It's been awhile...

String players must always observe and become increasingly vigilant about their bad habits. Many will think they sound "alright" or "pretty good". Rest assured, this is not good enough in the professional world of string playing. How do I know? Well, I've lost auditions and have also had my playing picked apart. I've been criticized for sloppy playing, poor technique, and inconsistent performances. Yes, all of these experiences have now built a higher ideal, within myself. In addition, there is a more resilient foundation and far more trust in the learning process. Am I a rock or an island? Possibly...Though, I am no longer confused about what works and what is "alright/pretty good".

Obviously, we know that, "what looks good, sounds good". Yet, are we feeling every note and nuance within our hearts? The musicians' heart cares and we must care, with an almost unrelenting passion for excellence. This all comes in the name of the almighty beautiful line. Connection of physical movements and care of every single technical detail ensures that the divine flow will carry on, without hesitation and self-doubt. Those latter distractions have no place in any given practice session or performance.

I often draw inspiration, for better cello playing, from Mother Nature. Perhaps she is the most graceful. With divine providence, she lets everything happen, in its own time. There is never an anxious, or rushed, feeling. With her, there is no "fight or flight". Instead, there is a continual sense of peace and harmony. How we humans may truly learn from her...Just watching how the the wind swooshes through the forest trees or squirrels scurry tree branches may teach us so very much about effortless, graceful motion and super-coordinated reflexes.

Upon seeing an owl fly off a tree branch, it almost seemed as if the tree branch was flying off the owl. There was a gentle swoop that had not one hurried motion, and, everything occurred so freely. People are so often liberated through nature, however, all free-roaming animals are truly messengers of this liberation. By watching an owl, I gathered that there is a motion and movement that must always exist, and that we must physically feel and allow it, before we initiate any kinetic motion. Though the former is potential, it is the guiding force and often brings about the end results. Once again, we must always trust our hearts and realize that this motion aids and completes our musical journey. In a sense, there is a graceful movement before music even sounds.

Lastly, I encourage all my students, and remind myself, to practice away from the cello. Musical ideas are both auditory and visual, however, they must directly synchronize with our mind's eye. We must have our own goal conception and it must be well-defined. Another great method of practice is to follow the music score, while listening. Whether we are listening to ourselves or our idols, there must be an active participation in the music, through the imaginative eyes of the objective observer. Yes, it is possible that objectivity and imagination may coexist. In short, Look, Listen and Feel! Look with your mind's eye, listen with your heart, and feel the resonation so that you may be a real conduit for gorgeous, heavenly, and sacred music. The most rewarding aspect is that your soul may bask deep within the heart of it all. How beautiful is such music!