Відео

Thank you so much!

Thanks!

That's a good topic. Are there specific pieces or passages that you are having trouble with?

@@cellodrew I do not have specific reasons yet, but I would like to include it in my scale work. I am an adult intermediate, and by mysteries ways I play in a skilled youth orchestra. I am allowed to jump over the hardest parts of the music, but I want to impress😊 In the coming year we are playing Nielsen’s Helios overture, Holst’s Mars and Jupiter and two coir works.

@@mettevunsjensen4094 I'm working on a video that should have some helpful ideas.

Thanks for your message. That's a great topic. I'll try to get a video up with suggestions for sautille bow stroke in the next week.

Thanks for your comment! I'm glad you found the video helpful.

Glad it was helpful!

Thanks!

I'm so glad you found the video helpful! I've got many more topics to cover so watch out for new videos.

You are not alone! I hope the video is helpful.

I'm glad it was helpful!

Thanks for your comment! I like the "Forte Freeway." I hadn't heard that before. You are right about the deceptive angles. When I look in the mirror, I think more than the angle, I'm watching to make sure my bow is not drifting out of the lane unintentionally.

Thanks for commenting! I'm glad you liked it!

Personally I think it is, until you learn how to control it properly, then you can go with the sound and do little variations. But that’s essential for beginners. Very useful video 🙏🏻 thank you for recording it.

Thanks for a great question! You are absolutely right that playing closer to the bridge produces a more focussed tone. Of course, it's all relative to the dynamics, articulations, styles, timbre etc. As you play shorter notes, you do need to move farther from the bridge than with sustained notes. For the most part, I am only in lane five for melodic passages in louder dynamics and more often in the higher register. I rarely play as close to the bridge as in the video but, that practice makes it easier to get closer to the bridge when needed. Truly beautiful and refined playing comes with many hours of focussed experimentation. We always have to strive for more but go with what our ears tell us. It sounds like you are on the right track!

Thanks for the detailed response! I am a beginner player and I find this kind of experienced insight to be really helpful!@@cellodrew

Always happy to help!

Thanks for commenting! I'm glad you found it helpful!

Thanks!

Glad you liked it!

Thank you! 😊

Thanks for commenting. You are 100%right about practicing in front of a mirror. As for the bow angle, it was not so much a matter of poor cello technique as poor camera work. I agree that it looks very crooked in the video and I could have shot from a better angel. I made this follow up video to address the bow angel: ua-cam.com/video/ba_aSzYLa0s/v-deo.html

Thank you I found this a helpful exercise. Good detailed commentary

Thanks for your nice comment! I started making these videos for my students but I'm happy other people find them helpful. The most important thing is to find a good teacher and practice, practice, practice. If you are asking about specific teaching methods, I think the Suzuki Method is excellent when taught properly. I'm happy to elaborate or answer any questions you have about learning the cello. Good luck!

@@cellodrew Thank you very much for your reply, which is very useful and in part addresses my concern. I have being playing cello for four years. I started with a teacher who was following Dotzauer in addition to another old European method. I found those methods very rigrorous and good, although at times I felt they were little heavy on moral (they can be very tiring at. times). Due to me moving in a new city, I had to change teacher and the new teacher uses Suzuki combined with Mooney (Position Pieces). I found Suzuki very pleasant to play and I am learning a lot, but I fear that I am missing the rigour in building the foundations, which Dotzauer (I think) provided. I wonder whether I should complement Suzuki with some traditional technique repertoire...what would you think? Thank you very much again for your willingness to reply.

This is an excellent topic! In my own studio, I use the Suzuki books.I have training to teach the Suzuki method and use it to some extent with most of my students. The pieces are beautiful and each have technical and musical teaching points that, when learned well, establish most of the basics of technique, as well as musical styles and phrasing. I also use the Rick Mooney books: Position Pieces and later Thumb Position. I introduce Dotzauer Etudes as well at around book 2 or 3. It sounds like you are on the right track with your teacher and adding in some etudes would also be good. If you really want to have a great foundation, you need one more thing: scales! ALL my students, from beginner to career bound advanced students have to practice scales and arpeggios. I also practice scales every day and stand by their effectiveness in developing and maintaining good technique. Coming soon: Videos on how to practice scales!@@danielebertolini3890

@@cellodrew Thank you very much for your reply and your very useful explanation. It is a great advice that I should practice scales and arpeggios. I am truly looking forward to watching your videos on how to practice scales!! Thanks again!

Thanks for your nice comment!

Thanks for your kind words!

ohh he told us that afterwards.. but i caught you.

I know it seems stupid but it's not a joke, just a trick. Follow the instructions and see how easily you can fool someone with this!

May work with some people but I noticed the index was gone right in the beginning