich, resonant and smooth from string to string?

10. Then listen to the same scale played on another cello. You will hear the particular voice of an instrument more easily when comparing it to another. Make sure the two are played with the same bow, because the bow has a huge effect on the cello’s sound. Usually, when you buy a cello, a bow and soft cello case come with the instrument.

11. Since the bow strongly affects the sound of the instrument, if you are offered a choice, listen to several before buying one. A more expensive bow may not always be better for you, since it should be the right weight for your particular instrument, your body and the unique way you use it.

12. The only way to find the best bow for you is to try using it. The bow should respond quickly – jump easily – but not be skittish. If it’s too heavy, the sound is dull, sodden; too light and the sound is thin and reedy. Again, extrinsic considerations like the bow’s national origin, the maker’s reputation, and the appearance of the frog and silver ornamentation will affect the price, but your aim should be to find a bow that sounds good and feels comfortable.

13. Bows vary widely in price, as cellos do. Some by famous makers cost $60,000 or even more! Again, your budget and your ears should be your guides.

14. Most important: don’t be afraid to buy an instrument and bow. You can always sell them again if you’re not happy playing the cello. Meanwhile, just imagine all the pleasure this venture into music will give you.

Reposted from November 2007

“It’s hip,” says Jenkins, 31, about being a cellist in Portland. “It’s super-hip. The second people find out I play the cello, it’s like, ‘Hey, want to play on my record?’”

As Jenkins tells it, Portland’s cello community is on the rise. Bands like his own chamber-rock quintet, Bright Red Paper; WW’ s 2007 Best New Band runner-up Horse Feathers; and folk-rock outfit John Weinland have all been seen cavorting with the Portland Cello Project, a collective of local cellists that’s turning the traditional concept of orchestra performance on its head.

The Secret Musical Lives Of Hipsters

Reposted from November 2007