Hey Julia, welcome back!! Id be keen to get some ideas about how to speed up my left hand...and perhaps this goes hand in hand (haha)..but also your thoughts on how and how heavily the fingers hit the finger board. Thanks!
Hi Julia. Very helpful videos! I have a tiny hand and pinky (and have watched your video about this). Still, I have a difficult time making a legato sound due to a large amount of shifting (due to hand size) and wondered if you have any further advice about how to make a smoother sound. Thank you.
Thank you very much for all your videos. I would love to have a clarification/explanation on what is the position of the thumb in the 5th-6th-7th positions. These are not neck positions and not thumb positions, so I am having hard time find a position that feels stable and well-grounding. Thank you.
Brilliant question! This Q&A answer touches on it, but I'll make a specific video for these positions: ruclips.net/video/JYW4to3j_MM/видео.htmlsi=GCTFmzSHZhkaCBsx&t=3411
Hi Julia, thank you for doing one of these again. In Meditation (Thais), bar 32 and 33, I'm seeing F naturals and Es (4th position on A string). But vast majority of recordings play these Fs and Es one octave down on D string. I only found one recording where it plays as written. What's the story behind these bars?
It depends entirely on the instrument! On my Boullangier (my main concert instrument), I play Larsen Il Cannone on all four strings. On my old English cello, I play a mixture of 'normal' Larsen on the A and D and Spirocore Tungsten on G and C. It involves a lot of experimentation and ultimately comes down to what you need for your specific circumstances. For my purposes, playing a lot of solo and chamber music, I look for power and projection, but without ever losing the warmth in the sound.
I'm currently working on (struggling with) spiccatto. That might be interesting to get your take. I will also be soon moving on to my first Bach Suite piece; which one is still TBD from my teacher. Any general advice on how to approach learning those might be good as I expect this will be a "big" step up from the repertoire in the Suzuki books(currently at the end of #5)
(And by way of a p.s: you gave me a really detailed answer last year about why i couldnt get my corrections to "stick", you talked about slowing down, dialing in the new "data" and treating my brain like a computer which is only as good as the data entry. Its taken a long time to turn that ship around and fully digest what you said but Its been hugely helpful and my practice is alot more focussed. So valuable. So thank you!
By spiccato, do you mean fast as in Elgar Concerto 2nd movement or generally playing off the string? I am asking because there are different definitions of the term, especially between the UK and the US. :-)))
Hey Julia, welcome back!! Id be keen to get some ideas about how to speed up my left hand...and perhaps this goes hand in hand (haha)..but also your thoughts on how and how heavily the fingers hit the finger board. Thanks!
Great question, video is definitely coming on this!
Hi Julia. Very helpful videos! I have a tiny hand and pinky (and have watched your video about this). Still, I have a difficult time making a legato sound due to a large amount of shifting (due to hand size) and wondered if you have any further advice about how to make a smoother sound. Thank you.
Great question!
Thank you very much for all your videos. I would love to have a clarification/explanation on what is the position of the thumb in the 5th-6th-7th positions. These are not neck positions and not thumb positions, so I am having hard time find a position that feels stable and well-grounding. Thank you.
Brilliant question! This Q&A answer touches on it, but I'll make a specific video for these positions: ruclips.net/video/JYW4to3j_MM/видео.htmlsi=GCTFmzSHZhkaCBsx&t=3411
@@juliamorneweg5416 Amazing. I am looking forward to watching the video about these positions! Thank you very much again!
Hi Julia, thank you for doing one of these again. In Meditation (Thais), bar 32 and 33, I'm seeing F naturals and Es (4th position on A string). But vast majority of recordings play these Fs and Es one octave down on D string. I only found one recording where it plays as written. What's the story behind these bars?
The answer is very simple: the piece wasn't written for the cello, so there are lots of different arrangements out there! :-)
Hi. What are your favourite cello strings? Do you mix and match or stay with just one brand?
It depends entirely on the instrument! On my Boullangier (my main concert instrument), I play Larsen Il Cannone on all four strings. On my old English cello, I play a mixture of 'normal' Larsen on the A and D and Spirocore Tungsten on G and C. It involves a lot of experimentation and ultimately comes down to what you need for your specific circumstances. For my purposes, playing a lot of solo and chamber music, I look for power and projection, but without ever losing the warmth in the sound.
I'm currently working on (struggling with) spiccatto. That might be interesting to get your take. I will also be soon moving on to my first Bach Suite piece; which one is still TBD from my teacher. Any general advice on how to approach learning those might be good as I expect this will be a "big" step up from the repertoire in the Suzuki books(currently at the end of #5)
(And by way of a p.s: you gave me a really detailed answer last year about why i couldnt get my corrections to "stick", you talked about slowing down, dialing in the new "data" and treating my brain like a computer which is only as good as the data entry. Its taken a long time to turn that ship around and fully digest what you said but Its been hugely helpful and my practice is alot more focussed. So valuable. So thank you!
By spiccato, do you mean fast as in Elgar Concerto 2nd movement or generally playing off the string? I am asking because there are different definitions of the term, especially between the UK and the US. :-)))
@@juliamorneweg5416 Generally playing off the string.