Professional Documents
Culture Documents
Required Topics
1. First, have students adjust the endpin of the bass to the length that
will allow the nut of the bass to be near the top of their foreheads
while standing. Next, place stools behind each student with a leg of
the stool facing forward. Have students stand the cello upright with
the endpin on the floor. With the left hand holding the finger board
and the right hand on the low string side of the bout, have them hold
the instrument one arm’s length in front of their bodies.
2. Instruct students to sit on the front half of the stool with their right
foot on the floor and their left foot on a rung of the stool. Their knees
should be far enough apart to accommodate for width of the bass.
3. Have students lean the bass back towards their bodies with the
scroll and fingering board on the left side of the head. The bass
should rotate slightly to the right and rest on the left thigh.
4. Ask students to check if there is space between the instrument and
their neck. The instrument should also not be touching the shoulder
of the student. Students should be able to turn their heads and not
bump into the neck of the bass.
5. To ensure that students aren’t slumping, ask them to sit up so tall
that their heads will touch the ceiling.
1. Have students create a bunny with their right hands. The middle
and ring fingers should act as the teeth of the bunny. This will get
students in the habit of curving the thumb, middle, and ring finger.
2. Have students take a pencil and create the bunny shape with their
right hand. Have them hold the pencil in between the pointer and ring
fingers and their thumbs. Have them pretend that the bunny fell
asleep and fell on its side. Make sure that they rest their pinky on top
of the pencil.
3. Have students take a pencil and hold it by the tip in their left hands.
Have them place their right hand on the pencil like it is hanging from
a cliff. Ask them to place their pinky on top of the pencil, touch the
bottom of the pencil with the tip of their thumbs, and have them lean
their hand towards the index finger.
4. Have students form their right hand into the bunny shape and ask
them to use the circle that is formed by the three fingers to look in the
distance through the telescope.
5. Have students pretend that their bunny shape formed in their right
hand eats their elbow. Make sure that the thumb is on the elbow joint
and the middle and ring finger are on top of the joint. Tell them that
the rabbit ate a poisonous carrot and collapsed towards their
shoulder.
Détaché
Definition: Bow stroke where that is produced by placing the bow on
the string and pulling it back and forth.
Spiccato
Definition: Bow stroke that involves the bouncing of the bow off of the
string.
Louré
Definition: Series of gently pulsed legato notes played in one bow
stroke.
Slurred Staccato
Definition: Bowing that is used to play separated notes in one bowing.
1. Slurred Staccato Trills: First, have students play a bowed long note
while having them trill back and forth between two notes. Once they
have accomplished this, have them do the same thing only slowing
down the trill and playing each note of the trill short and separated
(still within one bowing)
2. Slurred Staccato Contest: Created a contest among students that
requires that to play the maximum amount of staccato notes in one
bowing. This will force students to have to create a tone on their
instruments with using very little bow.
3. Steps in the same direction: Compare slurred staccato to taking
steps in the same direction. Have students pretend that walking
forward represents the down bow and walking backwards represents
the up bow. Each step taken represents a staccato note. Instrument
them through exercises where they are taking multiple steps in each
direction and relate this back to slurred staccato.
4. Pulling and pushing in a drawer: Have students imagine that they
are pulling out and pushing in a drawer. Now have them imagine that
they are stopping the movement multiple times when they are pulling
the drawer out and back in. This is similar to the slurred staccato in
that the motion stops shortly but the bow still plays multiple notes in
the same direction.
5. Have students imagine that a car is alternating between traveling a
few feet forwards, then backwards. Next, have them imagine their
parents tapping on the brakes multiple times before they switch the
direction of the car. The car is stopping for very short amounts of time
while still going in the same direction, similar to a slurred staccato
bowing.
Retake
Definition: Resetting the bow so that the sequential phrase is played
starting at the bottom or top of the bow.
Hooked Bow
Definition: Notes that follow the long-short pattern that are played in
one bow.
Slur
Definition:
1. Trill slurs: Have students play a long note while bowing while
having them finger two notes back and forth. This will help students
get used to changing notes while using a longer bow stroke.
2. Little hammers: To ensure that students are achieving clear slurs,
have them pretend that their left hand fingers are little hammers that
are striking the strings during one bow stroke.
3. Brushing Teeth: Have students think about when they are brushing
their teeth. This process involves more than one tooth getting
brushed or cleaned while moving the tooth brush in one direction.
Just like brushing your teeth, more than one note gets played as the
bow moves the same direction.
4. Walking: Compare bow movements to walking. When walking
forward, many steps are taken while still going in a forward motion.
Connect bow direction with walking forward or backward.
5. Simply have students play two notes by alternating the bowings,
then have them play the same two notes connected and with the
same bow direction.
Tremolo (Bow)
Definition: Bowing that requires a note to be played by moving the
bow back and forth rapidly with short bow strokes.
Sul Tasto
Definition: Light bow stroke played over the end of the fingerboard
with flat bow hair.
1. Friends with fingerboard: Tell students that this bowing is when the
hairs on the bow become friends with the end of the finger board.
2. Playing Jenga: This bowing requires less bow weight. Tell students
to image playing a game of Jenga and they are carefully placing a
block on top of the stack of blocks.
3. Dusting off the strings: Have students imagine dusting a piece of
furniture. To do this, they don’t really have to apply much pressure
because the duster does most of the work. Playing a sul tasto bowing
is similar because less bow weight is required to play it.
4. Petting strings: Have students imagine the pressure that they might
use when petting an animal. If they use too much pressure, it might
result in an angry pet. Similarly, if students use too much bow weight
when playing a sul tasto bowing, the sound won’t be what the
composer is looking for.
5. Boat traveling straight forward: Have students imagine a boat
traveling in the water. Then, have them imagine the boat traveling
straight forward and the boat making a sharp turn. This motion can be
related to the bow hair angle on the strings. The bow hairs have to be
flat instead of tilted slightly to the side.
Sul Ponticello
Definition: Light, fast bow stroke played near the bridge with flat bow
hair.
Collé
Definition: Short accented stroke that is played near the frog and
performed by using the fingers and the hand.
String Crossings
Definition: Played by changing the angle of the bow and the player’s
arms to play notes using more than one string within one bow stroke.
Hand Frames
Definition: The shape of the left hand fingers when playing musical
passages, scales, etc.
Shifting
Definition: The movement that is required to switch between playing
in different positions.
1. Note twins: Using the same finger, have students shift between
octaves. Have students first practice this by slurring the notes. Once
they have successfully accomplished slurring the notes, have them
play the notes with separate bowings.
2. Double Stops: Pick an open string and have students play the
open string while also fingering the same note on another string in a
different position. Have them slide a major third away, then slide back
to play the unison.
3. Finding Harmonics: Instruct students to lightly touch one finger up
and down a string while bowing. This will not only get students to
discover harmonics to tune with, but it will increase their comfort level
when shifting.
4. Slip N’ Slide: Relate shifting to playing on a Slip N’ Slide. Point at
that fingers should travel from one position to the next very smoothly
and very relaxed.
5. Teleporting: Explain to students that in a piece of music that
requires shifting that their fingers and their left hands have to move
very fast. If they are slow moving, the rhythm and pace of the piece if
going to change. Explain that their fingers should move so quickly
between positions as if they were teleporting.
Tone Production
Definition: Producing sound by a combination of bow speed, bow
weight, and bow placement.
Dynamics
Definition: The volume level that something is played which is a direct
result of bow weight and placement.
1. Down Equals Up: Explain to students that bow weight and
placement should be the same when bowing up and down. The two
separate bow strokes should have no change in sound quality. Pair
students up and have one practice up bowing and then down bowing.
Have the other student give commentary about whether or not the
sound quality is changing.
2. Sweet Spot: Explain to students that there is a sweet spot that they
should generally use to bow medium and loud dynamics.
3. Darts: Explain achieving the sweet spot and using bow placement
to achieve softer dynamics like a dart board. In a game of darts, the
center of the board is the the most points and as game board
expands out, the number of points decreases. Explain that the further
away they bow from the sweet spot, the softer the dynamic will be,
while also sacrificing tone quality.
4. Slow doesn’t equal soft/Fast doesn’t equal loud: Challenge
students to practice fast and soft scales, along with slow and loud
scales. This will prevent students with making the association that
slow equals soft and fast equals loud. It will also help with
coordination when they will have to play similar musical passages.
5. Colored Pencils: Explain that playing dynamics is like coloring with
colored pencils. When using colored pencils, less weight is used to
create a light shade and more weight is used to create a dark shade.
Using bow weight to vary dynamics is the same way: use less weight
for softer dynamics and more weight for louder dynamics.
Phrasing
Definition: A musical sentence that is created by dynamics and bow
movement.
Vibrato
Definition: Playing back and forth between the written pitch and a
slightly altered pitch. On string instruments, the length of the string is
slightly changed.
1. Have students show the “bass man solute.” This will ensure that
students’ hands will be in a “C” shape with the index finger further
away from the middle finger.
2. When in playing position, have students use their right index finger
to trace a straight line between their knuckles and their elbows.
3. Have students grab a pencil or a pen. Ask to them to hold the
pencil or pen with the thumb on the bottom and the other four fingers
on top in the “bass man solute” position. Tell them that their thumbs
must stay behind their middle fingers. Do an exercises where the
students slide their fingers up and down the pencil while keeping the
thumb behind the middle finger.
4. Have students form the shape of a “K” on the strings. Show them
that the strings for the trunk of the “K” and the index and pinky fingers
form the arms of the tree.
Direction Changes
Definition: When the down bow stroke changes to the up bow stroke
and vice versa.
1. Statue of Liberty: Have each student hold their arms in the air with
the tip of the bow pointing up towards the sky. Have them flex their
fingers. This should help relax their hand.
2. Balancing and Rubbing: Have each student place their bow on the
strings in the sweet spot and on the balance point. Have the students
make short stroke while flexing their fingers and wrists to achieve
smooth direction changes.
3. Avoid Changing Like a Car: Explain to students that the direction
changes should not be as slow as a car is when it changes from
forwards to backwards or vice versa. When a car changes, it has to
generally come to a complete stop before it moves again. Direction
changes on string instruments should be immediate.
4. Two-hand pulls: For cellos and basses: Have students hold the tip
of their bows with their left hands. Have them pull the bow back and
forth using the left and right hands.
5. Sprinkler: Explain that direction changes on string instruments
should be immediate just like when a sprinkler changes directions.
Have students use their hands to demonstrate the turn around that a
sprinkler has.
Parallel Bowing
Definition: Bowing parallel to the bridge and avoiding bowing at an
angle.