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I like this short video by Cicely Parnas, all great tips – and especially about 20 seconds when the camera is on her side so you can see where she illustrates using her shoulder and larger muscles in a relaxed and connected way rather than relying solely on the fingers. Similar ideas to what Sophie said today in the shifting class, engaging that shoulder before the fingers! 👌🤌
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I found this old comedy cello video on a whim and thought you guys would enjoy. A good reminder to not take ourselves too seriously 😜
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I enjoyed this short video from Camden Shaw where he discusses shaping dynamics, and I thought it's relevant to our discussion this month and some food for thought!
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Yikes! Also it appears to me that his body is rather stiff and feels locked with the cello (stiff torso, locked knees as he rotates). He sounds good but I can't imagine that being sustainable for a longer period!
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Found this little nugget.
https://youtube.com/shorts/i3fQtSs4tqM?si=ch8lZtDzc1BkKLM6
Sophie, I suggest, next time you do or expand on this subject, you add this sort of example. I. E 1) not entire examples, but phrases, that both demonstrate the nuance in sound and in movement and 2) explain in words what is being done.
It's very hard to see the variables being applied, especially pressure and bow speed changes, so the best way to understand how to use the difference is to demonstrate a short phrase with and without the nuances and to explain (perhaps graphically on top of the audio /video being
Playedback) what parameters are being changed as they are changed.
This is effectivly what you did at q&a 1 after Johnathans demo. But I think the analysis is secondary, the result of the analysis should be superemposed on the playback of demo phrase.
Hmm, nugget examples demonstrating the variables in a musical context is a nice idea. Clear and digestible.
In the repertoire section (p.20 for the Schumann and p.22 for the Elgar), I annotate the scores to show how I am using the bow variables for expressive purposes in the Play Along repertoire videos (link on p.18 as well as on our Bow Variables homepage). So you can follow my recording with the score (not as convenient as having the analysis superimposed over the playing on the video, but the same idea).
The listening examples are now also added to the Bow Variables homepage here (https://www.sophiewebber.com/bow-variables-practice-companion). Thanks for the good suggestion!
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For me this is a theoretical question since im still at the technical manipulating phase and not the music making phase of musicality, but it does touch my curiosity. When playing a series of notes musically, the differences between the notes in terms of volume and tonal quality will reflect various factors such as the role of that note in the melodic phrase and the rhythmic beat and so on. In otherwise we could divide the notes to being part of the melody or part of the "filling". But the ringing tones, c, f, d, a are privileged citizens, physics, gives them extra oompth that may contradict their musical role as "filling" notes. Do professional musicians sometime have to take steps to "tone down" the privileged notes and "put them in their place" to match their musical role in a particular phrase? I imagine it's like the way i ging…
I should also add that you can't really "go wrong" by practising ringing tones... they really help us to open our ears to good intonation and should also encourage more ring on all notes across the fingerboard :)
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In the latest q&a someone mentioned that they heard that two cellos playing together we will often not sound good together but three (or more) will sound better. I was curious so i asked ChatGPT’s, the answer was plausible so I'm sharing it here....
Now my challenge question.... My advice always do this....
Yonatan : Could you explain why three cellos playing together are more likely to blend well than two. Base your answer on reality
ChatGPT :When you put two cellos together, you often hear them as two distinct voices. The ear is very good at spotting differences between just two sources: slight variations in intonation, bow pressure, timing, or tone color stand out. Even when they’re very close, those tiny mismatches create a noticeable “beating” or lack of blend.
With three cellos, something different happens. The ear and brain no longer lock onto just two separate strands—they hear…
Wow, all this from ChatGPT! Thanks for sharing, Yonatan! Our ears are pretty incredible... I remember reading a a book called, "The Third Ear," by Joachim Ernst-Berendt --it's all about the ear and the value, compassion, and importance of listening. Ernst-Berendt even points out how the ear is one of the first parts of the body to develop in utero and how its shape closely resembles an embryo.
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I have known about listening for the ring but never released the note quite the same way you suggested… it’s a real game changer!
The world of articulation (which does intersect with the variables)! Expressive articulation might be a nice Practice Room topic?