Hello all, this is an update on where we're at collectively, as well as a response to a question we've had on the blog

Hello all, this is an update on where we're at collectively, as well as a response to a question we've had on the blog:


Tuesday Morning ERP:

Scale book:
1. D major and minor scales in the book with all the types of minor scales and the thirds and arpeggios for each one.
2. #1-6 in the scale book (C major and A minor--all scales with thirds and arpeggios)
3. Rhythm series A-D, be able to clap them, vocalize them, and pizz or play them with the bow.

Tuesday Afternoon ERP:

Scale book:
1. #1-6 with the 4th position extensions we talked about, and the two octave C major scale in third position. Since we didn't have a chance to meet, consider also doing the C minor scale (three flats in the key signature) also in third position to continue to advance your skills.
2. E major and minor in two octaves with the fourth position shift.
3. Eb major scale, thirds, and arpeggio. Try to do this in fourth position as well (only one octave--unless you want to try it in two octaves--in which case it would be the same as the E major/minor one, but with no open strings and four flats instead of four sharps.)
4. The rhythm studies A-D. clap, play, pizz, or vocalize--all are on the table.

Carol of the bells: Playing the melody in fourth and fifth position, and other spots in third position--basically we are applying what we have learned so far about positions to some of our music.


Wednesday Morning ERP:

Scale book:
1. #1-6, and the two octave C major scale.
2. G major scale in  two octaves. Please also work on the two octave G minor scale (two flats) with all of its different variations to continue to advance your skills.
3. Eb major scale, thirds, and arpeggio.
4. The rhythm studies A-D. clap, play, pizz, or vocalize--all are on the table.


Schroder book: 1-9, especially the duet pieces. Use the first exercises to improve your sound production and physical endurance, playing at a tempo of quarter note = 60 beats per minute.

RESPONSE TO QUESTION ABOUT LEFT HAND TENSION:

Hey Chaoyian. Very Good question. For those too lazy to view your comment I quote it below here:

So, I was wondering what i can do to release or prevent tension from being built up in my LEFT hand when I play the cello. I was practicing Bach's cello suites and it is really hard to do two movements in a row for me because so much tension builds up in my left hand. I was doing research on this issue and I think it is because my thumb is flat and pressing down very hard. Is this the reason or is the tension common and I just have to work towards greater stamina? How can I correct this issue?


Okay, so I can say right off the bat that the tension is NOT a necessary or desirable thing, although it may sadly be more common than most people would care to admit. We all can develop bad habits after all. The reason that you are experiencing this tension problem is because you are relying on your thumb to create back pressure in response to your top fingers pressing down. But this is not ideal for the reasons you have discovered. WHAT YOU NEED TO DO is to push the strings down without using the thumb at all. The way to do this is to watch this video:

http://www.youtube.com/watch?v=YhKPgFMxHmw.

Then, do what the author says and don't play with the thumb for awhile until you get used to this. The arm and fingers need to form one unit that connect to the string and pull back into the neck through the string. I honestly can't explain it too much better than she can. If you work on this it will change everything about what you are doing with the left hand and revolutionize your approach to it. It helped me tremendously in my own playing to get this concept.