An Artist's Guide to Cello TechniqueBuilding and Maintaining Professional Level

Cello Technique With a Daily Regimen

Stefan Kartman

ContentsPreface 4

1. An Artist's Guide to Cello Technique 5What is the difference between professional technique and artist level technique

2. Summary of Application of this Guide 7General concepts and principals to be aware of when using this guide

3. Some Examples for Repertoire Based Use 10How to use exercises from the guide to improve your repertoire

Examples of use with a passage from Haydn's C major Cello Concerto

4. Open String Exercise (6:00-8:00 minutes) 18Develops feel for string resistance in all parts of the bowDevelops legato direction changes in all parts of the bow

5. Vibrato Exercises (8:00 minutes) 20With acceleration rhythms (6:30)

Develops the ability to choose and control speed of vibratoVibrato speed changing exercise (1:30)

Develops control over vibrato speed and finger change combinations

6. String Crossing Exercise (4:00 minutes) 24Weight transfer from finger to finger across strings

7. Intonation Meditation (5:30 minutes) 28Movement from position to position and simultaneous balance of handDevelops familiarity with first through third positions in two finger combinations

8. Hexachords (2:00-14:00 minutes) 34Six-note shifting patternsDevelops familiarity with half position through fourth position in three-finger combinations

9. Chromatic Thumb Position Exercise (3:30 minutes) 52Six-note finger spacing patterns in thumb positionDevelops familiarity with the most common finger intervals used in upper register passages of standard concertos and other advanced repertoire

10. Rhythmic Practice Chart 59Two and three-note practice rhythms for use with left hand finger dexterity passagework

11. Galamian Style 24-Note Major Scales (2:30 minutes each) 62Develops familiarity with scale patterns in circle of fifths while working with alternating duple and triple subdivisions

Conclusion 110

3. Some Examples for Repertoire Based UseHow to Use Exercises From the Guide

to Improve Your Repertoire

Examples of Use With a Passage from Haydn's C major Cello Concerto

10

In addition to designing a useful general daily technical practice routine, excerpts from this guide may be tailored to help polish specific passages from a cellist's repertoire.

A piece in the standard cello concerto repertoire commonly studied by cello students in their teens through undergraduate years - the Haydn C major Cello concerto - offers passages with challenges in technical areas that might be supplemented by selectionsfrom the following exercises...

Consider the first page of Haydn C major Concerto - 1st movement - ModeratoStudents who are relatively new to thumb position melodies and passage-work are usually challenged by measures 36-47. Specifically beauty of sound and intonation in the melody and facility andintonation in the passage-work.

In measure 36-38, there are two finger spacing sets that should be practiced for security, intonation, and sound with the goal of freedom, confidence, and ability to shape the phrase. One of the spacing sets without alteration is actually included in the "Chro-matic Thumb Position Exercise" on page 52 of the exercises. One can extract the pattern from the "Chromatic Thumb Position Exercise" first to work the basic finger spacing for intonation as in the 5th set...

Add a couple of new patterns (in this case the inversion)...

? 44 Ó ≤œ œ œ œ œ&

3 2œ œ œ œ œ œ# œ œ œ œ

œ œ œ œ2

II

1 2 3 2 3

ϲ

œ œ œ œ œ# œ œ œ≤

œœ œ œn

≤2

II

03

2

I

& 86 œ œ œ œ œ œ3

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& œ œ œ œ œ œ3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& œ œ# œ œ œ œ1 2 3

IIœ œ œ# œ œ œ œ œ œ œ œ# œ œ œ œ# œ œ œ

& œ œ œ# œ œ œ3

œ œ# œ œ œ œ œ œ œ œ# œ œ œ œ œ œ# œ œ

& œ œ œN œ œ œ1

œ œ# œ œ œ œ1

œ œN œ œ œ œ2

œ œ œ# œ œ œ2

& œ œ œN œ œ œ3

œ œ œ œ œ# œ3

œ œ œ œ œN œ3

œ œ œ# œ œ œ3

& œ œ œN œ œ œ1

œ œ# œ œ œ œ1

œ œN œ œ œ œ2

œ œ œ# œ œ œ2

& œ œ œN œ œ œ3

œ œ œ œ œ# œ3

œ œ œ œ œN œ3

œ œ œ# œ œ œ3

& œ œ œN œ œ œ1

I

œ œ# œ œ œ œ1

II

œ œN œ œ œ œ2

œ œ œ# œ œ œ2

& œ œ œN œ œ œ3

œ œ œ œ œ# œ3

œ œ œ œ œN œœ œ œ# œ œ œ

m. 36-38

B c œ œ œ≤ œ œ œ œ&

3 2

Fœ œ œ œ œ œ# œ œ œ œ

œ œ œ œ2

II

1 2 3 2 3

pϲ

œ œ œ œ œ# œ œ œ≤

œœ œ œn

≤2

II

03 2

I F

& œ œ œ# œ œ œ .œ œ œ œ

Ÿ3 1 4 3 1

œ œœ .œ œœ .œ œœ .œ œœ œœ .œ œœ .œ œœ .œf

& œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ1 2 3 1 2 3 1 1 1

cresc.

œ œ œ œ# œ œ œ œ œ œ œ œ œœ œ œ œ œ œ

11

f

& œœ œ œ œ œ œ œ œ œ œ œ

≤œ#≤1 1 2

œ# œ ≈ œ œ œ œœ œ œ œ œ œB

I pœ

œ œ œ œ œ œ œ œ œ œ œ≤

œ#≥

&

12

&œ

≤

œ œ œ œ œ œ# œ≥

œ œ œ œ œ œ œ œ≤ œ œ œ œ œ œ œ œ œ œ œ1 3 4

III

31 2 3 1 2 3 3

cresc.

œ# ≥ œ œ≤ œ≥ œ≤ œ œ≥

ϲ

œŸ

œ Œ3 2 1 3

f

©2016 Stefan Kartman

m. 36-47

11

Use the same pattern to work the unusual spacing on the D string portion of the melody. This pattern does not exist in the stan-dard combinations offered in the "Chromatic Thumb Position Exercise", but that shouldn't keep one from using the same tech-niques or finger sequence patterns to achieve the same goal of familiarity....

Since the passage requires the performer to alternate the finger spacing as it moves to the D string, The next step would be to isolate practice of alternating from one spacing set to the other. Simplifying that function by removing the string crossing is a good intermediate step. In this way, the spacing could be practiced on the A string and the D string individually at first...

And finally, mix and alternate the spacing on both the D and the A strings to gain competence with both...

In Measure 39, similar techniques may be used with the finger spacing required for the 2nd and 3rd beats of the measure.

Using techniques from the daily exercises, one can compose a useful étude that focuses specifically on the challenges presented by the melody Haydn composed in measures 36-38. It's not much of a stretch to realize that the same process could be used for measure 39.

Following are two examples of etudes composed for the specific purpose of working the intonation of measures 36-38 and measure 39...

12

? 44 Ó ≤œ œ œ œ œ&

3 2œ œ œ œ œ œ# œ œ œ œ

œ œ œ œ2

II

1 2 3 2 3

ϲ

œ œ œ œ œ# œ œ œ≤

œœ œ œn

≤2

II

03

2

I

& 86 œ œ œ œ œ œ3

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& œ œ œ œ œ œ3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& œ œ# œ œ œ œ1 2 3

IIœ œ œ# œ œ œ œ œ œ œ œ# œ œ œ œ# œ œ œ

& œ œ œ# œ œ œ3

œ œ# œ œ œ œ œ œ œ œ# œ œ œ œ œ œ# œ œ

& œ œ œN œ œ œ1

œ œ# œ œ œ œ1

œ œN œ œ œ œ2

œ œ œ# œ œ œ2

& œ œ œN œ œ œ3

œ œ œ œ œ# œ3

œ œ œ œ œN œ3

œ œ œ# œ œ œ3

& œ œ œN œ œ œ1

œ œ# œ œ œ œ1

œ œN œ œ œ œ2

œ œ œ# œ œ œ2

& œ œ œN œ œ œ3

œ œ œ œ œ# œ3

œ œ œ œ œN œ3

œ œ œ# œ œ œ3

& œ œ œN œ œ œ1

I

œ œ# œ œ œ œ1

II

œ œN œ œ œ œ2

œ œ œ# œ œ œ2

& œ œ œN œ œ œ3

œ œ œ œ œ# œ3

œ œ œ œ œN œœ œ œ# œ œ œ

m. 36-38

13

& 44 œ œ œ# œ œ œ .œ œ œ œ

Ÿ3 1 3 2 11 4

œ œœ .œ œœ .œ œœ .œ œœ œœ .œ œœ .œ œœ .œ

& 86 œ œ œ# œ œ œ3 41

Iœ œ# œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ# œ

& œ œ# œ œ œ œ4 3 1

œ œ œ# œ œ œ œ œ œ œ œ œ# œ œ# œ œ œ œ

&œ œ œ œ œ œ

1 2 3

II

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& œ œ œ œ œ œ4 3 1

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& œ œ œ# œ œ œ3 41

Iœ œ œ# œ œ œ

1 2 3

œ œ# œ œ œ œ3 41

œ œ# œ œ œ œ2 31

& œ œ œ# œ œ œ4 3 4

œ œ œ# œ œ œ3 2 3

œ œ œ œ œ# œ4 1 4

œ œ œ œ œ# œ3 1 3

&œ œ œ œ œ œ

1 3

II

4

œ œ œ œ œ œ

1 2 3

œ œ œ œ œ œ

3 1 4

œ œ œ œ œ œ

2 1 3

&œ œ œ œ œ œ

4 3 4

œ œ œ œ œ œ3 2 3

œ œ œ œ œ œ4 1 4

œ œ œ œ œ œ3 1 3

& œ œ œ# œ œ œ3 41

I œ œ œ œ œ œ

1 2 3

II

œ œ# œ œ œ œ3 41

œ œ œ œ œ œ

3 1 4

& œ œ œ# œ œ œ4 3 4

œ œ œ œ œ œ3 2 3

œ œ œ œ œ# œ4 1 4

œ œ œ œ œ œ3 1 3

m. 39-40

14

Hopefully, now that it has been demonstrated that an exercise or étude can be built around a specific passage by using portions of the exercises in this guide, one can see other possibilities.

For example: in measures 41-42 many of the same techniques can first be used to build familiarity with the finger spacing.

Though the simple two-note rhythms are not the best choice in this case, their alternate combinations can be better used. By alter-nating the long 1st note and long 2nd note patterns, the innate working out to the tip that would occur in the long first note pattern or its inverse in the long 2nd note pattern remove the distraction of having to jab at certain notes to maintain bow placement.

Though the simple three-note patterns don't fit the rhythmic grouping of the passage, they are inherently useful in a passage with all separate bows if one is capable of conquering the hemiola-like effect of imposing three-note patterns on a four-note passage because they naturally solve the bow displacement problem by alternating long upbow and downbow strokes.

Measures 41-42

On the 1st beat of measure 41, the "Cromatic Thumb Position Exercise" can again be used as a model for the finger spacing, this time with the 6th set on both the D and A strings. Beat three would use the 8th set. The 1st beat of measure 42 would again use a combination of two sets with the 6th and 5th sets on the D and A strings respectively, to secure the intonation.

However, further steps may be taken in this case to build facility, velocity, and coordination between the left and right hands to make the notes of the passage even and consistent. One may select rhythms like the ones included in the "Rhythmic Practice Chart" section on page 59 of this guide for this purpose.

In selecting rhythms for use in practice of passagework, it is important to use several rhythms from the chart to emphasize dif-ferent groups of long and short notes. This allows one to discover sluggish or tight combinations that might occur typically with extensions, shifts, awkward combinations, and string crossings, but might also expose other technical anomalies.

Care should be taken to choose the rhythms and combinations most appropriate to each individual passage.

Measure 41 is a passage that features separate bow strokes in detaché or spicatto. Simple two note combinations are often a good starting point, but not in this case. The two-note combinations with separate bow strokes would place longer strokes in one direc-tion with no compensating longer strokes in the opposite direction, requiring some recovery on the short notes to maintain the same placement in the bow.

Long 1st note

Long 2nd note

2 Note Rhythms

Long 1st note

Long 2nd note

Long 3rd note

3 Note Rhythms

1st plus 2nd note

2nd plus 1st note

2 Note Combinations

15

Following is the passage at measure 41 with the simple three note patterns...

Long 1st note

Long 2nd note

Long 3rd note

In using combinations of rhythmic patterns, one should also follow the same guideline of picking combinations that allow for alter-nating downbow and upbow strokes to keep the bow in the best place for detaché. For example, combining a long 1st note with a long 2nd note would create the same distractions as the simple two note patterns in a detaché passage - two long downbows and no long upbows to recover.

However, the combination of long 1st and 3rd notes yields a usable pattern...

We may use this combination of rhythmic patterns as a starting point. The identifying feature of this combination is two long notes next to four short notes. By starting with the two note - four note kernel and then moving the pattern over by one note again and again, we can practice all the possibilities for an appropriately thorough exercise for the passage.

Long 1st note plus long 2nd note

Long 1st note plus long 3rd note

2 long notes 4 short notes

16

There is a new technical element in the final passage of the first page worthy of some special attention.

Measures 46-47

The move from 4th position up to thumb position, as in the 1st beat of measure 46, is a particular technical event that is sometimes awkward and cumbersome when students are new to moving above the bout of the cello. This is an area that concerns many young cellists and even a few seasoned professionals.

For a concentrated look at that specific area of the fingerboard, one may play the 9th page of the "Hexachords" exer-cise (page 42 of this guide) through the end of the exercise.

"Hexachords" has a text reference at the end of the exercise on pages 48-49. This reference shows the different pattern combinations possible before and after the shift, as well as ascending and descending in six-note patterns, but the pas-sage in measure 46 ascends in a seven note pattern on the D string with a 134 in 4th position up to a 4 note combina-tion with the thumb on D natural. With some slight alterations to accomodate the upper 4 note pattern, one can adapt any of the ascending/descending possibilities.

Here are four examples from the finger patterns list on page 49 of this guide... (Note parenthesis for altered combinations)

hA 134 s ϙ123 iZj 321ϙ s 431 h(I) 143 s 1ϙ32 i(T) 23ϙ s 431

hZd 421 s 321ϙ iL ϙ123 s 431 hQ 214 s 312ϙ i(O) ϙ213 s

Once the intonation and finger spacing security are acheived, one could continue to develop the facility of the passage with rhythm work as shown for measures 41-42.

Hopefully, the preceding examples from Haydn's C major Cello Concerto will give you enough ideas to begin forming exercises from your own repertoire that can be enhanced by using some of the elements of this guide.

5. Vibrato ExercisesWith Acceleration Rhythms

and Individual Finger Speed Changes

Develops Control Over Speed of Vibrato

This Exercise...

Is designed to help develop equal control of speed of the vibrato in all fingers and throughout the three zones of vibrato along the string length. It should therefore be practiced in fourth position, first position, and in thumb position and on different strings.

While the slowest of the Galamian rhythms will likely not be used for vibrato in most standard cello repertoire, it is the first speed to practice as it establishes the sine wave like curve shape of the pitch of the vibrato, stretches the flexibility in the first knuckle and pad of the finger, and initiates balanced use of the appropriate muscle groups for use in a vibrato that successfully moves parallel to the string length.

The thumb should remain in contact, but with light pressure and should never be used to squeeze the strings down to the fingerboard. Look for the knuckles to move parallel to the fingerboard without forearm rotation that alters the finger's striking angles.

Three Zones...

In fourth position, the fingers naturally approach perpendicular to the string and forward of the shoulder if the elbow is in an appropriate location. The vibrato speed can be controlled best by us-ing the bicep muscle to push and pull in the required rhythm while the thumb, knuckles, and pads of the fingers are timed sympathetically to the motion initiated in the forearm. Finger pads will be more active than knuckles in this position.

In first position the fingers also approach perpendicular to the string. There will be no pushing with the bicep muscle as in fourth position. Rather, the forearm will float above the upper arm which controls vibrato speed more by rotation than by pushing. The pads of the fingers will still be dominant in using the arm's motion to shape the pitch.

In thumb position, the fingers will be approaching the strings at an angle. This allows and requires the knuckles above the pads of the finger to become more active. The bicep muscle again produces both the width and the speed of the vibrato.

In the "Vibrato Speed Changing Exercise" care should be taken to insure that the vibrato chang-es occur exactly together with the dropping or release of the fingers without delays. Look for the knuckles to move parallel to the fingerboard without forearm rotation that alters the finger's strik-ing angles. The purpose of this is to study the momentum that carries forward through to the next finger in the case of dropping a higher pitch finger, or release backwards in the case of lowering the pitch.

20

Vibrato ExerciseWith Galamian Rhythms

mm=60=

Start with 1st finger in 4th position (E natural). Do the exercise with all fingers in 4th position. Then move to 6th posi-tion and do the exercise with thumb through 3rd fingers. Finally 1st through 4th fingers in first position.

Perform this exercise with noticible pitch change, though perhaps not the half-steps notated on the music staff.

The angle of the hand should remain stable with little or no rotation of the forearm. Pitch change should occur with a smooth motion along the string length and flexibility in the fingertip and first knuckle as if the hand is shifting back and forth along rails which are parallel to the strings.

(6:30)

9. Chromatic Thumb Position ExerciseSix-Note Finger Spacing Patterns in Thumb Position

Develops Familiarity With the Most Common Finger Intervals Used in Upper Register Passages

of Standard Concerto and Other Advanced Repertoire

This Exercise...

Is designed to help develop secure intonation, balance, and facility in all of the most commonly used interval sets of the thumb position. Correct posture to facilitate comfort in each of the inter-val sets must be tended to by a competent teacher.

The advice I can give in prose would be to pay attention to the principals outlined in any of the other left hand exercises included in this guide including...

Balanced weight transfer.Staying loose on the fingers that are not in use.Finding ways for your arm to follow where your fingers need to be.Use vibrato/weight transfer to help indicate where the troubles are.

This is another exercise that is highly adaptable to repertoire. The most common sets are the fifth and sixth because they outline the intervals of the major and minor modes in much the same way violinists use them with their 1st through 4th fingers.

An octave scale in one position is valuable in virtuosic passagework.

Much of the Chromatic Thumb Position Exercise's value speaks for itself. Variations in sequence of fingers, and used in conjunction with the interval sets should allow you to use it with almost any passage included in the standard repertoire of concertos, solo pieces, and showpieces.

52

& 861st Setœ

≥œ#

1

œ2

œ3

œ2

œ#1

œn≤

œ2

œ#

1

œ3

œ2

œ#1

œn œ3

œ2

œ3

œ#1

œ3 œn œ3

œ#

1

œ3

œ2

œ3

& œn œ# œ œ# œ œ# œn œ œ# œ# œ œ# œn œ# œ œ œ# œ# œn œ# œ# œ œ œ#

& œn œ# œ# œ# œ œ# œn œ# œ# œ# œ œ# œn œ# œ# œ œ# œ œn œ# œ# œ œ# œ#

& œ œ œ# œ# œ œn œ œ# œn œ# œ# œn œ œ# œ# œ œn œ# œ œ# œ œ œ# œ#

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& œ œ œ# œ œ œ œ œ# œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ# œ

& œ œ œ# œ# œ œ œ œ# œ œ# œ œ œ œ# œ# œ œ œ œ œ# œ œ œ# œ

& œ# œ œ# œ# œ œ œ# œ# œ œ# œ œ œ# œ# œ# œ œ œ œ# œ# œ œ œ# œ

& œ# œ œ# œ œ œ œ# œ# œ œ œ œ œ# œ œ# œ œ œ œ# œ œ œ œ# œ

& œ# œ œ œ œ œ œ# œ œ œ œ œ œ# œ œ œ œ œ œ# œ œ œ œ œ

& œ# œ œn œ# œn œ œ# œn œ œ# œn œ œ# œ# œn œ# œ œ# œ# œ# œ œ# œn œ#

Chromatic Thumb Position Excercise

1st Set

2nd Set

3rd Set

4th Set

5th Set

6th Set

7th Set

8th Set

9th Set

10th Set

11th Set

Thumb movesup 1/2 step

Thumb starts acrossA and D Strings