wow, amazing video! thank you very much, it really helped me! cause at first I was confused when I saw the notes and heard this caprice! amazing piece :)
This is very helpful on various practice techniques in approaching this piece. One thing you did not mention at all is how you make your placement and fingering decisions! It would be helpful to understand why certain portions are played in higher positions on the middle strings instead of lower on the higher strings. These decisions to be are where the complexity of the piece lies.
Thank you very much Richard! Those videos are very helpful and your Bach is splendid! I have still some question regarding this video and the caprice: 1. When you are talking about gradually building up strength in the bow arm and the left hand, exactly how do you do it? Like how long to do practice, and practice what and so on. 2. The other is about intonation. How do you actually fix the faulty intonation, and thus make it permanent(or at least more consistent)? You play with fantastically pure intonation, how did you develop it? I have never heard any teacher speak about those aspects of practicing, and it would be very helpful to get some input from someone who knows what they do! This became a long message, still hope you would like to help me and maybe others out :-) Not that you already do of course! Best wishes Harry
LittleHarryBrother1 Dear Harry, Thanks for your message! I am glad you find this video helpful. To build up strength in the bow arm practice slowly at the tip, careful not to build up too much tension in the shoulder or upper arm. It is important to reinforce this kind of practice on a daily basis so as to build up the strength slowly and gradually. It could take a few days or weeks before you feel comfortable getting through the whole caprice without tiring, but I am certain any cellist can build up the required strength with careful practice. If you get tired from practicing at the tip you can apply different bowing variations in different parts of the bow so that you are still practicing the left hand but giving rest to the bow motions at the tip. For the left hand, again slow is the key. If you can do it slowly, then you will be able to do it at tempo. The double stops are helpful for strength but be creative and make up different rhythms and combinations. I appreciate your comments re. intonation, though I can't agree that I have fantastically pure intonation - you should hear me practice then let me know if you still think so lol. Perfecting intonation is a daily struggle, and a lifelong pursuit. For me personally, I make sure I practice technical fundamentals on a regular basis (scales, double stops etc.) to center my ears and remind myself what it feels like to play in tune. I think consistency is key. Practicing these fundamentals will also help with stamina in this caprice and others. Practice scales! For purity, don't think only in terms of left hand placement - pay attention to the bow too! I hope this helps! Richard
Doesn't anyone pay attention to how this piece is actually written? The lower notes are eighths, not sixteenths. It's supposed to be a study in partial double stops.
Very helpful, thank you
wow, amazing video! thank you very much, it really helped me! cause at first I was confused when I saw the notes and heard this caprice! amazing piece :)
This is very helpful on various practice techniques in approaching this piece. One thing you did not mention at all is how you make your placement and fingering decisions! It would be helpful to understand why certain portions are played in higher positions on the middle strings instead of lower on the higher strings. These decisions to be are where the complexity of the piece lies.
Thanks. Was very useful.
very helpful
Thank you very much Richard! Those videos are very helpful and your Bach is splendid! I have still some question regarding this video and the caprice: 1. When you are talking about gradually building up strength in the bow arm and the left hand, exactly how do you do it? Like how long to do practice, and practice what and so on. 2. The other is about intonation. How do you actually fix the faulty intonation, and thus make it permanent(or at least more consistent)? You play with fantastically pure intonation, how did you develop it?
I have never heard any teacher speak about those aspects of practicing, and it would be very helpful to get some input from someone who knows what they do! This became a long message, still hope you would like to help me and maybe others out :-) Not that you already do of course!
Best wishes
Harry
LittleHarryBrother1
Dear Harry,
Thanks for your message! I am glad you find this video helpful. To build up strength in the bow arm practice slowly at the tip, careful not to build up too much tension in the shoulder or upper arm. It is important to reinforce this kind of practice on a daily basis so as to build up the strength slowly and gradually. It could take a few days or weeks before you feel comfortable getting through the whole caprice without tiring, but I am certain any cellist can build up the required strength with careful practice. If you get tired from practicing at the tip you can apply different bowing variations in different parts of the bow so that you are still practicing the left hand but giving rest to the bow motions at the tip.
For the left hand, again slow is the key. If you can do it slowly, then you will be able to do it at tempo. The double stops are helpful for strength but be creative and make up different rhythms and combinations.
I appreciate your comments re. intonation, though I can't agree that I have fantastically pure intonation - you should hear me practice then let me know if you still think so lol. Perfecting intonation is a daily struggle, and a lifelong pursuit. For me personally, I make sure I practice technical fundamentals on a regular basis (scales, double stops etc.) to center my ears and remind myself what it feels like to play in tune. I think consistency is key. Practicing these fundamentals will also help with stamina in this caprice and others. Practice scales! For purity, don't think only in terms of left hand placement - pay attention to the bow too!
I hope this helps!
Richard
👍🏻
👍👏
Anyone here from OMEA? Thanks for the tips!
Doesn't anyone pay attention to how this piece is actually written? The lower notes are eighths, not sixteenths. It's supposed to be a study in partial double stops.