Cello Technique: Principles and Forms of Movement

Contents

• Foreword by Janos Starker
• Translator's Note
• Introduction
• Part One: Goal-Directed Movement
• I. On Controlling Movement
• General Issues
• Goal Conception
• Control of Movement
• II. The Physics of Movement
• Energy and Mass
• Equilibrium
• Energy Reserve and Looseness
• III. Movement As Gestalt
• Movement in Space
• Movement in Time
• Part Two: The Fingerboard
• IV. Position Change
• Total Body Movement during Position Change
• Rotation of the Body and the Leg Muscles
• Elasticity of the Body
• Breathing and Position Change
• Bow Direction and Position Change
• Portamento and Rhythm
• Movement of the Left Arm during Position Change
• Movement of the Hand and Fingers during Position Change
• Finger Activity during the Anticipatory Movement
• V. Placement of Fingers, Hand, and Arm Within One Position
• Hand and Position
• The First Four Positions
• The Transitional Positions (Fifth to Seventh)
• The Thumb Positions
• String Crossings and Double Stops
• VI. Movement Within the Hand
• Percussion
• The Trill
• Fluency
• VII. Vibrato
• Vibrato as a Means of Expression: Frequency and Amplitude
• Vibrato Movement of the Arm
• Application of Vibrato
• Vibrato and Pitch Level
• Part Three: The Bow
• VIII. The Bowed String
• How Is a Sound Produced on the String?
• Change of Volume: Pressure, Speed, and Contact Point
• Sound Colors
• Speed, Pressure, and Contact Point in Their Practical Application
• Problems of Sound Production: How to Make a String Speak
• IX. Transmission of Pressure to the String
• Arm Weight
• Moment of Rotation (Rotational Force)
• Pressure Relationships in the Bow Hand
• Holding the Bow
• Slanting the Instrument
• X. Movement of the Right Arm
• Upper Arm and Forearm in a Whole-Bow Stroke
• Hand and Finger Movements during a Whole-Bow Stroke
• Bow Change
• String Change
• Simultaneous Bow and String Change
• XI. Different Kinds of Bowing
• Detache
• Martellato
• Staccato
• Off-the-String Bowings
• Conclusion
• Bibliography