“But I Don’t Want To!”: How to Get Yourself (or Your Kid) to Practice… — by Martha Baldwin
One of the most frequent problems my students ask me about is how to get inspired to practice. Old, young, serious and casual cellists alike come to me in frustration: “But I just can’t find the inspiration to practice right now/ever/this month/today etc. etc.” Parents ask even more often how to get their child to practice without a battle. Here’s the thing—there’s a hard truth about being a cellist, about the practicing it takes. It’s not always fun. It’s hard to get started. You don’t feel inspired to practice all the time. Don’t feel bad—you know that student next to you in the practice room who’s there every day without fail? He’s not more inspired than you, you’re not missing the I-Love-To-Practice gene. Parents—you know that mom who says “I [...]
Questions — by Selma Gokcen
"I would like to beg you, dear Sir, as well as I can, to have patience with everything unresolved in your heart and to try to love the questions themselves as if they were locked rooms or books written in a very foreign language. Don’t search for the answers, which could not be given to you now, because you would not be able to live them. And the point is to live everything. Live the questions now. Perhaps then, someday far in the future, you will gradually, without even noticing it, live your way into the answer." —Rainer Maria Rilke, from Letters to a Young Poet (1903) Einstein began his career working on his theory of relativity and then embarked upon a thirty-year voyage in search of the so-called "unified [...]
Holding On for Dear Life — by Selma Gokcen
"Doing in your case is so 'overdoing' that you are practically paralysing the parts you want to work." —F.M. Alexander As an Alexander Technique teacher, I work with many cellists who are in distress—the kind of distress that means they can't play for the time being. Their conditions vary from tendinitis to De Quervain syndrome to back pain to focal dystonia. The list is long but one thing most of them share is the habit of 'holding on to themselves.' What do I mean by this? When they are in a position of rest on my teaching table—lying on their backs with their heads also resting on a small pillow—they remain gripped by tension in their necks, backs, arms and legs that may take us many months to undo. [...]
Enharmonically Equivalent: Greetings from Kingston! — by Avery Waite
What a month is has been! It has been an absolute whirlwind of teaching, cultural discoveries, new friends, new landscapes and rainy October downpours. Despite the consuming teaching schedule, I've been able to absorb different aspects of Jamaica bit by bit. From the breathtaking views of mountainous junglescapes, to stunning sunsets, to torrential thunderstorms, the natural beauty is both staggeringly vivid and refreshingly wild. But, it's a place of extremes and contradictions. The downtown area in which I teach five days a week is definitely tough and worlds away from the well-guarded mansions that dot the mountain-sides above the city. One of the schools, St. Andrews Technical High School, is bordered by a maximum security prison and several violent ghettos. There is a constant turf war in these neighborhoods as rival gang-lords called "dons" [...]
Blog #18: Stability and Mobility — by Selma Gokcen
"Freedom, freedom, but with order." —Pablo Casals In our work in the Alexander Technique, we teachers are constantly addressing the simultaneous need to stabilise and mobilise the body, to make sure the back remains firm and strong (but without stiffening), and the pelvis stable, all in order to move the arms and legs freely. In my recent reading, I came across this little chart: Foot — Stability Ankle — Mobility Knee — Stability Hip — Mobility Lumbar Spine — Stability Thoracic Spine — Mobility Scapula — Stability Glenohumeral Joint — Mobility Elbow — Stability So what does this have to do with cello playing? Well, a fair bit! I'll start from the bottom and work up, along the lines of how a tree grows, just because trees are a great example [...]
The Swan — by Arnold Steinhardt
When I was eleven years old, my violin teacher assigned me The Swan by Camille Saint-Saëns. I had no idea that The Swan was a famous cello solo or that it was part of a much larger work, “The Carnival of the Animals.” I had never even heard of its composer, Saint-Saëns, or seen his name in print before. I wondered why there was a funny line between his two-word last name and what could be the purpose of those strange dots perched on top. And was Saint-Saëns actually a saint? I thought that The Swan was very pretty and probably associated the music’s title with its general mood in some vague way. As a child, I often saw swans gliding regally through the water on the lake near where [...]
About Thumbs — by Selma Gokcen
You never know what is enough unless you know what is more than enough. —William Blake To anyone engaged in a skill requiring dexterity—surgery, drawing, and of course playing a musical instrument—the use of the thumb is crucial to successful execution. Thumb-finger opposition is one of the primary characteristics which distinguishes primates from other animals, allowing them to manipulate tools; in humans this potential exists at the highest levels, facilitating the development of skills which make extraordinary use of the hand...witness the moto perpetuo. We also have expressions to describe this relationship when it doesn't work well: "He/she is all thumbs!" To enable this thumb—finger opposition, there is a considerable amount of brain space devoted to the fleshy area of the thumb between the base joint of the thumb (located at [...]
Improve Your Talent: Breathing Awareness and Control — by Gregory Beaver
In "Developing a Technique to Improve Your Talent," I laid out 6 things that I have been using actively in my teaching to improve my students’ talent. This post will investigate the first of these, Breathing awareness and control. “I am so totes aware of my breathing!” you might be thinking, especially if you are a vocalist or a woodwind/brass player. However, in my experience, there are very few people who are truly aware of their breath. Breath awareness is not just about being able to breathe in and out and notice it. It is the ability to do something very complicated and still notice your breathing. For those who do not use their breath to create the music, it is about using your breath to provide energy and power when needed, and [...]
Developing a Technique to Improve Your Talent
In the United States, there has been a strong push to reform our general education in recent years, with federal initiatives like No Child Left Behind and Race to the Top capturing headlines as innovative ways to improve the worst-performing schools in our country. On the other extreme are teachers like me who are working primarily with students one on one in intensive hour-long lessons on a weekly basis to achieve the pinnacle of possibility. One thing that has always fascinated me is the question of talent: is it innate, or can one learn it? Many of my teachers have made statements such as “anyone can be taught how to play the cello, but there are some things that are innate and cannot be taught,” “That’s god-given talent” and so on. I have [...]
Breathing Free — by Selma Gokcen
"The nose is for breathing, the mouth is for eating." —Proverb One of the more noticeable aspects of the modern cellist’s performance is noisy breathing. On records or in the concert hall, sometimes heard as far back as the last row, the laboured breath of the cellist engaged in giving his or her best performance can be a major distraction to a listener. Whether it’s the sharp sniff or gasp on the up bow or a general effortful pant, is this heavy breathing necessary for their work? On a recent surf of the internet, I came across some amusing comments about cellists and their breathing from a radio listener: “I always find that 'cello players breathe loudly, even on recordings! I wondered if perhaps it is a symptom of having [...]
Cultivating Softness, Strength, Clarity, and Calm: 3 Basic Yoga Techniques for Musicians — by Elana Katz
There are many yoga techniques that one can use to cultivate heightened awareness, calm the nervous system, center one’s thoughts, and achieve increased mental clarity. As an artist and performer myself, I can testify that yoga can help to foster creative and artistic clarity as well. What follows is a brief introduction to a few basic principals and practices in yoga that can be useful for musicians, with the instrument and in daily life. 1. Breathing Deepening the breath calms the nervous system and oxygenates the blood. In physical yoga positions, which are called “asanas”, deep breath is used continuously over the course of the whole practice. "Deepening the breath" means an elongation of both the inhale and the exhale. When we are nervous, the breath becomes shallow. Some people [...]
Reflections from the Bleachers — by Melissa Kraut
I am not cut out to be a swimming mom. Seriously. I am a cellist, an artist that uses classical music to parse the profound issues of humankind. I deal with emotions, both broad and subtle, grand and intimate. I’m on a journey to refine a skill that I will spend my lifetime trying to achieve, and working on finding ways to convey my passion to others, to convey what is in my soul through my instrument. I’m a professor at the Cleveland Institute of Music, how can I possibly take on the role of swimming mom?? My daughter, a freshman in high school, is an avid swimmer, so it came as no surprise when she tried out for the high school swimming team last October. As much as I [...]
Hare Krishna, KickStarter and Fundraising in the 21st Century — by Jeffrey Zeigler
Last November, I was driving in my car listening to NPR. I became fascinated by a story by Alix Spiegel regarding the Rule of Reciprocation. Citing the work of Robert Cialdini, an emeritus psychologist at Arizona State University, Spiegel writes that, in a nutshell, the rule of reciprocation is: “If someone passes you in the hall and says hello, you feel compelled to return their greeting. When you don't, you notice it. It makes you uncomfortable, out of balance. That's the rule of reciprocation.” Spiegel goes on to write: “Cialdini noticed a similar phenomenon when he studied Hare Krishnas. In airports, they would…give…people passing by what they described as a gift: a flower, a book, a magazine. Then, after the person had the gift in…hand, they would ask for a [...]
THINKING IN A NEW WAY—Overcoming Habits (Part 5 of 6): Fleet Fingers — by Selma Gokcen
"The body is like an instrument; it depends who is playing it." —F.M. Alexander In the Alexander work I do, I consider there are five stages in learning to let go of the left hand fingers in cello playing so they can be free to race around the fingerboard, as well as play expressively. The hand must be soft and empty of all intention in approaching the string. If it has preconceived form and shape, then it cannot function except within the confines of this preconception. In connection with this work, I often ask my students the meaning in Zen Buddhism of "the empty hand that holds the spade." We can think of the fingers as the end of a long chain of joints starting with the upper arm ball [...]