A Survey of Cello Technique Conceptualizations

After reading through Steven Doane's Cello Ergonomics booklet, I was enlightened by his ideas about balance, posture, and awareness of the whole body. I was also reminded of some very important concepts that I constantly remind both myself and my students. The idea of shifting weight from the right to left leg, while going from down bow to up bow, is something every cellist should have in his/her warm up routine. Since cello is a whole body experience, we must feel a line of energy from our feet to the top of our heads. Awareness of the angle of the spine and free movement of the shoulder blades is also highly beneficial for a smoother sound. We want continuity so that the musical line truly flows.

Natural playing is graceful playing. Doane's booklet seemed to bring forth some wonderful technical concepts, as they relate to sound production. In fact, the proof is in the sound. As a teacher, I am constantly aware of how sound reveals physical strain, tension and even self-doubt. As a performer, I work on my sound so that my playing will bring forth a musical line (rather than my own bodily tension and labored efforts). It is vitally important that professional cellists, who are playing as much as eight hours a day, use the cello as a meditative, relaxing experience. An old teacher once told me, "It is as easy or as hard as you make it!"

Sometimes, we don't feel like playing and must still play rehearsals and concerts. This is where whole body awareness and "no time for self-doubt" focus matter most. Every note must still sparkle with ease and effort. Otherwise, what's the point? We are artists and musicians because we enjoy beauty and the creative process. Furthermore, the beauty is in the creative process. A magical performance rides that wave that just keeps on flowing. On the notion of balance and tension-free energy, I am also reminded of the surfer analogy. Riding a musical line is very similar. If we truly believe in the music we are making (in every single moment), it is inevitable that we will also find Love in every note. The arts, especially music, inspire us to care more deeply about others, ourselves, and nature.

As the music beckons the technique, it may just beckon everlasting joy with a quiet peace that surpasses all understanding. Therefore, because well-played music heals the soul and may have the voice of angels, the approach must be completely physical. If you are learning left hand position technique, you must be aware of the inward and outward rotation of the forearm (another idea in Steven Doane's booklet). Regarding the bow arm, you must be aware of the pronation and supination of the forearm, wrist, and fingers. The balance and equal distribution of the bow arm weight, along with increasing (from down bow) and decreasing (from up bow) pressure of the right hand and fingers allows for a smoother sound. Understanding how breathing, posture, balance, and movement as Gestalt (from Gerhard Mantel's Cello Technique book) work is tantamount to a beautiful musical phrase.