Sie, mein Herr, haben mir definitiv bei der Entscheidung geholfen, Cello lernen zu wollen! Es ist ein so vielseitiges Instrument, das in so viele Rollen schlüpfen kann, mit dem man die ganze Welt ausdrücken kann.
Does hand or his helpers have a question forum of some kind. I am finally starting to progress after a few years of owning a cello. To keep practice regular is the disiplened way. Some children progress eclipses me by far but little by little right.
These are excellent tutorials and even, if one does not intend to play the cello, one gets a much better understanding of this instrument. Not to disturb others, an electrical Cello might be a good training instrument. What would you recommend ?
Nah, pass on the electric for the starting phase. You really, really need to *feel* the cello- it's one of the most tactile of instruments. You need that feedback to locate the ringing tones.
This lesson is really great! But I have a question-when doing vibrato using 4 finger, should I put 3 on the finger board and do vibrato together with 4? Or just using 4? Because I see some cellists play with both 3 and 4. Thanks so much :)
I see no response so I will ofter mine. It depends. Best advice is probably to try a lot of things- really move your fingers and wrist around and keep all your joint since and loose, and see where the sound leads you. What is really helpful is to get a teacher or fellow student to fiddle around with your hand while you vibrate, encouraging it to relax and slow down. Most of us need that to settle out the 'nervous' vibrato with which many of us begin. There is no magic formula for perfect vibrato because: (i) all of our hands are different; (ii) the mechanics changes appreciably from one note to another; and (iii) what we want to "speak" and hear is highly individual too. And also (iv) there are at least three distinct kinds of vibrato (finger, wrist, arm), plus combinations, so it all depends what you're after. Let the sound guide you as you explore. Being naturally weak and tending to lock or curl, the 4 finger is usually the most problematic for people. So quite a few players do bring down 3 along with 4 to provide some more stability. But the usual counterargument is that if you don't train your 4 then you'll never get this muscles working on their own. *One* thing that you almost certainly should do is keep your thumb point aligned under the vibrating finger, and all joints nice and relaxed. That seems to be one of the few things that is common to most good vibratos. But even that is not an inviolable rule!
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What a wonderful resource from a diligent and captivating teacher.
These videos are wonderful. I could listen to them all day.
I could listen to you teach for days. I've played violin for decades and now trying to polishing up the cello. Thanx for your tips.
Sie, mein Herr, haben mir definitiv bei der Entscheidung geholfen, Cello lernen zu wollen! Es ist ein so vielseitiges Instrument, das in so viele Rollen schlüpfen kann, mit dem man die ganze Welt ausdrücken kann.
beautiful sound!
Thank you so much for this excellent explanation and demonstration on how to change the sound point in order to play forte or piano.
Does hand or his helpers have a question forum of some kind. I am finally starting to progress after a few years of owning a cello. To keep practice regular is the disiplened way. Some children progress eclipses me by far but little by little right.
These are excellent tutorials and even, if one does not intend to play the cello, one gets a much better understanding of this instrument. Not to disturb others, an electrical Cello might be a good training instrument. What would you recommend ?
Nah, pass on the electric for the starting phase. You really, really need to *feel* the cello- it's one of the most tactile of instruments. You need that feedback to locate the ringing tones.
excellent tutorials
Thanks a lot
This lesson is really great! But I have a question-when doing vibrato using 4 finger, should I put 3 on the finger board and do vibrato together with 4? Or just using 4? Because I see some cellists play with both 3 and 4. Thanks so much :)
I see no response so I will ofter mine. It depends. Best advice is probably to try a lot of things- really move your fingers and wrist around and keep all your joint since and loose, and see where the sound leads you. What is really helpful is to get a teacher or fellow student to fiddle around with your hand while you vibrate, encouraging it to relax and slow down. Most of us need that to settle out the 'nervous' vibrato with which many of us begin.
There is no magic formula for perfect vibrato because: (i) all of our hands are different; (ii) the mechanics changes appreciably from one note to another; and (iii) what we want to "speak" and hear is highly individual too. And also (iv) there are at least three distinct kinds of vibrato (finger, wrist, arm), plus combinations, so it all depends what you're after. Let the sound guide you as you explore.
Being naturally weak and tending to lock or curl, the 4 finger is usually the most problematic for people. So quite a few players do bring down 3 along with 4 to provide some more stability. But the usual counterargument is that if you don't train your 4 then you'll never get this muscles working on their own.
*One* thing that you almost certainly should do is keep your thumb point aligned under the vibrating finger, and all joints nice and relaxed. That seems to be one of the few things that is common to most good vibratos. But even that is not an inviolable rule!