tag:blogger.com,1999:blog-37366019117830735802024-03-07T13:26:34.485-08:00Folk CelloA blog of my adventures and challenges in learning cello as an adult. My intent is to play plain, simple music with fiddlers, harpists, singers, guitarists, and other amatuer musicians in the way it's been done by regular working folks for hundreds of years.Terryhttp://www.blogger.com/profile/07605382025114575253noreply@blogger.comBlogger92125tag:blogger.com,1999:blog-3736601911783073580.post-41591052188771003692011-07-14T16:55:00.000-07:002011-07-20T15:47:03.508-07:00A Proposed Reformatted Schelleng DiagramIn recent days on the <a href="http://stringvisions.ovationpress.com/">String Visions</a> site, Dr. Cheri Collins has made the case that an understanding of Helmholtz motion and the conditions under which it is induced in the strings of a bowed stringed instrument can help violin, viola, cello and string bass students more easily understand how to achieve better tone. In particular, Dr. Collins has made the point that the Schelleng Diagram is an image that clarifies the bow pressure/point-of-contact relationship, showing maximum and minimum pressure limits, and areas which correspond to tonal qualities - such as normal, <span style="font-style: italic;">sul tasto</span>, brilliant, raucous...<br /><br />To aid in the discussion, Dr. Collins identifies five equidistant string Contact Points on the instrument - from very near the bridge to the end of the fingerboard. Identification of these contact points help teacher-student communication and assist the student in understanding which points on a string are associated with particular tonal qualities and the max/min limits of speed and pressure.<br /><br />On a related "note", Dr. Collins has also discussed the Simon Fischer <a href="http://www.simonfischeruk.com/page3.htm">Secrets of Tone Production DVD</a> (Which I have, by the way, and have gone through the exercises with my own teacher). Yes, between the diagram and the exercises, one certainly gets a better feel of how to control what happens between the bow hair and the string! My feeling is, for the price of a single in-person lesson, one has hours of DVD material to work with, take to the teacher, discuss, periodically review, and continuously incorporate into one's daily playing.<br /><br />But now back to the Schelleng diagram. Below is an example as normally presented:<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN_NqNDThwpRwW3T1INdSOVO7-f6-kF4Nc1X00sCkiZmXelf4xdCBlADmDEqd8FGHtxn8AYjnxjhxE0HtuA9cClBYmX400ufvRp6qxLiKzmy1OGYoI3559pFABn-FNVNPhttZBRgue3ZOA/s1600/Original+Schelleng.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 231px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN_NqNDThwpRwW3T1INdSOVO7-f6-kF4Nc1X00sCkiZmXelf4xdCBlADmDEqd8FGHtxn8AYjnxjhxE0HtuA9cClBYmX400ufvRp6qxLiKzmy1OGYoI3559pFABn-FNVNPhttZBRgue3ZOA/s320/Original+Schelleng.jpg" alt="" id="BLOGGER_PHOTO_ID_5631540121639915218" border="0"></a><br />The Schelleng diagram has some intriguing characteristics for the well-trained acoustic scientist. But as a lowly cello student and non-scientist (but a former good high school math student 40+ years ago), I have some suggested changes to the Schelleng Diagram for helping to provide an intuitive understanding of the pressure/point-of-contact relationship.<br /><br />At a casual glance, one would think the horizontal axis represents linear distance on the violin string, but that is not actually the case. <br /><br />If I look at the numbers on the horizontal axis, I see tick marks at .7, 1.4, 2.8, 4.2, 7, and 14 centimeters (cm). Each mark is basically twice the distance from the bridge of the previous mark. That tells me the horizontal axis is on a logarithmic scale (base 2, in this case). On a violin, the 2.8 cm mark is ok, it corresponds to somewhere between Contact Point 2 and 3, but 7 cm mark is well over the fingerboard (the fingerboard ends at 5.5) and the 14 cm mark is near the mid-point of an open string. Scientifically this is interesting, but no musician reasonably bows a violin string near the mid-point.<br /><br />Also at a casual glance, one would also think the vertical axis is a straight-forward linear representation of bow force. Actually, each mark is 10 times more forceful than the mark below it: .001, .01, .1 and 1. So that scale is also logarithmic (base 10, in this case). The bow force on the line at the top of the chart is greater than the line at the bottom by 1000 times!<br /><br />So what I did was re-create the Schelleng diagram in an Excel workbook by plugging in some sample X-Y values and mapping them on a chart until I had something that approximate matched the original diagram:<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA6jVvDbucd-0KpWS7XjW8bi5egGO9woopdouHM17fHTkMMXOgDe-B2GVF99CGIdbYjfRlhr0sx7VqfVH656VlA4N7o3erGCBrxz1M6qxlHMxQb6v-f8oqaeaAUlagp0ms3fjmevLdWF0c/s1600/Excel+Emulation.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 244px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA6jVvDbucd-0KpWS7XjW8bi5egGO9woopdouHM17fHTkMMXOgDe-B2GVF99CGIdbYjfRlhr0sx7VqfVH656VlA4N7o3erGCBrxz1M6qxlHMxQb6v-f8oqaeaAUlagp0ms3fjmevLdWF0c/s320/Excel+Emulation.jpg" alt="" id="BLOGGER_PHOTO_ID_5631535802249503234" border="0"></a>Since I don't have raw data values, and the original diagram itself is an approximation, we should realize that this re-creation is only approximate. Also, in real life, with real instruments, and real bows, and real strings, and real rosin, and real players, these values can vary some.<br /><br />Keeping the internal data the same, I took the chart and changed the vertical axis from log 10 to linear, and the horizontal axis from log 2 to linear. I then drew in vertical lines to represent the locations of the five Contact Points. And lastly, I reversed the axes with the idea it might be intuitively clearer to a violin or viola player if the contact points go from left to right, just as they do when holding an instrument:<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMNxAevB_zKA02tqUcMeBChzTwaoy46gDIu8QBaXW0UWRcaN6xeZQsc4ionV46m_3dg-3SnwIHdKiuphg8hWgq1bmImgSdXMYOGZg6ljNeor-X8jA9U7zFuJAkXeY_xfKTX3U5OAeIOPAX/s1600/Terry+Diagram.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 290px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMNxAevB_zKA02tqUcMeBChzTwaoy46gDIu8QBaXW0UWRcaN6xeZQsc4ionV46m_3dg-3SnwIHdKiuphg8hWgq1bmImgSdXMYOGZg6ljNeor-X8jA9U7zFuJAkXeY_xfKTX3U5OAeIOPAX/s320/Terry+Diagram.jpg" alt="" id="BLOGGER_PHOTO_ID_5631535652718104674" border="0"></a>I think this diagram provides a more intuitively clear picture of the pressure/point-of-contact relationship, as it actually feels. We can also see from this diagram that at Contact Point 2 we have the most widest range between maximum and minimum bow force. As we bow closer to the bridge, we must greatly increase pressure and become very precise in the placement of our contact point - very little room for error. Whereas we can see the difference in the max/min pressure between Contact Points 4 and 5 is really quite small.<br /><br />So the question is, does this revised diagram correspond to your own sensations and feelings, or might you suggest even other changes?Terryhttp://www.blogger.com/profile/07605382025114575253noreply@blogger.com5tag:blogger.com,1999:blog-3736601911783073580.post-34966826545326105042010-07-28T15:08:00.000-07:002010-07-30T21:19:29.396-07:00Brea street fairLast night I played with two others in a street fair, of sorts, called Musician's Playground, in Brea, CA. The main attraction was the O.C. Wind Symphony, but for some reason our little trio got two out of nine pictures in the online local newspaper article: <a href="http://www.ocregister.com/news/night-259610-brea-free.html">http://www.ocregister.com/news/night-259610-brea-free.html</a><br /><br />Because of an intrusive canopy pole, the newspaper photographer opted to photograph us separately, but we were a trio playing together (at least trying to stay together despite the street noise and distractions):<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7yoCXYCgXF04dNRUe7XrhGuKvejEcjbf_87Z9D9yH1wzlv_a3Xt13YVBHBrViPZagIySiuoem4P7w3hHDK1_-bATOsuN7uBuGsX9kb_TYgdqu6YHY_k3wL8038__kveVFUCHKVt8Omt3m/s1600/brea_musicians-playground.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7yoCXYCgXF04dNRUe7XrhGuKvejEcjbf_87Z9D9yH1wzlv_a3Xt13YVBHBrViPZagIySiuoem4P7w3hHDK1_-bATOsuN7uBuGsX9kb_TYgdqu6YHY_k3wL8038__kveVFUCHKVt8Omt3m/s320/brea_musicians-playground.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5499085540373148866" /></a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc3vqYZoRfNd01Yefw6Zohil6J7U7Vw7vUHRuwWeipGGg7ovnPFA4gVResvax6eXZyP9sfPkZAnaNtDqmfyWAKoVse0_mNjuBmHuJomCzOsfHSykCrAoC9RZlGq1WEorgyoIMuZXHtA1B0/s1600/brea_musicians-playground2.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc3vqYZoRfNd01Yefw6Zohil6J7U7Vw7vUHRuwWeipGGg7ovnPFA4gVResvax6eXZyP9sfPkZAnaNtDqmfyWAKoVse0_mNjuBmHuJomCzOsfHSykCrAoC9RZlGq1WEorgyoIMuZXHtA1B0/s320/brea_musicians-playground2.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5499085291440782658" /></a><br /><br />I don't know if you can tell, but the hammer dulcimer player has very severe arthritis. He copes amazingly well. Where there's a will... What a guy! Good for him!<br /><br />So now a still shot of my form is out in the open. I remember when that shot was taken. I was trying to blast out on that low D. I know, I know, Emily would say there's too much left hand pronation. I'm bad, I'm still resisting. I wonder if my bow hold passes the Emily test. Emily, are you out there?Terryhttp://www.blogger.com/profile/07605382025114575253noreply@blogger.com6tag:blogger.com,1999:blog-3736601911783073580.post-32945457591742489882010-04-22T06:18:00.001-07:002010-04-22T06:20:26.413-07:00Classical from before there was "Classical"Last weekend I was at a dance weekend in a lodge on Mt. Baldy. I had cause to pause and reflect on why in the world am I playing cello, and what am I trying to accomplish, and while I’m at it, what is it I appreciate about music, and admire about musicians, anyway?<br /><br />Naturally, we had a live band, in this case - Bandáge à Trois, from Utah. I figure, from Friday evening to Sunday evening, they were on for at least 15 hours. When they were on, they played about 85% of the time. The remaining 15% was time when the “caller” (in olden days would be called the Dancing Master) was teaching the dance. While I was not present for all 15 hours, I was for most of it, and I never heard a tune repeated for more than one dance, and many of those tunes were quite distinctive; I would have recognized them. Tunes from all over Europe, in this case, French and Scandinavian tunes were particularly well-represented. Bourrees, branles, waltzes, jigs, reels, polkas, hambos,…. And for each tune within the dance, there was plenty of variation across repeats. A grueling test of endurance. I’m so impressed at their preparation, stamina, teamwork between musicians, teamwork with the caller, excellent tune choices for individual dances, stimulation to the dancers, and musical imagination. I’m still in awe.<br /><br />That band and caller carries on a special and very challenging tradition that well predates J S Bach. I believe the adjective “classical” is more appropriate to describe what they do, than it is for a present-day so-called classical concert performance of rigidly-defined, fully-papered compositions for immense professional orchestras to silent, motionless audiences. Certainly Louis XIV would have hired this band in a heartbeat.<br /><br />I wonder how much longer this sort of classical music --- much of it hundred of years old, from many countries, played by a live band, to dancers who actually go through the effort to learn and follow formally-defined steps, with partners, as part of a larger traditional music/dance community --- will survive?Terryhttp://www.blogger.com/profile/07605382025114575253noreply@blogger.com3tag:blogger.com,1999:blog-3736601911783073580.post-3203150382358262062010-04-22T06:18:00.000-07:002010-04-22T06:20:23.588-07:00Classical from before there was "Classical"Last weekend I was at a dance weekend in a lodge on Mt. Baldy. I had cause to pause and reflect on why in the world am I playing cello, and what am I trying to accomplish, and while I’m at it, what is it I appreciate about music, and admire about musicians, anyway?<br /><br />Naturally, we had a live band, in this case - Bandáge à Trois, from Utah. I figure, from Friday evening to Sunday evening, they were on for at least 15 hours. When they were on, they played about 85% of the time. The remaining 15% was time when the “caller” (in olden days would be called the Dancing Master) was teaching the dance. While I was not present for all 15 hours, I was for most of it, and I never heard a tune repeated for more than one dance, and many of those tunes were quite distinctive; I would have recognized them. Tunes from all over Europe, in this case, French and Scandinavian tunes were particularly well-represented. Bourrees, branles, waltzes, jigs, reels, polkas, hambos,…. And for each tune within the dance, there was plenty of variation across repeats. A grueling test of endurance. I’m so impressed at their preparation, stamina, teamwork between musicians, teamwork with the caller, excellent tune choices for individual dances, stimulation to the dancers, and musical imagination. I’m still in awe.<br /><br />That band and caller carries on a special and very challenging tradition that well predates J S Bach. I believe the adjective “classical” is more appropriate to describe what they do, than it is for a present-day so-called classical concert performance of rigidly-defined, fully-papered compositions for immense professional orchestras to silent, motionless audiences. Certainly Louis XIV would have hired this band in a heartbeat.<br /><br />I wonder how much longer this sort of classical music --- much of it hundred of years old, from many countries, played by a live band, to dancers who actually go through the effort to learn and follow formally-defined steps, with partners, as part of a larger traditional music/dance community --- will survive?Terryhttp://www.blogger.com/profile/07605382025114575253noreply@blogger.com2tag:blogger.com,1999:blog-3736601911783073580.post-30620541108329815442009-08-12T08:57:00.001-07:002009-08-12T17:15:33.485-07:00Sunrise from orbit, bending Shakers, racing hawks, sailing hockey pucks...I read that some of us duffers are having trouble getting motivated to practice. I dunno, on the days I can get to it, which are most, but not as many as I want, it's still the best part of the day.<br /><br />Back in my cellistic infancy and toddlerhood, I had precious little patience for figurative language describing how to play cello. I wanted to hear concrete specifics and bold assertions; exacting descriptions, ideas that could be tested and evaluated, on the essential mechanics of how the amazing system of interconnected levers we call "a cellist" works. No flowery verbal kaa-kaa. No vague "as-if"s or untestable clap-trap. Like Sergeant Joe Friday, "Just the facts, ma'am!"<br /><br />That was then, this is now. Ok, I guess I've changed.<br /><br />I've gone to a place where I can enjoy and appreciate inventive takes-offs that stray far from reality. That is not to say I don't appreciate the "factual" and specific information I gather along the way, it's just that my curiosity in that area seems satisfied. I know there's more I can learn, I know some (but certainly not all) cellists would disagree with me on just about anything (Old-timers here certainly have seen that). Of course, I know there could be substantial observable improvement in my form -- elbow moved up (or down), more bow there, less bow here, hand-shape here, open shoulder there... And I certainly need to fit in quantitatively more practice. But rightly or wrongly, I feel comfortable enough in that area that now I want to not just play "correctly", I want to <span style="font-weight:bold;">play</span> imaginatively. And at that, I really am just a cellistic infant.<br /><br />Some of the figurative, or semi-figurative, language I've heard doesn't work for me, yet. Maybe in the future. So being an incorrigible student, I sometimes make up my own stuff.<br /><br />Mercifully, I'll skip the racey ones. Some of you may have already read my old sunrise-viewed-from-space imagery. I picture the bow stroke as an immensely wide, gradually-arcing, constantly-moving horizon, and the string as the sun (I'm orbiting upside-down, naturally). When the bow touches the sun's line of sight in just the right spot, and they make just the right amount of contact, not too much, not too little, the radiating sun-string shoots brilliant rays of sound in all directions, piercing the black void, and brightly illuminating the entire bow with sound.<br /><br />Korny and stupid? Yup.<br /><br />I got more, even kookier, but I already know those. What 'bout yours? Maybe yours are more imaginative.Terryhttp://www.blogger.com/profile/07605382025114575253noreply@blogger.com2tag:blogger.com,1999:blog-3736601911783073580.post-3598208373490855762009-02-11T11:17:00.000-08:002009-02-11T16:25:56.971-08:00Anyone doing T'ai Chi + Cello?Last night was my fourth T'ai Chi class, more specifically, T'ai Chi Chih. Over two years ago I decided to look into it based on things said by Vic Sazer.<br /><br />The classes are 45 minutes of soft motions, led by an 80-some year-old instructor. For the second time now, starting at about the 25 minute point or so, my arms start to get that feeling of lightness and effortless-ness that I've only rarely managed to feel behind a cello. Like my arms have lost some weight and the joints have had a squirt of graphite applied. I know at least a handful of you know what I mean.<br /><br />One thing that concerns me is that "T'ai Chi Chih" is a registered trademark. Apparently it was "invented" by Justin F. Stone in the 70's. Hmmm.<br /><br />As if I don't have way too much to do as it is, I hope to pursue this T'ai Chi thing some more, doing it immediately before some cello practices, <span style="font-weight:bold;">IF</span> I can keep my motivation and patience up for it. Has anybody tried it?Terryhttp://www.blogger.com/profile/07605382025114575253noreply@blogger.com3tag:blogger.com,1999:blog-3736601911783073580.post-53390624346798898602009-01-27T12:50:00.000-08:002009-01-27T13:40:49.180-08:00CTMS New Year's CampBack about 4 weeks ago now, my wife and I again attended the CTMS New Year's Camp out at Camp Hess Kramer. I'm pleased to report that we won 2nd place in the New Years Eve Costume Parade (Rod Blagoyevich and Senator Wannabe), although I feel "Barbie at 60", who placed 3rd, should've won. She was hysterical. We didn't recognize the next day without her wig, heels, knock-knees, "implants", and other paraphernalia.<br /><br />Thank you to the management of Hess Kramer, who make the facility to many different groups.<br /><br />No cello classes, but still plenty to do, even for the non-musician, such as dancing, walks to the beach, a class in stretching (which I thought was particularly informative), a puzzle table, and a craft table. Also, various classes in guitar, playing for dances, shape note singing, etc. Also jams and song circles.<br /><br />Carl, one of the campers, has posted pictures at <br /><a href="http://flickr.com/photos/cbernhardt/sets/72157612889085932/">http://flickr.com/photos/cbernhardt/sets/72157612889085932/</a>. Look though them and you'll find three pictures of a middle-aged cello duffer playing with others. Proof that I do get out on rare occasion.Terryhttp://www.blogger.com/profile/07605382025114575253noreply@blogger.com2tag:blogger.com,1999:blog-3736601911783073580.post-16342258157152208942009-01-18T08:06:00.001-08:002009-01-18T08:06:49.040-08:00Inspiring folk cello sightingLast night I attended a concert with Hans York as the opening act, accompanied by Myra Joy on cello. Myra Joy's a grad of San Francisco Conservatory (Must be a very very recent grad -- Are those kids getting younger or am I just getting really really ancient? You don't have to answer that in writing here) and has been playing with a number of groups. She related to me about how she got started: she just attended a local jam and was spotted by Shay and Micheal Black, and suddenly approached and asked to go on tour with them.<br /><br />Ms. Joy's playing for Hans York is understated, matching his voice and style quite well, I thought. For a video that shows her typical playing in song, see Listen to the Moon which was recorded in Fresno last May.<br /><br />I'm adding her to my list of cellists to watch.Terryhttp://www.blogger.com/profile/07605382025114575253noreply@blogger.com3tag:blogger.com,1999:blog-3736601911783073580.post-2713966719400667332008-12-29T07:56:00.000-08:002008-12-29T11:39:42.457-08:00Cellistic New Year ResolutionsOne thing I find fascinating about learning cello, and did not at all expect, is the paradoxes. Now that I've met some of them, my hope for 2009 is that I allow myself to appreciate and revel in them.<br /><br />Ok, for you they might not make sense. You know far better than me what is right for you. But as these years go fleetingly by, they are becoming for me the elusive essence behind learning and practicing the cello. Otherwise, at my age, lack of talent, and station in life, why bother? So here's my list (partly inspired by, but not to be blamed on, writings in <a href="http://starkravingcello.blogspot.com">Stark Raving Cello</a>):<br /><br />- To stop trying harder; instead, to just try easier.<br /><br />- To play fast slowly; to play loud gently; to play slow fleetingly; to play soft intensely; to play easy things with attentive, loving care; to play hard things undeservedly carefree.<br /><br />- Instead of frustration, to allow myself unwarranted pleasure and joy in visiting and re-visiting my weak areas, with unworried faith that it'll come together, whenever I eventually allow it.<br /><br />- To hear musical forests, instead of trees of notes.<br /><br />- To feel more, listen more, absorb more, hear more, sing more, dream more, express more, enjoy more. Worry, doubt, fear, control, and struggle (and ok, write!) less.Terryhttp://www.blogger.com/profile/07605382025114575253noreply@blogger.com4tag:blogger.com,1999:blog-3736601911783073580.post-42339268571810233462008-12-24T06:53:00.000-08:002008-12-24T07:36:19.209-08:00A grumpy weekend before ChristmasI was asked to play at a local zoo with a folkie quartet that a violinist and I regularly "guest" with. No pay, not even gas money, but the zoo management is always nice and appreciative, so the band keeps coming back and sometimes they augment with the "string section". When the time came, I really didn't feel like going. It was to be outside, at night, so it'd be cold (by Socal standards, that is). I had other things at home I wanted to work on. I just didn't feel the group is playing well this year. The kids pretty much ignore us (only the occasional parent seems to show interest). It's noisy. There's nothing I play that's essential, it's all various accompaniments. And I'm tired of Christmas tunes. Also, it weighed on my mind this will be the first Christmas I won't be seeing my 14-year old daughter; she stopped coming to Dad's since February, hence a string of court dates, with more to come. So I came late and was real close to just not showing up.<br /><br />I sat in the back in "left field" position. Too dark to see the sheet music, and I forgot to bring some of the non-Christmas tunes, so I working on very faulty memory. Ugh, what was I doing here?<br /><br />Then at some point a very severely handicapped young man in a wheelchair, pushed by perhaps his mother, appeared in front of the band. And he stayed in front of the band for quite some time, rocking to the music and doing his best to see what was going on. Hammer dulcimers can be fun to watch and they were right in the front, but he seemed to be particularly looking at me. It was hard to tell, his motor movements were uncontrolled and jerky, maybe it was just my imagination that he kept staring at me. Then his attendant wheeled him around the band to the back next to me, where he swung his arm, as if bowing back and forth on a cello. He stayed there some time, doing his best to experience what I so little appreciated.<br /><br />What have I done in my life to deserve be where I was, and he where he was? Nothing! Perhaps Dickens had a point about remembering He who made the lame walk and the blind see.<br /><br />Little did I know at the time that there was a message on my answering machine from a Court-ordered counselor that my daughter wants to reconcile and re-establish time with me.<br /><br />I hope this season brings all of you good things as well.Terryhttp://www.blogger.com/profile/07605382025114575253noreply@blogger.com1tag:blogger.com,1999:blog-3736601911783073580.post-77961828320727658012008-12-15T10:57:00.000-08:002008-12-15T11:43:53.534-08:00Carol of the Bells for 4 cellos postedAs requested, here's the five parts to Carol of the Bells for 4 cellos: 4 parts, plus part 1 down an octave. Note: this might not be exactly the same as what Guanaco or Carol played; about a year ago I expanded it by a few measures and changed the harmony in a couple of measures. It's not enough of a difference that they should change, it would just cause confusion, but I don't think I have the original version around anymore.<br /><br />So now, who else will prepare something for cello ensemble? We could have a cello blog library of arrangements.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf22XzJ6-tzD1qgmsi3TTmlbgdQ7dmHFqnF4zTab8DalVNOU6Y0cZLcEPX6r13fuEOf69cX_woDfmkKP7szWyw0jSa6s9nZKlWZXvgo27Sps2UpgtgsgVzqvVOGQbwDFfd0uc-nuMbLM80/s1600-h/CaroloftheBells-cello1-8ve.gif"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 274px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf22XzJ6-tzD1qgmsi3TTmlbgdQ7dmHFqnF4zTab8DalVNOU6Y0cZLcEPX6r13fuEOf69cX_woDfmkKP7szWyw0jSa6s9nZKlWZXvgo27Sps2UpgtgsgVzqvVOGQbwDFfd0uc-nuMbLM80/s320/CaroloftheBells-cello1-8ve.gif" border="0" alt=""id="BLOGGER_PHOTO_ID_5280097318160849602" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDiGsz8xzz0Hym21JBiefsu9jd2OsqiqR2WczgIpouzRe-DUie5f4YeajLeFJIKjxMQJbASTf-uG9vmf_XbTFCq8xR5BzS-Ubwq7lphzGSqvN8cInEi69EBZXGqF0P5NNaT7lCcCyLXceG/s1600-h/CaroloftheBells-cello4.gif"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 278px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDiGsz8xzz0Hym21JBiefsu9jd2OsqiqR2WczgIpouzRe-DUie5f4YeajLeFJIKjxMQJbASTf-uG9vmf_XbTFCq8xR5BzS-Ubwq7lphzGSqvN8cInEi69EBZXGqF0P5NNaT7lCcCyLXceG/s320/CaroloftheBells-cello4.gif" border="0" alt=""id="BLOGGER_PHOTO_ID_5280097301373558578" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFZg8xOaU2ZuWGi3oarL5PYw0ItDjde5Y-hFEFRmh-WhmGhLa5jIQm8v6uI0qCE6iFu8WRhhNKiebpFAWF1xw3oo4kg1j7sMcBPC4EeKnuCoh49jF8FAge744hgd6ZkU20DrTzERloihyP/s1600-h/CaroloftheBells-cello3.gif"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 275px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFZg8xOaU2ZuWGi3oarL5PYw0ItDjde5Y-hFEFRmh-WhmGhLa5jIQm8v6uI0qCE6iFu8WRhhNKiebpFAWF1xw3oo4kg1j7sMcBPC4EeKnuCoh49jF8FAge744hgd6ZkU20DrTzERloihyP/s320/CaroloftheBells-cello3.gif" border="0" alt=""id="BLOGGER_PHOTO_ID_5280097276885563378" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwPhxyQnXeXnkvSjYRxxHR1kG2CEiUmiUosXBBfnjpT-sCDp8lP5MAXNexTgCXm6bsy1SY2kpCixyLYUPo1Z-deMTmAjuylKd9eSDW0MKEVqLQfan8W4SkkcICrmtvaPzoVVq_clqW_dum/s1600-h/CaroloftheBells-cello2.gif"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 279px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwPhxyQnXeXnkvSjYRxxHR1kG2CEiUmiUosXBBfnjpT-sCDp8lP5MAXNexTgCXm6bsy1SY2kpCixyLYUPo1Z-deMTmAjuylKd9eSDW0MKEVqLQfan8W4SkkcICrmtvaPzoVVq_clqW_dum/s320/CaroloftheBells-cello2.gif" border="0" alt=""id="BLOGGER_PHOTO_ID_5280097265218133890" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqGiSKEONB2VKBUwDS72ya4xpSvvTPgzth7vmu1W3Ms32GfgLRbG1K9Pk_0Mwr99Ruajp2Pvd3ItYJNby-5VG_tQPX7L0lyjKp2gUw-9mvLMVROPD084OgWeqwgwQKgRbuwjsyQBkc8_Oo/s1600-h/CaroloftheBells-cello1.gif"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 277px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqGiSKEONB2VKBUwDS72ya4xpSvvTPgzth7vmu1W3Ms32GfgLRbG1K9Pk_0Mwr99Ruajp2Pvd3ItYJNby-5VG_tQPX7L0lyjKp2gUw-9mvLMVROPD084OgWeqwgwQKgRbuwjsyQBkc8_Oo/s320/CaroloftheBells-cello1.gif" border="0" alt=""id="BLOGGER_PHOTO_ID_5280097242213400290" /></a>Terryhttp://www.blogger.com/profile/07605382025114575253noreply@blogger.com2tag:blogger.com,1999:blog-3736601911783073580.post-88507907489459770852008-12-13T07:51:00.000-08:002008-12-13T08:39:58.257-08:00O Holy Night for 4 cellosThose of you following <a href="http://radatilly.blogspot.com/">Cellomania</a> may have read the discussion about Carol of the Bells and O Holy Night. Below are the parts to O Holy Night. If you click on the image, the image will expand. I hope you can size it to something reasonable. If you want, let me know and I'll send you them as PDFs, or TIFFs, or JPEGs, or something).<br /><br />Note that cello 4 is entirely pizzicato, the others are arco and require some very long, slow bow strokes. Cello 1 looks tough, but it can be done surprisingly easily, entirely in mid-string thumb position, just like a typical tune out of Mooney's Thumb Position Vol 1, except use pinkie (or ring finger if you extend from the thumb) for those high Es (Actually, I think it does sound a bit better if you can stay on the A string and and go in and out of thumb position as required). I had hoped to record it, and did record two tracks, but now a switch on my recorder is stuck. Maybe I can get it working before Christmas.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlQAGa-Fz1r1k2MZ9pFWoBMp1fzRT3qfFgfKSOY9HXXtOpqQzojMedCbqTkQNXho7_LEGqSWGW7vGQdz4vsYjq1SG3gv6_JgPgsKH-PtZbqHM4eibKWt0Becqc2x4YD-fYVM6u_9Vrqhjm/s1600-h/OHolyNight-cello4.gif"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 290px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlQAGa-Fz1r1k2MZ9pFWoBMp1fzRT3qfFgfKSOY9HXXtOpqQzojMedCbqTkQNXho7_LEGqSWGW7vGQdz4vsYjq1SG3gv6_JgPgsKH-PtZbqHM4eibKWt0Becqc2x4YD-fYVM6u_9Vrqhjm/s320/OHolyNight-cello4.gif" border="0" alt=""id="BLOGGER_PHOTO_ID_5279311546709033154" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU4toEjc1bGAfxFNOPDAjEU4yTQOBy8e-JQiJjaEYL3Y9MPh1uHzfKvY0BGTROne_18PzCfClykLH0zjfcvfuuXmoP_yXv95fLNGJ0naIRidzx2ujlOmT4HRJfz0yGT9pSDFFD0ItOdE4k/s1600-h/OHolyNight-cello3.gif"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 290px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU4toEjc1bGAfxFNOPDAjEU4yTQOBy8e-JQiJjaEYL3Y9MPh1uHzfKvY0BGTROne_18PzCfClykLH0zjfcvfuuXmoP_yXv95fLNGJ0naIRidzx2ujlOmT4HRJfz0yGT9pSDFFD0ItOdE4k/s320/OHolyNight-cello3.gif" border="0" alt=""id="BLOGGER_PHOTO_ID_5279311536694257298" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDB1rvlLLsEtFerIHc-rIu4nmGMbDxgR1njggbKAnDyM-iUxesxEpa-4co7UiTW7GwjIS7RiapIZhGVCAZYmAJA-7rtr_Lhs9OFkbdqqPKw_TZShQ7QEj8e91IOJNqt444e7cjb1s-kwcE/s1600-h/OHolyNight-cello2.gif"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 284px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDB1rvlLLsEtFerIHc-rIu4nmGMbDxgR1njggbKAnDyM-iUxesxEpa-4co7UiTW7GwjIS7RiapIZhGVCAZYmAJA-7rtr_Lhs9OFkbdqqPKw_TZShQ7QEj8e91IOJNqt444e7cjb1s-kwcE/s320/OHolyNight-cello2.gif" border="0" alt=""id="BLOGGER_PHOTO_ID_5279311525912730754" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4_sBSY0mgF3qzR9djdsWAvkiXJGpGGM8HRewNFes6WFSYR2_PsKAwd5kAVe8-qByzjpmHmeVQDRa0Rvqb-9gaXBn4bhDGRnPdb-Or1XR2epYMzqEEsYLbTXgrS_YyEcsvAgb5jCitBfdO/s1600-h/OHolyNight-cello1.gif"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 288px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4_sBSY0mgF3qzR9djdsWAvkiXJGpGGM8HRewNFes6WFSYR2_PsKAwd5kAVe8-qByzjpmHmeVQDRa0Rvqb-9gaXBn4bhDGRnPdb-Or1XR2epYMzqEEsYLbTXgrS_YyEcsvAgb5jCitBfdO/s320/OHolyNight-cello1.gif" border="0" alt=""id="BLOGGER_PHOTO_ID_5279311223786544706" /></a>Terryhttp://www.blogger.com/profile/07605382025114575253noreply@blogger.com1tag:blogger.com,1999:blog-3736601911783073580.post-70901334211436216792008-11-12T06:23:00.000-08:002008-11-12T15:09:51.414-08:00The Adventures of a Cello - Carlos PrietoI'm at home this week, recovering from surgery. It went well, but there's still more of the inevitable, but boring, healing period to go. Hurray for modern medicine, laser "vaporization" (Doesn't that sound, ummm, permanent!?), and Vicodin!<br /><br />A few days before the procedure, my wife bought me a gift, a book with an included CD: <a href="http://www.utexas.edu/utpress/books/priadv.html">The Adventures of a Cello</a> by Carlos Prieto. The subject cello is a 1720 Stradivarius, the Piatti, known in the 19th century when it was in Ireland as the "Red Cello", and known to airline frequent flyer programs as Chelo Prieto. <br /><br />I don't think I would have spent the money on such a book on my own, if I had heard of it. Ancient, mind-boggingly expensive instruments, while wonderful things I'm sure, don't especially intrigue me. It's just not the sort of thing that's meaningful to a novice player like me. I'm more interested in the evolution of ideas, the accomplishments of people, why things are the way they are. Well, that's really what the book is about anyway. The cello is mostly a literary device to tie many anecdotes and facts together. A gimmick, but a sensible gimmick to introduce cello history and make some dense material easier to absorb.<br /><br />There's a review by Aaron Green over at <a href="http://classicalmusic.about.com/od/cdreviews/gr/celloadventure.htm">classicalmusic.about.com</a> which complains that "<span style="font-style:italic;">Only one third of the three hundred+ page book was devoted to the adventures of Prieto's cello. The rest was a well written history of cello making and its music.</span>", as if that were a bad thing. I don't think that's fair. Seems to me, it's not a cello that has adventures, but rather owners, players, composers, and audiences.<br /><br />So from the outset, it should be understood that the book is not single-minded; it serves multiple purposes (Take a look at the <a href="http://www.utexas.edu/utpress/excerpts/expriadv.html">Table of Contents</a>). The book introduces the reader who may know little about the instrument to its construction and history. It relates interesting anecdotes. It places into context the significant composers for the cello and their works, both past and present. It describes Senor Prieto's career, sharing his personal experiences with composers, performers, and the many folks he's met along the way. It promotes the cello. Lastly, but I think of most importance to the author, it promotes the classical cello music of Ibero-America, that is, Spain, Portugal, and Latin America.<br /><br />Sometimes the long series of composers, and pieces, and concerts, and premieres, and concert halls get difficult to wade through. That means it's time to put it down and pick it up later. This is not a novel that one can just read from beginning to end. But since it's well indexed, I can easily find sections I want to read again and absorb better.<br /><br />The Spanish language version came out in 1999, but the English version refers to events up to 2005 as the past, and at least one event in 2005 and another in 2006 as the future.<br /><br />I have come away from the book and CD more aware that contemporary classical music must be alive and well in Ibero-America, driven by creative composers and appreciative audiences. That's not to say that Prieto and others with whom he works do not have a great deal of appreciation for the music and musician's of other nationalities. Quite the opposite. But they do take much pride in the accomplishments of the Spanish/Portuguese language artists. Particularly in the area of 20th/21st century classical, it seems from the book that they have taken the ball and run with it.<br /><br />Now, anybody that knows me knows contemporary classical is <span style="font-weight:bold;">not</span> a major interest of mine. I'm just not that sophisticated. I have to say, though, the music on the CD is quite accessible, even for a bumpkin like me. The CD has 18 tracks with cello performed by Carlos Prieto. I don't feel any of the tracks are too atonal or dissonant or weird for my taste. Of the 18, I especially liked:<br /><br />- The two tracks from the Bach's sixth Cello Suite. Since they are unaccompanied, you get to clearly hear the tone of the instrument. Yep, I'm impressed.<br /> <br />- The two tracks from Astor Piazolla, <span style="font-style:italic;">Milonga </span>and <span style="font-style:italic;">Le grand tango</span>. There's a lot to <span style="font-style:italic;">Le grand tango</span>, I'm going to have to play that track quite a few times to more fully appreciate it.<br /><br />- <span style="font-style:italic;">Cancion en el puerto</span> by Joaquin Guitierrez Heras. I dunno, it's just soooo purrrty.<br /><br />- "Presto with swing" from Eugenio Toussaint's Cello Concerto no. 2. Ok, I admit it, this is my favorite track of the bunch. Driving rhythms and jazz chords. Gershwin-ish/Bernstein-esque. Yeah, I can't help it, I'm just an unabashed Americano-phile.<br /><br />So now I have a little more knowledge of 20th/21st century classical music. One person that I now want to learn more about, albeit unintended by the author, is Nadia Boulanger. Y'know, one bit of knowledge prepares the way for another.<br /><br />Uh oh, I better go lie down before I catch heck from the Missus.Terryhttp://www.blogger.com/profile/07605382025114575253noreply@blogger.com2tag:blogger.com,1999:blog-3736601911783073580.post-63201343131868332512008-10-02T14:47:00.000-07:002008-10-02T17:00:59.696-07:00A Question for Adult Cello StudentsLast Saturday my wife and I put in some volunteer time for the Southern California Dulcimer Heritage's annual Harvest Festival. It has various workshops and concerts for mountain and hammer dulcimers, but also has room for other instruments. One of the workshop leaders was Mintze Wu, a fine professional, classically-trained violinist (graduate of Cleveland Institute of Music), <a href="http://www.musicincincinnati.com/site/reviews_2006/A_for_Azmari_Asset_for_Northern_Kentucky_University.html">a former member of the Azmari Quartet and on the Northern Kentucky University faculty</a>. But now she's making quite a name for herself on the dark-side -- as a fiddler.<br /><br />I attended her workshop. Wu showed how to take a simple, rather sing-songy tune (Road to Lisdoonvarna) and with some imaginative bowing and ornamentation, make it --WOW!-- very nice, indeed. I was the only cellist, and very welcomed by Ms. Wu. With some fingering adjustments I was able to get by about as well as the violinists (sometimes I've been over my head at these things). Wu made us individually play back what she teached, which put us on the spot, so I know other students had mixed results in getting it right as well, including one competent classically-trained violinist.<br /><br />I also attended an organized jam workshop. I was somewhat fussed over by the leaders, who were delighted to have a cello in the mix. I was asked to start a tune and when I played the first few notes, I heard at least one gasp, presumably of delight ;-), emanate from the group.<br /><br />My question is this: Given the almost embarrassingly welcoming treatment we can receive, and how one can easily play 1-5 bass parts until ready for more, why aren't there more adult student cellists venturing out to Old-time, Celtic, and other casual "traditional music" events? I know the cello students exist. Is it a matter of interest? -- adult students took up cello because they want to perform Classical, and that's that? Is it fear of playing without the trusty music stand and paper? Too much uncertainty and lack of structure? Is it lack of preparation and encouragement by the teachers? Fear of a lack of ear training or music theory? Too easy? Too hard to lug around that big case? Unfamiliarity with what cello sounds like in those genres?<br /><br />In a nutshell, why don't cello students do like other instruments? It ain't 'cause we ain't got frets; violin and string bass (and some banjos) also ain't got frets.<br /><br />By the way, we know cello and dulcimer played duets together in colonial Annapolis at least as far back as November 1752, so there is a tradition for this kind of thing in America, albeit sometimes appears to be forgotten.<br /><br />Any thoughts on the subject?Terryhttp://www.blogger.com/profile/07605382025114575253noreply@blogger.com3tag:blogger.com,1999:blog-3736601911783073580.post-51159382966564617812008-09-08T14:04:00.000-07:002008-09-08T14:09:00.452-07:00Cello ChordsJim asked me to re-post my cello chord diagram from a year or two back (The server it had been sitting on is no longer). Here it is. Pretty simplistic, but a start for strumming accompaniments or boom-chuck patterns, and you can use the same chord shape, moved up or down the fingerboard, for other chord names.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvBfCU_G1MrrHLJOfsR0dS6MReTsBDTxy2fYWQ12yb1NzubsEPXRcb7lk51Ifd43TBmYU-qd0M4XZQvBsdhYVDQhsu6vbZfK8nlLRMTzIFKGWImNcsKko12LP-aFDMDesNW3hIUNHRpS0Z/s1600-h/Chord+Chart.gif"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvBfCU_G1MrrHLJOfsR0dS6MReTsBDTxy2fYWQ12yb1NzubsEPXRcb7lk51Ifd43TBmYU-qd0M4XZQvBsdhYVDQhsu6vbZfK8nlLRMTzIFKGWImNcsKko12LP-aFDMDesNW3hIUNHRpS0Z/s320/Chord+Chart.gif" border="0" alt=""id="BLOGGER_PHOTO_ID_5243760167192512818" /></a>Terryhttp://www.blogger.com/profile/07605382025114575253noreply@blogger.com9tag:blogger.com,1999:blog-3736601911783073580.post-9618776363222349922008-09-03T09:15:00.000-07:002008-09-03T09:39:56.964-07:00I sure do like Copland!On my way into work today I heard a Copland piece in it's entirety on the radio. There's not much 20th century so-called "classical" music that I can tolerate. Give me 20th century jazz, R&B, pop, rock, show tunes, dixieland, disco, anything over contemporary classical. Hmmpf! Classical? Not to my mind.<br /><br />Ah, but Copland? Wonderful! He takes his time. He carefully builds and he gracefully recedes; 25 minutes that combine to make a whole piece. He blends and he separates. He's not afraid to be simple, and when he's complex he still makes sense. Enjoyable dissonance; dissonance that makes sense; that bright, straightforward, no-nonsense sound. I think I can see why he never wrote a cello concerto. I question whether it would have been accepted by the cellists of the time.<br /><br />I can't remember who, but some famed musician of Copland's era said something like, "In Europe they clamor for more American music, but that's not what they mean. What they really mean is they want more COPLAND!"<br /><br />I guess my taste is hopelessly unsophisticated. Yeah, even if I had talent, I could never be a classical musician; too simple-minded; too schmaltzy; too working-class. But in Copland we proletariat can find a 20th century composer for the common man.Terryhttp://www.blogger.com/profile/07605382025114575253noreply@blogger.com1tag:blogger.com,1999:blog-3736601911783073580.post-77913488816922612312008-08-12T09:03:00.000-07:002008-08-12T12:05:58.476-07:00Another "note"worthy blogReaders of Cellists By Night might remember that a couple of months ago I mentioned I enjoyed listening to morning disk jockey Dennis Bartel at the local classical radio station, KUSC (Yes, we are members).<br /><br />I like his subtle wit and the way he makes transitions. From his comments, he clearly has an excellent in background classical music, but even more importantly, he has a solid background in all kinds of things. And he's a down-to-earth plain-spoken guy, not at all pretentious, unlike a certain other syndicated classical DJ I can think of.<br /><br />Well, he has a blog: <a href="http://www.kusc.org/bartel">www.kusc.org/bartel</a>. I recommend reading <a href="http://www.kusc.org/bartel/2008/08/child-is-father-to-papa.html">The Child is Father to the Papa</a> (No douby y'all can guess who that's about). It goes to the heart of what makes a person, any type of person, great. And it just goes to show, aren't all the truly great musicians also autodidacts?Terryhttp://www.blogger.com/profile/07605382025114575253noreply@blogger.com1tag:blogger.com,1999:blog-3736601911783073580.post-59789443476822747702008-06-12T13:55:00.000-07:002008-06-12T14:46:29.821-07:00Goodbye to Cello?This has been building up a couple of months. My wife and I bought a bank-owned fixer-upper to move closer to where my daughter will be attending high school. Well, it's turned out to be more of a fixer-upper than we had imagined. We have to sink far more time and money into it than we expected. Mold is much more extensive than we were told by the inspector (kitchen is now completely torn out), poor original construction (crazy wiring, no attic access...), and even more poorly done modifications to the house by former owners. What's more, the 13-year-old we moved to be closer to, now is punishing me by refusing to come to Dad's anymore over my support of my wife regarding the snotty way my daughter talked to her. So my ex is taking big advantage of this to egg on and reward the daughter for staying away from Dad, use the opportunity to stop working, go back to court, get a change in custody, and up the child support and attorney fees to maximum she can get (We've only been to court 60-70 times since the kid was born; she's a paralegal). <br /><br />I don't know how I'm going to get through the next few months. I'm can't motivate myself for, and concentrate on cello playing. So I terminated my cello lessons, and I may even end up having to sell my cello. I've informed the folks that I play with that I'll play at an event that I committed myself to next week, but that's it. <br /><br />I expect I'll continue to occasionally monitor some of my favorite cello blogs. Maybe some months down the road things will start to come around, and I can relax again. But for now, every day presents too many problems I just can't solve.Terryhttp://www.blogger.com/profile/07605382025114575253noreply@blogger.com3tag:blogger.com,1999:blog-3736601911783073580.post-82269929456374205722008-06-02T09:00:00.000-07:002008-12-08T14:43:37.603-08:00Oo-ah-oo-ah-oo-ah...The subject of Starker's Organized Method of String Playing came up on Cello Chat about a week ago. I don't have access to the thread right now, but it might still be on the first page. Most of the posts dealt with the hazards of Do-It-Yourself. No one can understand the great mysteries behind the book without a teacher that apprenticed under Grand Master Janos or with one of his duly ordained disciples. My teacher's not in that exclusive club, she went to USC.<br /><br />But I'm sorry, I don't find the goals of the book all that mysterious and inaccessible. It's sets of simple double-stop mechanical finger exercises, following a mechanical, non-musical sort of chromatic progression: first one finger stays put and the other two finger progress chromatically, then the first finger progresses one half-step and the two other fingers start over in the progression. Sort of like gears in a clock.<br /><br />To complete the exercise though all the permutations of a single position, in tune, requires really good hand/arm position, finger independence, and very little unnecessary tension. Benefits: precise intonation; endurance from efficient, non-tense finger dropping; and knowledge of what notes are available in what position.<br /><br />However, (1) I don't have the endurance to play a whole set well without tension. Also, (2) I have difficulty identifying and maintaining good intonation in a chromatic, atonal situation, and, (3) I get bored, and (4) I don't really absorb what notes I'm playing in such a mechanistic exercise, anyway. So, during the past couple of years I've made simplified versions that center around a key. It helps me listen and hopefully make musical sense out of the intervals. And if, at one time, I only play those that fit within a specific key, then rest, I can get though it without over-stressing and tightening up my fingers.<br /><br />My previous post showed what I'm talking about (click <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHijgORTBxs3ARNi36SeRqBKlKFMXwHFw1k05tXT9DX8JHuzwjtRO5l5xBBqM_Aul9Ez2an2bQwCmt1bBQ-p04ij-_VkIe9J66qpxaQjY5c0JfAXlZAAtq-fcKF1tg0Awo63lXNrOvyjk8/s1600-h/Moving+double+stops.gif">here</a> to see). On it I identify the a key and chord progression that the exercise intends to suggest. I see it didn't garner any interest on Cello Chat. Instead, I killed the thread. I seem to have a knack at that.Terryhttp://www.blogger.com/profile/07605382025114575253noreply@blogger.com2tag:blogger.com,1999:blog-3736601911783073580.post-56165454119903666152008-05-28T13:01:00.000-07:002008-12-08T14:43:37.779-08:00A home-made exercise<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHijgORTBxs3ARNi36SeRqBKlKFMXwHFw1k05tXT9DX8JHuzwjtRO5l5xBBqM_Aul9Ez2an2bQwCmt1bBQ-p04ij-_VkIe9J66qpxaQjY5c0JfAXlZAAtq-fcKF1tg0Awo63lXNrOvyjk8/s1600-h/Moving+double+stops.gif"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHijgORTBxs3ARNi36SeRqBKlKFMXwHFw1k05tXT9DX8JHuzwjtRO5l5xBBqM_Aul9Ez2an2bQwCmt1bBQ-p04ij-_VkIe9J66qpxaQjY5c0JfAXlZAAtq-fcKF1tg0Awo63lXNrOvyjk8/s320/Moving+double+stops.gif" border="0" alt=""id="BLOGGER_PHOTO_ID_5205570741546007250" /></a><br /><br /><br />This little home-made exercise is posted here for a discussion elsewhere, unless you'd like to comment here.Terryhttp://www.blogger.com/profile/07605382025114575253noreply@blogger.com4tag:blogger.com,1999:blog-3736601911783073580.post-40132625352203963912008-05-19T13:05:00.001-07:002008-05-19T13:34:55.557-07:00105 degrees F, so I'm toldWhew, was it hot yesterday out on Paramount Ranch, site of the 48th annual Topanga Banjo-Fiddle contest. The quest for shade was, umm, indeed "paramount".<br /><br />Our time to play was 11:00 AM, not the hottest part of the day but late enough.<br /><br />I played ok, for me, which is to say not well enough to win, show, or place. But as we all say, it's the experience that counts. Right now, perhaps still tired and recovering, I'm wondering if that universally-treasured experience is always all it's cracked up to be.<br /><br />There were some fantastic players there. People who think these players of fiddles, banjos, guitars, mandolins, and myriads of other instruments are just slouches that wouldn't be able to hack it in the classical world just haven't heard what some of these musicians can do. Sure, there are throngs of just-begunners and mobs of intermediate wanna-bes (like Yours, Truly). There's also quite a number of amazing performers, many of whom don't compete, they're just there for the fun.<br /><br />At least three cellists competed in the "Other Instruments" category, in addition to finger-picked guitar (Finger-picked guitar is considered a separate instrument), harmonica, flute, dulcimer, and I forget what else. I was able to observe only one of the other two cellists and yep, he was better'n me (but even he didn't win). And, he made a smarter choice of what to play -- my choice was just too near the limits of my ability. Fool, fool, fool!<br /><br />Y'know, though, what I'd really like to do for next time, whether it be next year or several years from now? Compete in the accompaniment category. I think that's where cello shines, but it's also something I like to do. Now, where am I going to find somebody crazy enough to (1) compete in the whithering heat of the day-long festival against some true virtuosos, and (2) let the likes of me provide accompaniment? Send any takers my way.Terryhttp://www.blogger.com/profile/07605382025114575253noreply@blogger.com2tag:blogger.com,1999:blog-3736601911783073580.post-76131026985977050572008-05-14T12:27:00.000-07:002008-05-14T12:49:41.610-07:00Teacher's advice for Sunday's performance...... paraphrased and set to a certain well-known melody by Charlie Chaplin:<br /><br />Smile tho' your bow is shaking,<br />Smile tho' the notes are breaking,<br />When pitch goes way up too high,<br />You'll get by.<br /><br />If you smile<br />Through your fear and stage fright,<br />Smile and arms will be less uptight,<br />You'll hear the phrases shin-ing through for you.<br /><br />Light up your face with gladness,<br />Hide ev-'ry trace of sadness,<br />Al -'tho every glitch may tempt you to quit,<br /><br />That's the time,<br />You must keep on grinning,<br />Smile, each note's a new beginning,<br />They'll find that piece is still worth-while,<br /><br />If you just smile.Terryhttp://www.blogger.com/profile/07605382025114575253noreply@blogger.com2tag:blogger.com,1999:blog-3736601911783073580.post-88690936400624395912008-05-13T10:08:00.000-07:002008-05-13T10:50:59.935-07:00Contest time on SundayWell, the weeks have gone by and next Sunday is the Topanga Banjo and Fiddle Contest (Yikes, expected temperatures may exceed 100 degrees F!). I will compete in the "Other Instruments" category with two accomplices. Are we prepared? Not as well as I would like, but we have worked quite a bit on it. Too many personal problems and work/home issues going on for me to have done much more. This morning's practice felt pretty good, though.<br /><br />I didn't get out to Emily's, either, but I have had a number of lessons on it with my teacher, including one with the full group a few weeks ago, and another with the full group tonight.<br /><br />What happens happens. My number 1 concern is keeping a steady, solid, dance-able rhythm going without speeding up. Whenever I drop concentration, the tempo creeps up and the pulse and articulation suffer. If we can just keep the tempo steady and manageable and together, I'll be happy.<br /><br />Of course I'm not likely to win, that hardly matters, but the preparation work has certainly made a noticeable difference in my playing. It's given me a better appreciation of how the problem with my left hand is actually in my right arm.Terryhttp://www.blogger.com/profile/07605382025114575253noreply@blogger.com0tag:blogger.com,1999:blog-3736601911783073580.post-66717960645921777172008-03-22T13:47:00.000-07:002008-12-08T14:43:38.150-08:005-String Conversion, Part Last"Ok, so what about the peg?", you say. Did I install another hole and peg? Well, I did drill a hole, but no peg. I threaded the D-string through a small hole, using a small washer that I bummed from my wife's supply of little hardware leftovers to prevent the string ball from slipping through the hole:<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlTq6HYzZKM9NLNHYWHpWxU_iQQo5jkI1FhqgiguP_NMWknr9BAqscUIMuoD9Y23OD3909wsRrGtrqW9e5hxG4IM_6Sx8piuW-CgZVF3ernB46aluU1fWy5ay_MvkYHi8ztm4I9laUU8jT/s1600-h/D+string+at+scroll.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlTq6HYzZKM9NLNHYWHpWxU_iQQo5jkI1FhqgiguP_NMWknr9BAqscUIMuoD9Y23OD3909wsRrGtrqW9e5hxG4IM_6Sx8piuW-CgZVF3ernB46aluU1fWy5ay_MvkYHi8ztm4I9laUU8jT/s320/D+string+at+scroll.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5180671892451042626" /></a><br /><br />Actually, I did this all a few months ago and thought, "Great, all I have to do is tune this puppy up and I've got myself a home-mode 5-string, Laszlo Varga style (Anybody know how he made his 5-string? I know he used a 3.4 size cello for it, but that's about all I know about it).<br /><br />Well, just as I was approaching pitch on all five strings, just within a quarter of a tone across the board, the neck snapped off. Bummer. The neck came off cleanly at the glue point except that the little tab coming up out of the cello back was sheared off. That is the structural main strength point. The glue under most of the neck has no mechanical advantage, it's that meek little tab on the back that does the real work of keeping it all together.<br /><br />So I glued the neck back on with hide glue I found on the Internet, using a candle warmer to keep the glue hot. Then I attached a splint made from doorskin and three little screws, again raiding my wife's hardware leftovers. The split I attached with regular carpenters wood glue underneath. That stuff is much stronger than wood when it cures. Hopefully, that splint will never, ever part from the back tab.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI3Pyl2lPQjuYSCmYuTlsWvFJyYYz733mAC1OfVjtC45W_ZDtjxE6yoomlfSCaOR_0EP7CzkD2nFi4NIXa1R3LuEhLyReJpPtWOuY9ArM-hnwa31w1Quq-qAGrVPaVa-Wk6b-N1FoWUU5h/s1600-h/splint.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI3Pyl2lPQjuYSCmYuTlsWvFJyYYz733mAC1OfVjtC45W_ZDtjxE6yoomlfSCaOR_0EP7CzkD2nFi4NIXa1R3LuEhLyReJpPtWOuY9ArM-hnwa31w1Quq-qAGrVPaVa-Wk6b-N1FoWUU5h/s320/splint.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5180676200303240530" /></a><br /><br />So there it is: A project no doubt worthy of a spot on the Red Green Show. I think I can expect a congratulatory call from ol' Red Green any day now.Terryhttp://www.blogger.com/profile/07605382025114575253noreply@blogger.com3tag:blogger.com,1999:blog-3736601911783073580.post-59740323287444745872008-03-22T12:49:00.000-07:002008-12-08T14:43:38.552-08:005-String Conversion Pictures, Part 2This pic shows the nut on the E-string side. It's hard to get the precision one needs. If there were a next time, I'd want to find a better way of making the nut grooves than using a serrated kitchen knife and a ruler.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT8Lx1Gvvpi30W2ocl97WLOfqx6o0MO2MXZcwyvptx350TBn_60syfbKHmm6GtXedTAyOolybN9RtGu5y-vOr6KTOavt1uXWnTLWQOS_DzBDk_tzpI6XG9F7HAd7Nuptp9k56BGM7zpcsA/s1600-h/At+nut+1.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT8Lx1Gvvpi30W2ocl97WLOfqx6o0MO2MXZcwyvptx350TBn_60syfbKHmm6GtXedTAyOolybN9RtGu5y-vOr6KTOavt1uXWnTLWQOS_DzBDk_tzpI6XG9F7HAd7Nuptp9k56BGM7zpcsA/s320/At+nut+1.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5180657925217396002" /></a><br /><br />And this pic shows the nut on the C string side. Yes, the E and and C strings are at the very edges of the nut and fingerboard. Wider would be better.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCEY0-K44UhHmhsWK7odcNXsjKEf7-494eCwC4HfYOdevhM1OPdu2Z456Lp8S1Fbp50itRbGmWUYKNP2ZQW3W7tOyHKYOoRjbI-PF40_xtuNdXmID3dn7grB7Hc5K3Kto0bH1QeQzpGPox/s1600-h/At+nut+2.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCEY0-K44UhHmhsWK7odcNXsjKEf7-494eCwC4HfYOdevhM1OPdu2Z456Lp8S1Fbp50itRbGmWUYKNP2ZQW3W7tOyHKYOoRjbI-PF40_xtuNdXmID3dn7grB7Hc5K3Kto0bH1QeQzpGPox/s320/At+nut+2.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5180658861520266546" /></a><br /><br />Still a couple of pics to go.Terryhttp://www.blogger.com/profile/07605382025114575253noreply@blogger.com0