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Technique Summary
A review of Cello Technique by Gerhard Mantel.
This book is not meant to be yet another method or "school" of cello playing. It does not claim to present the only way of playing the cello. It does claim, however, to be the most efficient way of playing, especially with regard to muscle strength and the coordination problems posed by the cello.
To this end it goes into some detail concerning the physiological and physical make-up of the body. It is of help to anyone who has muscle tension problems in playing. It can be used at different stages of proficiency and is not only addressed to the professional player. Part One — which deals with the physics of movement and the psychology of perception — can be of value to other instrumentalists also. Parts Two and Three apply these principles to the left and right arm respectively.
In general this book helps to rationalize practicing strategies: it suggests ways of fixing what is wrong and helps save time by giving suggestions for movements which might make a hard passage easier.
The most important part of the introduction is the graphic outline on p. xvii. It explains what must happen before a sound is produced and shows the complexity of the mental and physical preparation of each sound.
- Control over movement
- Conscious anticipation of each action
- Precise musical concept
Goal-directed movement
On controlling movement
This part explains how movements are controlled by the brain. It shows the reason why the ear cannot be used to control intonation. Instead the motor memory must be trained to make the left hand accurate.
Goal conception
The ear can control the right arm but not the left. Therefore the conceptualization of pitch and place for the left hand must be trained.
Control of movement
The precision of a movement is based on: control by the motor memory, a precise goal conception, low muscle tension, and limbs in motion.
The physics of movement
Energy and mass
Active movement of body parts and its effect on other parts of the body — tensions or passive movements being caused as a result. Muscle activity not needed should be reduced for better control.
Equilibrium
Ways in which our balance at the instrument may be disturbed and causes for muscle tightness in any playing motion.
Energy reserve and looseness
Knowing which muscles must be active and reducing tension in those not necessary is part of efficient playing. Isometric and isotonic exercises are given to improve certain muscles important in playing.
Movement as Gestalt
Movement in space
Large fluent movements are more accurate than small economical ones. We must try to be economical in strength, not in movement.
Movement in time
The timing of various parts of a movement, the anticipation in the larger limbs. Once certain parts are isolated and learnt they must be felt as an entity again. p. 35
Position change
Total body movement
How a large shift can be initiated in the spine to be as effortless as possible, including the involvement of the right arm.
Rotation and leg muscles
The rotation of the trunk for the shift makes a stabilization of the legs necessary.
Elasticity, breathing, bow direction
The body should not be rigid but ready to move. Breathing may produce disturbing jolts under pressure. Movements during ascending shifts on different bows.
Portamento and rhythm
Coordination of shift and bow change in time. Various possibilities of audible slides.
Left arm, hand, and finger movement
The anticipation of the new position in the arm before the fingers leave the previous pitch. The fingers can help the start of the shift by making an additional movement.
Placement within one position
The first four positions
Advantages of a slanted position of the fingers. Each finger discussed in its ideal position during slow playing. p. 84
Higher and thumb positions
Changes in the hand in higher positions. Problems of the first finger in thumb positions and pressure conditions for the thumb.
Movement within the hand
Percussion and trills
Finger approach, percussive sound, supinating movement. Various mechanisms for trilling using knuckles, wrist, forearm and vibrato.
Fluency
The difference between slow and fast playing in hand and arm. p. 95
Vibrato
Movement and pitch level
Different possible movements; vibrato and pitch level.
The bowed string
Variables of sound
All possible combinations using contact point, pressure and speed. Static and sliding friction, soft attacks, accents, different color possibilities, tilting of the bow.
Transmission of pressure
Arm weight
Forte playing is more relaxed than piano. Forearm pronation and arm weight balance. Pendulum in the right arm.
Movement of the right arm
Straight bow and bow changes
Arm movement to keep bow straight. p. 178 Two ways to produce an inaudible bow change. p. 190 Double lever, string changes, changing contact point by bow angles.
Different bowings
Bowing techniques
Détaché, martellato, staccato, off-the-string bowings.