A Bi-lateral Balance

Though both right and left hands participate in note formation. They must support one another in a very similar way, while also staying out of each other's way. This ensures maximum continuity and has a lot to do with bilateral transfer (after training one side of the body, there is improvement transferred to the other). Everything must function on a smooth, even, and continuous plane, applying vertical, horizontal and rounded motion. In fact, the concept of the neverending, smooth bow, no matter how illusive in the beginning stages, generally becomes the main focus. As a result, the phrase: "The art of the cello is the art of the bow" will continually become cliche in most cello circles. It should be noted that this may also be applied to any other bowed instrument, with similar technical demands.

However, if we dwell on the technique, we will ultimately lose the musical line, along with its direction. As William Pleeth stated, "Let the music beckon the technique!" This tends to make everything a lot more simple, especially in the orchestral setting. In fact, most technique we spend hours trying to master should eventually morph into momentary adaptation (awareness, focus, sensory perception etc.) and and present application (relevance, economy of motion, temperature factors, vibes from conductor and colleagues etc.) In addition, we must feel and use the bow with the energy of a singing breath, having an even flow. Much like a vocalist will train vocal cords, the cellist must understand, be aware, and feel every muscle fiber in his/her back, shoulders, arms etc. Therefore, playing cello is a whole body experience. We must be aware of balance, posture, breathing and muscle feel throughout every musical line. As Arpad Szomoru also stated: We feel by doing and do by feeling.

Having learned most of my bowing technique in my 20's, I found orchestra gigs made me learn assorted bow strokes rather quickly. I remember playing my first Berlioz's Roman Carnival experience in a professional orchestra. The conductor took it in 1...By the time the spiccato started picking up speed, I felt like I had been thrown into a gladiator pit with a rubber sword. I later understood, through many humbling experiences, that my greatest securities must be bow technique, rhythmic integrity, and complete faith in my awareness process. As our bow must be supple, even, and flowing cleanly, so must our mental process, awareness, and self-confidence follow suit. In order for this to occur more consistently, experiences and opportunities must present themselves on a recurring basis. These experiences must be both challenging and must take us out of our comfort zone. Otherwise, how will we truly learn?