A play-along track for Suzuki Cello Students Lon Long Ago.

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hey cellists i am so pleased that you could join me today um i've got something a little bit different that we're going to do today that um i think is really a really good thing to do a warm-up to now it is number nine in the um the book one cello book and of course we're only just doing uh twinkle twinkle but i want you to be really aware of this piece because we are going to come back to it time and time and time again so if you start it now really slowly just these first two bars that we're going to do today it's going to really improve your ear and it's really going to improve your dexterity so that's why i'm going to start it now and we'll just do a

couple of bars and and increase that as as we pick up a bit of speed but it's the dexterity that i'm really keen to have you all applying yourselves to early days now i found especially with older people that speed sometimes is is a bit problematic for various reasons we're just not used to doing things and we're not prepared to put in the fast-paced action speed i quite often find with my older students that they prefer the sort of slow type um pieces or the romantic pieces rather than these sort of very quick pieces that are a bit more um interesting and exciting but also a little bit quick so i think the sooner we start the better now the other thing that we're going to do today we'll find our d and find the e and we're going to play these notes quite slowly so d e and three down that's the f sharp and the g okay that's all you have to do for these first two two bits um well actually i lied for the first bit

right

and then the next bit

and i'm exaggerating the stopping a bit but when you practice things slowly i recommend that you do exaggerate a bit because what happens is when you speed up it sounds really really good but you're not putting that effort into it

so it's really interesting to do this sort of um

it's rather exaggerated start and stop

okay

and when you speed up

it'll sound something like that which is much nicer isn't it i've lost my rosin and my i'm a bit slippery today um let's but that's not the bar that i'm too worried about i think we're all going to do that bar really really well the bar i'm worried about is the next one because there's an awful lot going on so if you i and i hope while you're playing these you you should have four fingers down now so because we press one three four four and we don't lift our other fingers up okay and then we're going to do we're gonna lift that pinky and i'd just like to practice that for a bit pinky 4 and then the third i mean it's easy peasy isn't it so we've got the g to the f

sharp and then the g back sorry the g to the f sharp then the g back again and then we've got a string swap now the string swap requires that you just slightly change the angle of the bow you're bringing the bow tip up slightly okay otherwise you'll get a neatly screechy note because these strings aren't straight well life wouldn't be that easy would it life is never that easy so three four now when i do that

you can keep all four fingers down and that's really good because it means you've got a nice curve and i can if you're not hitting the a string with your left hand not like this you see i was accidentally touching the string so it's quite a good way i was slightly touching it there and now i'm not touching at all it's quite a good way of um knowing that you've got that nice curve right

but because we've got a three on the way back i lift that fourth to do the a so that's never a problem so i've got three four i lift the fourth do the a i've still got the third down to play it and the fourth do you see so three four open my pinkies up three four

no it sounds a bit complicated but it's not and what happens by the time you've paid that about 50 times you just know it and the reason i pick up my i...

hello cellists welcome to the music room it's a bit noisy outside there are children playing um can't do much about that i mean i'm not about to go and tell them to be quiet am i um what i want to do today is look at uh

the b variation it looks really confusing doesn't it but it's not

now what's difficult about it is getting this quick note and then this quick note because there's a string swapping without a space in between because what we've done is we've done two d's we've done two d's a space and space and then we've got to get on to that note the note afterwards on without a break so that takes a little bit of work we've got a down bow an up bow a space a down bow

rest i should say sorry

arrest a rest arrest but every time we change bars we can't rest and that's what's difficult about it but if you've done all the other versions this shouldn't be too bad okay so i'd use the top divide your belt and use the third a third up i think that's probably easier or halfway up but don't be going near the tip today we'll save that for another day and the other thing i'd do is i'd really accentuate the stopping

when you first start

i mean it sounds very artificial but what i'm doing there is i'm teaching my body to be able to use a very small amount of bow there's a smaller amount of bow the faster you'll be later on and it won't sound as if you're digging in once you know it and and your body will automatically learn how to make it sound really good you'll stop thinking but i think just being really aware when you first start

just think about a tiny amount of bow and a little bit of coming from the back lift that lift that elbow up on your right hand feel it and then the other trick that you can use it's very useful

is to speak and suddenly stop the word

at the same time what that does it releases the tension through your mouth that you might build up if you're doing too much of this

do you see it's just a little trick it might not help but release it because you don't want to be doing this you want to be doing this

okay see if it helps you i'm going to play uh backing track for you um the romantic it's a bit easier

and staccato sorry

etc now when it says etcetera that means you you play the whole of the original little star but you it's asking you to memorize it i think that's a bit cheeky but what you can do is look at the um the first variation or the theme and just remember which notes comes next if you look at the scene

there we go you see um so if on the same page of the suzuki if you have the theme down the bottom and just learn these rhythms

okay got that rhythm next one etc we'll do we'll do c tomorrow um so i'm very pressed for battery juice so i'm gonna shut up and i'll just play that and you guys can

okay guys i hope that helped a bit and i hope you enjoyed it i better go because my battery is saying one percent and i don't want to suddenly disappear so more lessons tomorrow and lots and lots and lots of wonderful games around scales practice and such like um we've got a great season ahead so do follow the podcast if you can on uh telltale club or on spreaker or our biggest um download uh app is actually spotify so we're on spotify podcasts also much love from raw clarence and much much cello wonderment

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hey cellists welcome to an exercise for proper d string posture from the suzuki book let's play our backdrop our droney cello in the background we'll add some basses and some um violins and

for now i want you to

just play me those days now the staccato ds are notes that you cut short so you don't play another two notes very quickly together because they've got one less bar across the bottom so they're twice as long as the notes we've been playing but we're not playing them as if they're twice as long because we're putting a space in between it's just easier to copy

okay i have a go at doing it really near the frog

on my cello i've had to come up a bit if i played too near

i'm not getting a nice clear note when you're not holding the string down at all and the only thing holding it at the top is the nut you'll find you have to play

that sounds awful this is what happens

so there's a sweet spot i think that's my sweet spot so i'm actually

more or less in the middle of my bow and i'm if i look i'm about a centimeter under my finger and that seems to be for me where i'm getting the best sound you can go a little bit higher up

um it takes about a month to get used to a new chair so it's not the end of the world if you have to get anyone if you're playing a small one um you'll uh you're bound to grow a bit and have a bigger one at that point so

the uh suzuki players use the or well all players do but it's particular to suzuki there's an emphasis on the correct posture and that involves using the back to move

so energy comes from your back and your shoulder and really to get a nice clear note it's important that you recognize there's some engagement of that muscle

we don't want to be all huddled like this you know where it's coming from your forearm lateral we can use a really light stroke and just use our fingers but that would be for another type of play so for the moment i'd like you to lift your elbow play about halfway up the string okay so let's have a look at the exercise for changing strings

and while those two rests are going on you can move your string now you're not going to lift your whole body up and plonk it down onto the other string all you're going to do is

but we've got rests that allow us to do that so it's not too hard so let's let's try and do that me okay now the next line um i probably already did that today

so you can hear it was a little bit squeaky though that's because my bow wasn't dead straight

now getting the bow straight because we're in looking at it from a funny angle our bow is never going to look very straight so the best way is to get this a string straight and the asian is very important to us in cello it's very important to get it right it's really where the string sizes changed uh change that it becomes much thinner string and it's it's almost in a way more sensitive to incorrect positioning than perhaps these thicker strings so that was that one let's have a look exercise for quick placement of fingers i...

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hi guys so welcome to the um the cello room just a quick message actually um i was googling their famous songs in c major because i'm you know i'm starting this new spring course with you guys who's all about making scales fun and arpeggios as well but really the scale is the one that's going to give you the dexterity and speed to um travel through um all the notes with great ease so i i prefer the scales first and then then the arpeggio um but if you know the c major arpeggio um we haven't done it yet but it but it's you know it's in the grade one book and what have you you can do that as well but for now i just just focus on the c major scale

and if you can do two octaves then fair enough uh three octaves what's that yeah three octaves that's um entirely up to you um but play the song your favorite song in the key that your favorite version is in and then just play stop very slowly and what you can do actually is you you know i put pink floyd on there and i was just playing these notes and i was thinking oh yeah sounds quite good and then and then i started playing the other notes and i thought etcetera and then i went up to here and so on and so forth and before i knew it i was

moving through all the notes of the scale and i was playing along to the rhythm of the music now the the thing with improvising with a cello i don't really know about other instruments so much i know about cello and piano but the thing is the cello doesn't usually get the melody the piano quite often has the melody in the right hand and and the chords in the left but not necessarily so quite often the piano is is playing something other than than the obvious melody obviously you've got the melody in the chords that you're playing um but the cello very often we take the bass line or the um the altos even we and we don't necessarily do the
soprano bit uh so it's much more rare for the cello to jerk because we're a bassy instrument um and we've got a lot of um volume capacity and what you'll find is the accompaniment doesn't sound like the original you know when you split the music up you've got an orchestral piece um based on ed sheeran or something or you know another brick-and-mortar fleetwood map who is it you know who i mean pink floyd showing my age there um you know and you so what what the what's really happening is the cello is playing a version that is in harmony with the chord structure that the piece is in so although the um the singer may be singing a c

you could be playing

completely different notes but it works because it's in the same key so when you when you're sitting down and you've got this piece of music on you know you can do it by ear if you want to if you feel confident enough but it's you know it's much quicker just to put into google songs in f major and sit down and check out that you're playing um you know the rides that you need to start on uh let's be flat isn't it

okay so check your um in you know you can do that with your rear but it's actually quicker if you just use google um and you can have a whole list of great songs that are in for today we're doing c major so what i'm going to do every every morning as part of our um free cello school that i'm doing all through spring and summer um i'm going to i'll see if i can find some songs that aren't in um restricted that aren't copywritten so in the public domain and there are there are quite a few very old songs um i mean i'll try and be less obvious than happy birthday but uh yeah i think it's a really great idea and i just has really good fun guys i had super fun playing c major to pink floyd and i'm not particularly even a fan of them well i seem to remember sitting on a wardrobe in the dark when i was about 15 listening to dark side of...

hi guys so this is an f major practice from the grade six uh abrsm book and syllabus but really i'm hoping all my students will be doing this today um i'm going to talk briefly about the fingering so we've got four fingers all four fingers down on that deep blue c note then we're going to do an open string and then one down and then we've got this b flat two down and remember as you come down put all fingers down and then four down another open one down

and then fourth position on the e and then that lovely f again and then back out

and you've got to do from one two and get it right

it's quite hard um don't worry if you get it wrong we get things wrong all the time you just what's important is that you can hear that you got it wrong okay so let's just do that together on the fb4 top

okay super do you got the finger um it's not too different i don't think to grade five except this um so you need to practice that from this d

so one two shoot up so you really have to know where that d is that's the target practice that you need to work on for this okay um great that was that was quite straightforward i think just remember that back extension there is nothing here that you haven't done we've done a lot of back extensions in suzuki book one i'm going right back to the beginning again and because it's spring and we should be doing lots of fresh starts and so if you felt that you didn't benefit from the previous lessons come back and listen to the podcast they're really thorough i'm a very thorough person but what i want to talk about quickly is just practicing

the slurs so what we've got don't worry about intonation when you're trying to work on your slurs first off what you really want to do is allow the bow

to have enough room you don't want to be running out of room i've got four notes to get in i'd say you don't really want to be using um the first few inches of the tip or the first features of the um frog end of your bow either because you won't get such a nice sound now the thing is you've got to count before ever i mean you know you can either count it or start by reading the music and then just teach your body to play it like that so

okay each group of four notes is on a slur now the tricky bit is when you get to the d this is a up bow and then so that's the only bit that's a bit tricky i think when you're getting into fourth position you'd be tempted to sort of to change um change direction when you get into fourth position but you change direction when you're in on the d could you hear me side

see um so that's going to take some work and you know what i'm going to do to allow you to work on that i'm going to play you the f major back in for a little bit longer without me jabbering away okay

i'm gonna mix it up a bit

oh sorry wrong

and one more bit of pop

great okay guys i hope that was enough um i'm going to try and do uh a few more classes each day this week so maybe four or five but we'll see how we get on um do pop along you don't have to listen live you can pop along to telltale club and um these podcasts are not uh linear as such they they don't come necessarily one after the other you can listen to them in any order so you can just go back and i'll try and tag um what i talked about um and and put the subtitles up as well um very well that was great i really like that pop playing along to the pop i think we'll use that a bit more um okay cellists au revoir


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