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Join me every day for a series of in-depth cello and piano lessons.

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hello cellists and tail tellers from all around the world a massive massive welcome to the music room here at royal clarence my name is sonia and i'm a music teacher a composer mostly but also a cello teacher and a piano teacher and a teacher of experimental music which is really really exciting and learning to compose with contemporary technology which is very very exciting and very thrilling but i do love my cello and i probably love my cello more than anything else that i do musically so i keep at it and i practice every day and when i'm not practicing tunes when i'm not working on a piece of performance or when i'm not working on uh something because i always swat up for my students so if they've got an exam i always swap up on the exam pieces as well but if i'm not doing any of that or if i haven't got time because i'm a very very busy entrepreneur as well if i haven't got time to do that i make sure that for 10 minutes i get my scales practicing so i'm going to pass on the knowledge i think with with all things scalish most students hate doing scales and i have no idea why because they're really good fun and actually it's just about finding a way of practicing scales that is more endurable and enjoyable we're not going to talk about that today i'm going to talk about lots of other things today now i've been so busy setting up immersion immersion is our online interactive role play story which uses music and audio books audio recordings and the written word to engage readers and listeners and players if you like was a bit of a game as well um in in the storyline and i was just thinking today about the importance of music for me in storytelling and how many of us don't really like writing and many of us don't like reading but many of us absolutely love to listen to music and so i was considering that music is such an important tool for storytellers and you know people come to music for different reasons some people come to music because they want to be famous and they want to be adored on stage other people come to music because they're just simply not understood and they can be understood through the process of uh creating music passing it on engaging with others having listeners composing pieces i mean this is where i this is my thing i am grossly misunderstood and always have been all my life because i'm artists are but if i write a piece of music i feel rightly or not um i could be completely misled but i feel that i'm getting something across and that for me is very very self-satisfying so i was just thinking about how to instill confidence really in all of the people that come to the telltale club who don't yet play music but want to play music and how do we start and i guess this is the importance really of me doing the piano lessons because most people can access a piano um even on your phone you can use a digital keyboard so i'm going to start doing that probably tomorrow i get very very busy so sometimes if i'm working on a project or i've got a giggle i've got to get a single out or something um you know the the broadcasts the free broadcasts unfortunately go on the back burner but i try very very hard we've been building this website and it's really taken a couple of months so i've been rather negligent but the lessons are hopefully going to be daily again um if you want uh private lessons of course you know i'm really more than prepared to do those but you have to pay for them one can't offer free lessons freely every day one has to sort of fit them in when one is able um so really i've offered on enough and what i wanted to talk about is uh how to acclimatize yourself for tuning your cello now you've taken on a massive commitment if you're here with me today you've got a cello in front of you i hope oh look we we do quite a lot of miming work and ergonomics and um eurythmics so you can pretend you've got cello for my classes too and it's not quite as realistic as having a real cello but actually you can...

Hello beautiful cellists, welcome to today's show!

Let's get started as we mean to continue with a tune a day from the Suzuki School books. We will be experts by London spring.

I am also starting music therapy today
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transcript

hi cellists welcome to a rather late lesson i'm afraid do you know what we're headed for lockdown again and um we have a lot of um organizing to do when uh there's a lockdown looming and lots of people to look after and um you know just organize things like just making sure that you know the business is going to run smoothly and and that everyone's catered for and nobody's falling by the wayside all of these things really important um so consequently i haven't done a chili lesson for a few days but we're back on schedule now now the good thing about a lockdown is when there's nowhere to go you're not allowed to go anywhere it's a really good opportunity to do lots of music so i hope wherever you are if you're you're i mean you're probably having a lockdown or or thereabouts certainly if you're in europe and i know i saw that new york's locked down pretty much um and we're allowed i think we've got christmas and then it's uh look you know proper lockdown so what are we going to do today we're going to i'm going to do a couple of things today i'm going to do this class for the suzuki and then i'm going to do a therapy a music therapy class they've really short my my little podcasts and i just feel that people are so down at the moment that i think the music therapy is going to really help us so you can join me for that um anyway this broadcast is sponsored by the telltale club which is the uh the website the main website you can pop over there and see what else we do not so much cello um more well there is lots of cello but it's it's with the video and with the stories but no lessons to speak of so you're in the right place if you if it's a lesson that you want now what i'm going to do today is the first position and i guess really we should have the the drone on from now on so let's let's pop the drone on i'll pop it on sort of quietly to start with um because you you need you know you need to hear oh i have to do a code i'm going to pause this there we go now i've got it on fairly quietly and so you can hear me but i'll what i'll do is at the end of this booklet i'll play it for quite a long while and i want you to get used to playing all our exercises now with our backing tracks really important so what's all this first position what does that mean well first position is where we all start playing the cello and you might think well why are we starting up there wouldn't it be easier to start sort of at um chest level and and you're kind of right the chest level position which is actually fourth position it does feel a bit more comfortable for us human beings so this is a bit awkward but it's so rudimentary to understanding the spacings in the cello map that once it's set even though it seems rather hard and rather uncomfortable once it's set in your brain um your life as a musician is going to be just much much easier now a couple of things to think about you want to have your elbow your wrist and your pinky in a straight line everything should be nicely level um we don't want any kinked wrists for example you don't want your elbow stuck really high up in the air so that you know your palms coming forward or anything like that there's plenty of time later on when you're um doing fancy things further down um the fingerboard to to start bending and um misshaping yourselves for now we keep this lovely straight um sort of perpendicular um line and the claw shape which we we don't want to be a rigid claw but it you know it's a good way of describing it the claw shape of the fingers in first position is a sort of standard you might...

Sarnia with an explanation of how to create a viable income-generating platform with an online music school podcast.

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A lesson and exercise for holding the cello bow with Sarnia.

so i just wanted to do a couple of little exercises actually with the bow so if you have your bow um and and just have your little pretend mouse under your palm and if you pop the bow so that it so so you're holding it in the middle with your left hand um not not the um uh the hair um but just so that it doesn't fall down and you've got your left hand and it's nice and straight you see i'm doing this with two hands now this is nice and straight and we're just going to tuck tuck your thumb in that little u shape and perhaps two fingers the other side um opposite the thumb and and i tend to put them sideways onto the frog that's how i play my four fingers a little bit bent up and my pinky is hovering around it does a lot of hovering my pinky sometimes it pivots and balances and other times it supports has a few different roles now what i want you to do though is i want you to use just your forefinger and your thumb not none of the other fingers okay and then i just want you to play as straight a note as you can now look i would never play like this but you can feel how gently you need to hold because if you stop pushing in everything goes haywire now that that gentle pressure or support that support that i have on my from the bow to my second finger that's the support that you need even when you've got all your other hand fingers down okay so just understanding that that's what you do is really interesting so now you've got your thumb on the u and you've got your forefinger there and i want you to put your third finger on the side of the frog but i want all fingers bent so now you're just using three fingers so you've got your pinky in the air like an english person drinking a cup of tea or british person and your fourth finger is also waggling about not doing very much so now we've got three three fingers of support and i would like to do the same thing now you see if you start squeezing it doesn't work you have to be really light

do you see it's quite remarkable isn't it now you can put down your fourth finger but keep your pinky up and we can do the same sort of thing and you can do this until you're blue in the face don't do it until you get a decent sound really change strings really understand um about these uh our straight strings and how we get that okay all the strings i was using the d because the d we're using the d mostly in in our suzuki at the moment and then the d blue c just rather my favorite

oh now you'll notice actually that if you push in you make a very almost a sort of uh bizarre staccatoy sound now there is there is opportunity to use that stroke you know later on um but i want for this exercise i just want a really light smooth transition from your thigh really past your thigh and up towards the body of the instrument now what now that you understand about you know not squeezing and things i hope you weren't squeezing you can start to engage the pinky and by now because you've understood balance and you've been doing all these rather wonderful exercises you should really do these every day um it's a shortcut to success again because people take about six years to learn how to hold a cello bow properly it's a very very long time and one day your a penny will drop but if you do these exercises early days it's going to drop a bit sooner okay so that's it for today we did we got two classes in today so um let me just have a little look and tell you what we're going to do tomorrow oh tomorrow we're going to be doing something called first position which we've sort of done already really um in the suzuki book and we're going to be it looks like we've got a bit of a scale yeah we've got a scale i love scales so we'll definitely be working with the drone then okay um so i'm gonna do a bit of music therapy as well in a minute um just uh talking really about how to use music to make you feel happier and more content...

hello cellist so it's a little bit noisy in the music room i'll tell you why i've just um done the music for a video for the website um with one of my christmas tracks on it actually for piano not cello um but it's great fun so you might want to go and have a look at that but it's uploading what i've done i've i was uploading low resolution videos and i wasn't enjoying the experience so i've started playing around with sort of higher res ones and do you know what this difference is amazing for an immersive experience if you want a high def video for my purposes at the moment um grainy videos are great when for certain things but for the project with vapour punk and the music videos i'm i'm looking for clarity you see now we're going to look at the exercise for quick placement of fingers uh the one at the bottom of the page is suzuki book one and i will talk about a couple of things the placement of fingers um get ready with your fingers down one two three four so that your four fingers are going to be down um i'm not going to put the backing track on because i want you to really listen to the timing and when the backing track's there i think um it's it's great when you're practicing alone you should always have it but i want to explain something about the timing to you and and it's better done without a backing now pop all your four fingers down so do the first right there are four counts four whole notes um or four four beats rather to each bar one two three four and on the first beat it's that that and on this so all the same notes actually and then the second bar is that second note sorry and then that rest is a full note and then a full beat and then the next one's a full beat so how how do you do that you know in well i've got a really good way i think this is really because that's exactly half way is when we stop uh playing that's that those notes take up half the bar so if you echo those in your head you can you can echo them as you count the rest so

and then that do you see so it guides you so we go

on

do you see that sorry um and i just think that might be a little tip but of course if i mean if look if you're listening to the uh recordings you won't have a problem you'll just copy um but it's just a little a little tip there now really this exercise is not so much about the timing um it's more about uh the fingering but rests sometimes are confusing and it's important i think to start off with we mean to go on understanding rests um so let's let's just look at what they're trying to get us to do so put all four fingers down one one finger down two fingers down three fingers down four things down so we've got that lovely g and if you look at your fingers you can have a little glance that's it and you can hear that you're in tune and you can hear all the lovely resonances vibrating it's fantastic it really is um and we're going to play four quick notes one two three four and then we're going to play two slower notes okay and then we're going to rest for two beads and then we're going to lift one finger up

and do the same thing and then we're going to lift two we've only got one finger down we're not because we're not using our second finger down

okay and then um in the next line we put all four fingers down again while we're resting of course you can you can do this much much quicker when you um when you get really good but don't ever rush until you're really good at the slow once you perfect slow you can start to speed up you don't you don't have to speed up ever if you don't want to don't rush these things so our first um bar there is one two three four with all four fingers down and then

okay and repeat that's quite easy isn't it now if you're having trouble with that i suggest you do it about 20 times now every time you play that fourth finger down you should have all the other three fingers down as well and this is to i'll tell you why it's to...

hi cellists now we're going to have a quick look at the exercise for quick placement of fingers in the suzuki cello school book one now basically what we're going to do is we're going to play these notes as we did yesterday and during that the rest times

three four depending on how you're counting on the fourth beat we're going to put our first finger down and then during the rest we're going to lift it up again and then put it down again and then lift it up again okay and this is a really good exercise for teaching us to get that finger down quick the sooner we get that finger down the better so if you practice this one really slowly

put the finger down lift the finger up

put the finger down do you see but obviously keep in time and if you're using a metronome or perhaps you're following the music from the recording which is also a good idea and the next the next time we don't have a rest so we have to get

now so you've got to get that finger down quick now the next line is and then a rest for the same amount of time that we've just spent on those quavers so one beat rest so one and two and three and four and two and four and four and you see as we go along um i probably counted a bit wrong there so this time we're going to use our third finger and fourth finger and then we're going to come back okay so open down down with the finger down with the three fingers down with four fingers up with three fingers up with one finger and open now the reason we're using we're missing out the two fingers is because of the key we don't need that note in this in this particular key now what i want you to make sure you do is when you play the open strings and then you put your first finger down and then you're going to put your third finger down i want you to put your second finger down as well so with the suzuki method we put all the fingers down even if we're not using them so for the third note the third finger note we've got our second and first finger down so no fingers one finger down three fingers down four fingers down three fingers down one finger down open do you see good and we're going to get really used to working with um almost having our hand sort of quite glued in this position because this position is really going to mark where you are forevermore on the cello this position of holding all your fingers down like that is really really important for us so good luck with your practice and um i'll be back very very soon
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Welcome to the new Suzuki School

More lessons at the www.tale-teller.club

hello tale tellers welcome to the free cello school this is a free class and i'm actually from the tale teller club podcast um but i'm over here to work through the next series of suzuki challenges so this is really exciting um all these classes are free and we'll be doing one a day and we're taking it very easy and they're all free and we'll work up through all the books nice and slowly so let's have a look at the second exercise for changing strings in the cello book one for suzuki so what does it mean uh where you know where the squiggly lines are and it says change string quickly we don't want to be hurried what it means is just prepare while those breasts are there just a little flick to the next string now i like to play from the back and the shoulder not from the wrists so don't play it from your wrist lift everything up it's going to give you a much better angle and a much better tone don't worry about tone too much today what we want to work on today for this exercise is string crossing string crossings are very important for cellist so let's have a look one two three four one and two and swap strings now

swap strings

swap strings

and you play that through twice okay now the next one i hope you're listening to the recordings it's imperative that you do you'll find them all over youtube um uh or you can buy the cd of course or you can download them as well um ebay is quite good if you were if you're you know struggling a bit um and you prefer to have the cd uh the the books usually come with a cd now then i don't have a cd player but you know you can download files now and listen on your on your headphones now the next line we don't have rest so we have to swap now

now so that was a bit more um you've got to be uh more thorough you don't what you don't want to do i mean look there's a staccato there so actually there is a little bit of a rest because when you play a note staccato you sort of only play half of it do you see what i mean so although you're playing um slightly longer notes because they're staccato they're still really quick so there's a bit of a gap

when you can go and do your crossing this is what cellists do cellists look for spaces to that are convenient to shift um or to string cross and that creates a smooth transition what we don't want to do is pause that you know we can't tell the whole orchestra to stop a minute while i cross strings that would just be you know silly and we've got to keep up we've got to keep in time got to keep the rhythm that's what unites musicians is is the rhythm and keeping it tight so just to go over what we've done today we have learned to string cross

at the ready and not leave it till the last minute now crossing you see and we've also learned um quite a bit about note duration and staccatos so practice those and uh at least twice through but you know what i i'd practice a lot more of hosuh now over at tail teleclub i've got lots of backing tracks for um all the suzuki exercises and so if you pop over there you'll be able to hear these pop or googled um tail teller telltale crop suzuki music you should be able to find them so that's very cool isn't it um and tomorrow we're going to do the exercise for quick placement of fingers and i can see we've got we've got an e to do and i'm very very excited about going over that with you tomorrow so limber up darlings get that left hand ready because tomorrow we are going to learn several new notes and it's very very exciting this is where the really cool stuff starts so in the meantime you can pop over to telltale club and there are some suzuki classes i've done over there that i did earlier in the year
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