Taught by renowned cellist
tonebase Artists
In the velocity course, we learn what elements our playing needs to have for us to be able to play quickly and cleanly. Beginning with principles of velocity, we explore left hand articulation, left hand agility, coordinating the two hands, and finally, bridging the gap from fast playing to brilliant playing.
<p>Principles of Velocity</p>
<p>In this lesson, we study methods for achieving finger agility and speed. Lelchuk also teaches us a new different fingering, which aims to strengthen the pinky – something all cellists need work on! In the quasi-exotic exercises by Tortelier, we explore the "Marathon anti-Routine," which, similar to Cossmann velocity studies, works on crisp, clean left finger articulation. We also find ways to increase speed while decreasing tension.</p>
<p>When Velocity Becomes Brilliant</p>
<p>In this lesson, we learn ways to practice our fast playing. Fred Sherry poses the question he asks himself often in the practice room: "Can I do this?" which is very relevant when it comes to fast playing. We study Sherry's techniques for fast playing and for increased coordination of the hands, which adds to the brilliant effect of fast playing.</p>
<p>Left Hand Articulation</p>
<p>In this lesson, we learn Johannes Moser's methods for achieving clarity. While our left hand may technically be doing the "right" things, if we do not have great clarity of articulation, we will not be heard properly. We study methods to increase left hand articulation in this important lesson.</p>
<p>Left Hand Agility</p>
<p>In this lesson, Jonah Kim teaches about building left hand agility and how speed and intonation are related. We learn that when we play fast, we need to have a slightly different intonation than when we play slowly. We study important principles of intonation and their relationship to the musical context and how our hands, when playing fast, must adapt to the context.</p>
<p>Coordinating the Hands</p>
<p>In this lesson, we learn important applications of virtuoso bowing techniques as we seek to play faster and more cleanly. Professor Clein shows us how to take what we know about fast playing and apply it to the repertoire. We study examples from Haydn to see how we can coordinate our two hands and get the results with higher velocity playing we desire. We also learn the importance of the left hand coming slightly before the right, so we are in place and ready to go.</p>
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