The Strad, March 2006 Vol. 117 No. 1391 page 51

The German cellist explains how developing accurate intonation gives security and confidence to her playing

When performing I want to say something and make it convincing immediately, not at the third attempt. Each passage must be perfect every time, so I need the knowledge and training to back up my musical decisions. Janos Starker taught me what freedom sounds like being very critical by learning to identify and solve problems.

Secure intonation is basic. We must learn exactly where the fingers go and how flexible each joint needs to be. This is best done by playing all the possible double-stops in each position, which will develop strength and ability to hear intervals. If you include all the half-positions, there are eight in which we use four fingers; and if you also count those that use the thumb there are many over the whole fingerboard. Each must be thoroughly established.

I like to begin with the outer fingers, using no vibrato. In the lower (four-finger) positions first and fourth fingers will form either a seventh or a third. Putting my first finger on E on the D string, fourth finger plays either D or D sharp on the A string. Switch strings and the first finger will play a B on the A string and either G or G sharp on the D string. The pitch can be checked by referring to open strings or harmonics. When all these are in tune we can continue to find the remaining double-stops for that position. Keeping the fingers naturally curved is impossible – they have to bend in all directions to play double-stops in tune.

As we move up the fingerboard the positions with first finger on F, F sharp, G and G sharp on the A string are uncomfortable because of the awkward stretch between second and third fingers. Prepare these double-steps as if your fingers are in a cage, but when playing single notes release the tension, add vibrato and curve the angle of my fingers at 45 degrees in all positions, as on the violin, so when I shift up the fingerboard I don’t have to rotate my and. Connecting positions chromatically up and down helps your body to remember and take over which gives a feeling of security.

In thumb position the thumb must stay over two strings, otherwise the hand is not balanced, like walking a tightrope – one foot in front and one behind, which is wobbly. It is your silent helper and should press down a bit more on the sting that you’re playing. Like an anchor thrown off a boat in the middle of the ocean. If the thumb lands properly the fingers can find their way to the right notes. (A famous exception to this is during the high trills in the first movement of the Kodály Sonata, where it is easier to put the thumb under the fingerboard.) If the thumb is up in the air, as if often is with young players, the hand loses suppleness.

Let’s take the last movement of Beethoven’s Sonata in A major op.69 as an example, because it is so often played out of tune. In bar 150 begin with the thumb on a B on the D string while the second finger is on the A. Check the harmonic A, then match the seventh with the thumb on a B on the D string while the second finger is on the A. Check the harmonic A, then match the seventh with the thumb; when you change to the B you get an octave. Continue by matching the sixth with the first finger G sharp in the nachschlag after the trill the thumb forms a fifth. Now shift the first finger to B and put the thumb no the D harmonic, which forms another octave with the high D. The third finger now stretches to form a third with the G sharp on the D string. Your fingers must feel the relationship. Practice holding your fingers in this uncomfortable stretch, then lift your first finger. Continue checking all the intervals, adding a little vibrato before and after you shift down t the next note.

Depending on the musical context I also decide how many fingers to put down and with how much weight. This precise discipline doesn’t stifl4e my musicality. After we have analyzed, dissected and torn apart, we then have the tools to produce our interpretation.

Bio:

Maria Kliegel has recorded more than 30 CDs on the Naxos label, most recently the complete Saint-Saëns and Fauré cello sonatas. She is currently making a DVD on how to practice famous passages, with an accompanying book on cello technique for Schott. Since 1986 she has taught at Cologne’s Hochschule für Musik and plays the 1693 ‘Gendron’ Stradivari.

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The Strad, June 2004 Vol. 115 No. 1370 page 596

Joan Jeanrenaud on pizzicato, a rarely analyzed technique that is so vital in modern repertory

Most of us learned our instruments playing works written before the Twentieth Century. However, composers of the last 50 years or so have developed expanded tonal palettes that require string players to use techniques that go far beyond the ability to simply play in tune with a beautiful sound in 4/4 meter. We have to strike, strum and drum the instrument, stroke, tap and rap with the wood of the bow, play behind the bridge, use electronic devices, and accompany computers all while counting like mad. When approaching contemporary music it is easy for the uninitiated to think, “this is loud and weird”, but in fact, you have been given a chance to open a toolbox containing more tools. Through the process of analyzing you will find effectiveness and beauty. A classical background shouldn’t scare you off – but should give you the best foundation in which to listen with open ears and explore the sound world of your instrument.

A common example of the “extended” techniques required in avant-garde music is pizzicato. Many cellists feel that pizzicato is simply plucking the string and give little thought as to how to pluck. Within the musical context, however, there can be a great variety of reasons why pizzicato is used and, therefore, we need to find different ways to pluck. I like to think that we have the ability produce as many colors in pizzicato as we can in arco where we use bow speed, pressure and placement to create infinite variation.

During my years with the Kronos Quartet I was introduced to the vast diversity of sounds possible on our instrument. This includes pizzicato. For instance, one of the choices you have is where on the string you pluck. Most often we pluck between the fingerboard and bridge, but there are other options such as plucking close to the bridge to get a tight non-resonating sound or up on the fingerboard for a softer, more ringing tone. I’ve even pizzed in the peg box and behind the bridge. You will discover that through expanding your musical vision you can pluck anywhere.

Next consider how you will pluck: pull the string to one side or the other, lift up, or push down. Bass players use a lot of pizz and during Kronos’ work recording several jazz CDs Eddie Gomez and Ron Carter, both terrific bass players, I learned how to get their sound. The cello is so closely related to the bass that I have often tried, within the string quartet, to imitate their role – that of the rhythm section. To sound like a bass I learned to pull the string to the right with the index or middle finger.

I also realized you can use your thumb, 1st, 2nd, 3rd or 4th finger to pluck as well as different parts of the finger. Flesh can be used to our advantage, but don’t discount the nails. Penderecki’s first string quartet, though only six minutes long, is like a dictionary of extended techniques and uses a lot of nail pizzicato. Be careful, you can pull the nail off! Sometimes a paperclip or some sort of pick will be asked for, but there is not always enough time to grab one. I remember that Hank, Kronos’s violist, after much experimenting, used a credit card to pluck. Sometimes, if the composer realizes the technique is physically impossible, he might find a solution like changing the notation to col legno batuto. Of course, some players don’t want to hit their bows on the strings, so pencils can be used instead.

Alternating two fingers on the right hand like a guitarist allows for much faster pizzicato. This can work especially well with string crossings.  Practice the passage without the left hand using only the right hand, but playing on the correct string with the finger pattern you have decided on. This simplification will allow you to concentrate on one problem at a time.

Hamza El Din, an Egyptian composer and oud player, wrote a piece “Escalay” that one of his students transcribed for the quartet. My part was mostly pizzicato, but I couldn’t get the right effect – I wanted it to sound more like an oud (a plucked instrument with sympathetic strings). I tried all types of strumming, then left and right hand plucking. If you alternate between hands there seems to be more movement in the sound.

The American composer John Zorn wrote “Cat o’ Nine Tails” that was composed on 26 index cards. Each card was a completely different type of music. One of these cards was a one octave C major scale that was supposed to sound like someone stomping up stairs. In this case, I had to find a perfect place to pluck on the cello to make the music sound like someone pounding up steps: the pizzicato had to evoke an image. I went near the bridge for a tight, loud sound. In the same piece I had a Jack-in-the-box pizzicato, which was the doll boinging out of the box. Here I used lots of vibrato. You have to rely on your ear to decide just how much vibrato. There are infinite variations. (I will never forget the first time I heard the La Salle Quartet play Schönberg. Jack Kirstein’s fast wide vibrato on the C string was so moving that I worked on changing my vibrato.)

Another technique we used a lot was tremolo pizzicato, which creates a shimmery sound. I had to practice moving my finger back and forth really fast while staying right on one spot. The sound is very soft, but interesting because moving from right to left the nail hits the string.

Over the years I developed many calluses playing certain works. Worse were the blisters, especially when we rehearsed passages over and over while the others played arco. Before you know it your fingers are bleeding. I learned a great trick from an Italian army officer of taking a needle and thread then passing it through the blister leaving the thread behind, which allows the blister to drain.

Finally, a word about amplification. Since Kronos’s work with Steve Reich that involved playing with pre-recorded tapes they always perform amplified, which can make certain things like being heard in pizzicato easier, however, this takes great care. The Concertgebau, for example, doesn’t need much, but we played in some real barns. For pizzicato to be heard by 1000 people we found we needed amplification and never traveled without our sound engineer. Musical intention is the point and through experimentation you will find the colors and variety of tone are endless.

During her 20 years with Kronos Joan Jeanrenaud worked with hundreds of composers, performing more than 2000 concerts around the world and making over 30 recordings. In 1999 she left the quartet to pursue a solo career. Her most recent recording, metamorphosis, was released by New Albion Records. See www.jjcello.org for further information.

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The Strad, July 2006 Vol. 117 No. 1395 page 35

We’re always told that keeping the bow parallel to the bridge makes the best sound, but it’s actually more complex, says a leading European cellist

Many years ago I realized that the traditional method of teaching sound production is limited to a scientific axiom: keep your bow in a straight line parallel to the bridge. I became intrigued by the credibility of this statement as well as by the fact that we all ‘know’ that the fundamentals of shaping dynamics are bow speed and pressure, and the placement of the bow on the string – but this last aspect is not entirely clear.

For instance, if the music calls for a note to be played pianissimo, I position my beautifully straight bow at the fingerboard. Let us assume that this note is followed by a rest, and that next note is forte. I pick up the bow and play near the bridge. All is well. However, what happens when I deviate from the 90-degree angle? What is the possible range of deviation (bow angles)? Is there a connection between movement and deviation? Is there a difference between positioning the bow at a 90-degree angle and pushing or pulling the bow at 90 degrees?

Slow motion photography of a vibrating string reveals that its motion is not back and forth, as it would appear to our unaided eyes. Instead, it moves rapidly between the bridge and the nut (or your finger) in complicated irregular vibration patterns that include, as partial vibrations, the whole harmonic spectrum. So when a bow slips down towards the bridge, it is moving in the same direction as the vibrations, which stops the string from freely vibrating and chokes the sound.

Let us try two experiments to see what happens if we pull the bow at a slightly slanted, non-perpendicular angle. First, with the bow placed about halfway between the fingerboard and bridge and with the tip slanted slightly down, draw a down bow, making sure the point of contact does not change. Do not allow the bow to slip up or down the string. The bow is angled. Change to the up bow, but do not let the contact point alter. If you continue to increase the angle, you will hear the quality of tone becoming harsher until finally, when the bow is at an acute angle, the sound is so scratchy that no real tone is produced. Playing with the bow at a slight angle may, in some very intense passages, be desirable. However, you might have noted that the bow must be held rather firmly in the hand in order to keep the point of contact in place.

For the second experiment, again angle the bow with the tip slightly down. This time, allow the bow to follow its own course. The natural tendency is for the bow to drift towards the bridge. Surprisingly, now the sound is completely uninhibited, even with the bow at an extreme angle.

The bow naturally changes contact points as it moves feely between fingerboard and bridge, traveling faster or slower depending on the angle of the bow. On a down bow, the bow will slide down the string towards the bridge without the slightest disturbance of the sound; and conversely, when the tip points up (still on the same down bow), the bow moves naturally to the fingerboard. The tone is perfect because the movement of the bow is at a right angle throughout the entire experiment. Now when you make a crescendo you con go seamlessly to the bridge without risking a scratchy sound.

I recommend practicing these exercises in front of a mirror. Hold the bow in the ‘slanted’ way I’ve described while evenly increasing or reducing bow pressure as the bow draws near the bridge or the fingerboard. You will need to master the four combinations: down bow and up bow in both crescendo and diminuendo. Note that the greater the deviation from a right angle the faster the bow moves up or down the string. Work towards gradually resuming a perfect 90-degree angle as the change of dynamic proceeds.

A practical example of this technique is in the opening of the Dvořák Concerto. Everyone plays fortissimo on the B but finds the next two semiquavers difficult to play with the same vigor at the tip. I play the B starting at the frog quite close to the bridge and using the necessary force. A little past the middle of the bow, I gradually slant the tip up and the frog away from my body so I can play the semiquavers at a greater distance from the bridge, where I can use more bow and the notes will speak. For the ensuing up bow I slant the bow again to approach the bridge in order to maintain the required forte.

* * * * *

Gerhard Mantel is professor of cello at the Musikhochschule in Frankfurt and has been principal cellist in Bergen, Norway, and in the West German Radio Symphony Orchestra, Cologne. He has solo recordings on the D Camera and Soundstar labels and has authored seven books on string topics, published by Schott.

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The Strad, December 2004 Vol. 115 No. 1376 page 1292

Heinrich Schiff explains why he is still practicing scales

Twenty-five years of teaching have taught me that we must always define what each of our motions at the cello represent in order to be efficient players capable of technical ease, great stamina, physical power and musical depth. To have control we must develop the ability to use our physical gestures economically and unconsciously. Craftsmanship, or the non-musical aspect of playing, such as velocity of fingers, bowing technique, shifting, et cetera should be studied separately from the musical expression. Expressive possibilities are limited if the player is not at home with the instrument and the further one goes away from “home” the more the basics are needed.

This is why I believe in etudes and studies – and I still play scales – as Heifetz emphasized. I don’t find this pleasurable, but do it anyway and spend time on it. A wonderful part of instrumental fitness can be found in exercises by Feuillard and Cossman, for example.

Not all instrumentalists regard exercises as important and, in fact, many artists think etudes are rubbish and that one can learn technique through pieces. I say yes, if you understand what you have to do. An etude is like a series of small limited structures and should be played with complete control without the emotional distractions of your concerto. If you apply that behavior to your solo and find the pattern you can practice the passage with the same sensibility as you would with an etude. At this point all enemies will say: ‘Now the concerto will sound like an etude!’ They are right. Anyone can describe what to do, but it takes knowledge of the basics to approach the problem.

Consider other musicians. Every singer certainly begins the day with basic vocal exercises: tone, arpeggios, scales, and intonation. They practice their routine in every key making sure their voices are properly supported. Wind players hold long notes for endurance and breath control. We string players don’t do this enough – especially young players who should be trying to find their own “voice”.  I suggest starting on the open strings with or without vibrato. Concentrate on the physical aspects of playing. Question yourself: Is my body comfortable? Can I control the bow in fast and slow speeds? How should I vary my vibrato? Keep the note plain then add vibrato as a sheer physical exercise. If it sounds “dry” don’t do it. Even when the gesture is detached from the artistic act you must love the note, feel yourself relax, enjoy your instrument, and get addicted to the sound you produce in order to always find a “home”, otherwise when the music makes increasingly difficult demands you could lose control. The more aware you are of your physical approach the easier artistic matters become.

This is a tactic I often use in master classes. I ask the student to play something quiet and small, like a simple row of notes in a moderato tempo. Then we increase the dynamics to mf or f, playing full but not too loud. Perhaps we choose a few notes from the concerto, maybe with a slide because it makes us nervous. Sometimes I ask for a Ševcik or Feuillard exercise – we are looking for something simple in order to come back to basics.

Basics include posture. When sitting at the instrument the torso must lean towards the cello. You must find a position in which you can sit for many hours. Control your neck avoiding pushing away or pressing towards the cello, which causes tension. If you are relaxed from the hips, your torso can help your arms produce the weight. Tension in the hips reduces power. Likewise, lifting the shoulders (a mistake we all make) interrupts the flow of energy into the fingers by creating stress. This applies to both arms.

Concerning power, and cellists need a lot; one can be lucky or must train for endurance. Producing sound from force is wrong. You must be strong, but use body weight and gravity. Besides we would have to develop more muscles than needed in order to have reserve strength, since we should be able to play through three concertos in the practice room in order to perform one. Just like we have to master passages that are more difficult than the works we play on stage. So, back to etudes in order to make the Dvorak Concerto easier. You have to be fitter than required and you have to have more skill than needed.

Developing the artistic ingredients and controlling emotions is difficult. We have players who are well educated, but do not have fantasy or imagination. Musicianship is, of course, as important to prepare as the craftsmanship aspect. Generally I find artistic information of composers has to do with performance practice. How did Beethoven’s violin sonatas sound? There is a lot of information available and I think it is important to find that information, but it takes time and energy.

Emotionally, though, I think the cellist has to try to develop colors and atmospheres with pressure and speed of the bow, vibrato, expressive shifting and find a repertoire of possibility that are called personal, but are connected to the instrument. In order to enrich the pallet of human experience it is necessary to go to the theater, exhibitions, opera, and ballet, as well as experiencing non-musical culture. Read. Learn as much as possible about psychology, for example, to nourish yourself as a person and to become more knowledgeable. Geörgy Ligeti speaks about finding inspiration from scientists; their research makes him able to be creative as a composer. I find listening to records is not enough to become an interesting artist. Fascinating, yes, and shouldn’t be missed. And concerts are dead (frankly I am not sure if he means no one goes or they are all the same) – but theater isn’t! Engage your mind. Ask questions that will make you a richer person.

As an end result I adapt my ability to apply the etudes I learned to the Elgar Concerto. In the performance I repeat my exercises of relaxation and subtlety. I bring together the elements of vibrato and bow control with those of expression and, hopefully, I land at Elgar. Play scales to the end of your life! Practice slowly. Don’t play loud and fast. Control your body. Remember to rules. Think like a singer and feel the breath from your stomach. And finally, be patient and don’t give up.

* * * * * *

Heinrich Schiff studied with Tobias Kühne and André Navarra and has performed with all the leading orchestras in Europe, the US and Japan. His extensive recordings include prize-winning versions of the Bach solo suites and the Shostakovich concertos. He plays the 1711 ‘Mara’ Stradivari and 1739 ‘Sleeping Beauty’ Montagnana cellos. In 2004 Schiff was appointed chief conductor of the Vienna Chamber Orchestra.

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