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1949 The Bowing Approach to Cello Playing John C. Hopkins Central Washington University
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TH!~ BOWING APPROACH TO 'CELLO PLAYING
by John C Hopkins
A thesis submitted in partial fulfillment of the requirements for the degree of Master of Education, in the Graduate School of the Central Washington College of Education
June, 1949 ACKNOWLEDGEMENTS
Much of the underlying philosophy of this method has been influenced by my high regard for the contribu tion that Mr. George Bornoff has made to violin teaching, The writer wishes to express his appreciation for the invaluable assistance given by his committee: Mr. Wayne s. Hertz, Chairman, Mr, Herbert A. Bird, Dr. A. J, Foy Cross, Especially is he indebted to Mrs, Ruth Bird, Mr, Herbert A, Bird, and Mrs, Lidabeth Hopkins. F 0 R E W 0 R D
An examination of the contents of this volume will reveal that its approach to 'cello playing is made through bowing and bow technique instead of thr?ugh the tradition al fingering and finger technique, It differs still fur ther from the traditional approach in that all strings are used from the first lesson instead of each of the four string's being isolated and studied separately, In older methods bowing and bow technique have been neglected until after the pupil has become relatively advanced on his in strument, However, there are good reasons, both psycholog ical and physical, why bowing should be well on the way. to mastery before going too deeply into finger technique, Instrumental music education in the public school has turned away from the playing of stringed instruments and toward the playing of band instruments, This trend prob ably is a result of the fact that students are able to achieve greater progress in a shorter period of time and so become capable of participation in group activities, Af ter a year of study the band instrument player has become familiar with the entire range of his instrument, and his playing ability has far out-stripped his reading ability, This is as it should be; the young pupil is more interested in the actual physical playing and creation of music than he is in the mental activity needed to decipher the printed notes, While it is true that the good musician must be a good "sight reader," and the reading of notes and music is most important, it is more important that the young stu dent be able to play. With a playing approach rather than a reading approach, his reading will become better because he will read music just as he plays it rather than as iso lated single notes. From a psychological point of view, the playing approach engenders a feeling of accomplishment and inner satisfaction with his ability. If the stringed instrument can be introduced in the same manner as the brass or woodwind instrument, that is, as a whole, the stringed instrument player can progress quickly enough that his interest does not wane, so swiftly that he can become a useful member of an orchestra in a year or two. Under-the traditional perfectionistic methods, the student spent several years in lonely study before he was permitted to play in an orchestra. While it is true that the long period of study produced pupils who were more capable of entering an orchestra, it also caused a high mortality rate: young students lost interest in string play ing because of a feeling of lack of achievement. It is felt that the attraction of playing with an orchestra at an earl ier time would hold the interest and reduce the number of 'drop-outs.' Children as a rule begin to learn to play an instru ment at about ten to twelve years of age, an age when they are by nature gregarious, Band instruments usually are in troduced and taught to a group of children. The companion ship and enjoyable competition serve to temper the monotony of individual practice. There is no reason why stringed
ii instruments cannot be taught in groups. They can and have been for some years. With beginners, as much progress can be made with group instruction as with individual instruc tion; indeed, because of the motivation of the group, per haps the progress may be even greater. It is true that students should start private lessons approximately a year after beginning the instrument, because of the widely di vergent problems that plague the players of strings, How ever, the group play can be continued after the advent of private instruction, Within a short time the players can be playing in an orchestra, It is entirely possible that the period of group instruction can merge into the period of group playing, and it should be so. This is not to im ply that instruction as a group is to cease at the latter period; it goes on as before, and may be intensified, At the usual age of starting to play an instrument, children are active by nature. It is logical to expect them to be more interested in something that requires large muscular movements and physical exertion than in small mus cular movements and abstract thinking. In the playing of stringed instruments, this preference for activity can be capitalized on by directing it into bowing studies which require large-muscle movements of the arm rather than small muscle movements of the fingers, From a physiological view, the use of the large muscles is the more logical since the fine highly coordinated control of small-muscles is not as yet developed, Moreover, bowing involves producing tones from the strings; many bowing exercises entail playing many tones in a short space of time. This satisfies the psychological
iii need for a feeling of accomplishment as the student feels that he really is playing something. Actually, bowing presents more of a problem than does stopping the strings with the fingers, although many string players think their troubles lie in fingering and finger technique. When the moderately advanced student encount ers music which requires him to play a fast scale passage with separate bows and is unable to play it to his satisfac tion, he is more likely to concentrate on the left hand than on the right. The fallacy of this approach can be dem onstrated conclusively by having the student play a scale as fast as he is able to using a single bow and slurring all notes. It will be found that after some practice, he will be able to play this single bowed scale with the desired rapidity. Obviously the fingering was not at fault. Mastering all kinds of bowing is somewhat akin to learn ing a spoken vocabulary. If the student has learned the bow ing styles to the extent that they do not cause him diffi culty, he can express himself in the language of his instru ment. The expression becomes creative only when he is no longer plagued with the difficulties of bow technique. It is through the bow that the instrument speaks. Although the procedures and methods presented in the following pages, and the philosophies which underlie them, are applicable to the study of all bowed instruments, the book is designed specifically for violoncello. Its exercises are planned to cover the underlying principles of 'cello technique: rhythmic precision, bowing styles, acquaintance
iv with the instrument as a whole, together with repetition and drill. String players as a group are criticized by other instrumentalists for not playing with exact rhythmic preciseness. The most fundamental reason for this defect is that they have never learned to play in a precise rhythm. Bowing difficulties and the requirements of shifting from position to position are largely to blame. In the method here presented, the emphasis is on rhythmic bowing. A con sciousness of beats is developed by playing accented groups of notes rather than single notes which stretch over several beats or pulsations of the meter. In a great number of cases the young student studying under traditional methods does not understand the meaning of beats. His notes spread over several beats, he is not made to be conscious of the individual beats and their subdivisions. This method is aimed toward the goal of rhythmic playing through physical activity rather than through abstract mental mathematics. Basically, there are only two types of tone which can be produced with the bow: sustained legato tones and short tones, with the latter type divided still further into sta ccato and spiccato tones. This gives three fundamental styles of bowing, of which all others are mere variants. In this 'cello method the student learns to produce legato tones first, then the short staccato sounds, and finally the spiccato or bouncing bow sounds. The legato exercises serve to introduce the student to his instrument and are included in all 'cello methods. Diligent practice of the staccato and spiccato, however,
v are equally important; consequently, exercises in these styles are introduced within the first few lessons. Cur iously enough, this type of practice, which often seems distasteful to the advanced student, is particularly con genial, even fascinating, to the neophyte. Staccato bow ing is essential to the training of the muscles of the bow ing arm. Only by practicing this style of bowing does the student learn to sub-divide his bow so that he can allot equal portions of it to equal notes. Only by staccato prac tice at the tip of the bow will he be enabled to play long sustained tones and "spun" tones which require heavy but controlled pressure at the tip of the bow. As for the spi ccato style, it would warrant inclusion for no other reason than its motivating power. Every string student yearns to be able to play a "flying spiccato. 11 In addition to its being a source of great motivation to the student, spiccato bowing is a powerful builder of the pupil's confidence and of his bow control. The musician must be familiar with all three fundamen tal bowing styles to make his playing expressive and inter esting. The beginning student seems to have less trouble with them and to be more interested in their mastery than the moderately advanced student. The latter frequently has learned one style fairly well and tries to make it do for all types of playing with the result that his playing is characterized by a curious dull clumsiness, hence the early inclusion of all bowing styles. Too many 'cellists after several years of study have
vi become comparatively far advanced and still are not com pletely acquainted with the instrument as a whole. Their practice has been confined to one string at a time, with the result that the student may have developed a position to fit that particular string, a position which enabled him to get at it with the least amount of trouble. In this method each exercise covers the entire range of the instru ment in first position; each string is played on from the start. This procedure will force the student to adopt a playing position which will not hamper his playing at any one point on the instrument. In devising the exercises to further the above prin ciples of 'cello technique, recognition has been made of the absolute necessity for repetition and drill. The need is self evident: no skill requiring precise muscular move ments and delicate coordination can be acquired without much repetition and drill, whether it be throwing a ball or playing a musical instrument. This method book contains
many variations on simple note progressions which ~rovide the repetition essential to mastery of the instrument. An attempt has been made to avoid the monotony and purpose lessness which often plague a method book of this type. In addition to variation of both notes and rhythms, the common ly used and practical bowings peculiar to 'cello are includ ed. Simple as they seem on cursory inspection, they are am ple as preparation for playing virtually one hundred per cent of the music written for 'cello. In conclusion, it must be understood that this book is
vii not designed to be used alone, There must be supplemen tary material which may be in the form of any good stand ard 'cello method and a collection of solos in the first position, If a suggestion may be offered to the teacher using this book, it would be to have the young student act ually playing before he is confronted with the problems of music notation, Make the initial introduction of the stu dent to string playing by demonstration and rote, then show him what he has been playing on the printed page, The material here presented is planned to cover a per iod of five or six months, The over-all goal is to enable the beginning student to speed up his progress of the first few years, to arrive at a point where he is satisfied that he really can play the instrument, and to fit him to play in an orchestra within the first year. This acceleration, it is hoped, may hold the interest of the students so that the mortality rate of beginning string players may be less ened, )(I '
TABLE OF CONTENTS
Exercise Page ACKNOWL.EDGMENTS FOREWORD i SECTION ONE: THE OPEN STRINGS Legato Notes of One Beat or lees One Note to a Beat 1-9 l Four Notes To a Beat 10-13 2 Three Notes To a Beat 14-17 2 Staccato Notes Two Notes to a Bow 18 3 Three Notes to a Bow 19 3 Four Notes to a Bow 20 3 Eight Notes to a Bow 21 4 Twelve Notes to a Bow 22 4 Sixteen Notes to a Bow 23 4 Spic ca to Four Notes to a Beat 10-13 2 Three Notes to a Beat 14-17 2 Legato Notes of More Than One Beat Notes Lasting Two Beats 25-27 4 Notes Lasting Three Beats 28 5 Notes Lasting Four Beats 29 5 SECTION TWO: THE FOUR FINGER PATTERNS The First Finger Pattern Legato Notes of One Beat or Lese One Note to a Beat 1-7 6 Four Notes to a Beat 8-12 9 Three Notes to a Beat 13-16 12 Staccato Notes Two Notes to a Bow 17 15 Four Notes to a Bow 18 16 Two Notes to a Bow 19-20 16 Legato Notes of More Than One Beat Notes Lasting Two Beats 21-22 16 Notes Lasting Three Beats 23 17 Notes Lasting Four Beats 24 17 The Second Finger Pattern Legato Notes of One Beat or Lese One Note to a Beat 25-31 18 Four Notes to a Beat 32-35 21 Three Notes to a Beat 36-39 24 Staccato Notes Two Notes to a Bow 40 27 Four Notes to a Bow 41 28 Two Notes to a Bow 42 28 Legato Notes of More Than One Beat Tones Lasting Two Beats 43 29 Tones La.sting Three Beats 44 29 Tones La.sting Four Beats 45 29 The Third Finger Pattern Legato Notes of One Beat or Less One Note to a Beat 46-52 30 Four Notes to a Beat 53-57 33 Three Notes to a Beat 58-62 36 Staccato Notes Two Notes to a Bow 63 39 Four Notes to a Bow 64 40 Two Notes to a Bow 65-66 40 Legato Notes Longer Than One Beat Notes La.sting Two Beats 67-68 40 Notes La.sting Three Beats 69 41 Notes La.sting Four Beats 70 41 The Fourth Finger Pattern Legato Notes La.sting One Beat or Less One Note to a Beat 71-77 42 Four Notes to a Beat 78-82 45 Three Notes to a Beat 83-86 41 Staccato Notes Two to a Bow 87 51 Four to a Bow 88-90 52 Legato Notes Longer Than One Beat Tones La.sting Two Beats 91-92 52 Tones La.sting Three Beats 93 53 Tones Lasting Four Beats 94 53 SECTION THREE: SLURRING The Open Strings Legato Notes of One Beat or Less Two Notes to a Bow 1 54 Three Notes to a Bow 2 54 Four Notes to a Bow 3 54 Eight Notes to a Bow 4 54 Two Notes to a Bow 5 54 Legato Notes of More Than One Beat Two Beat Tones, Two to a Bow 6 55 Combinations of One and Two Beat 7 55 Tones (Two Quarters and a Half) Quarters and Dotted Halves 8 55 Quarters and Whole 9 55 The First Finger Pattern Two Tones Slurred, One Detached 11-12 56 Four Tones Slurred, One Detached 13-14 57 Three Tones Slurred, One Detached 15-16 58 Two Tones Slurred 17 59 Three Tones Slurred 18 59 Four Tones Slurred 19-20 60 The Second Finger Pattern Two Tones Slurred, One Detached 21-22 61 Four Tones Slurred, One Detached 23-24 62 Three Tones Slurred, One Detached 25-26 63 Two Tones Slurred 27 64 Three Tones Slurred 28 64 Four Tones Slurred 29-30 65 The Third Finger Pattern Two Tones Slurred, One Detached 31-32 66 Four Tones Slurred, One Detached 33-34 67 Three Tones Slurred, One Detached 35-36 68 Two Tones Slurred 37 69 Three Tones Slurred 38 69 Four Tones Slurred 39-40 70 The Fourth Finger Pattern Two Tones Slurred, One Detached 41-42 71 Four Tones Slurred, One Detached 43-44 72 Three Tones Slurred, One Detached 45-46 73 Two Tones Slurred 47 74 Three Tones Slurred 48 74 SECTION FOUR: STACCATO NOTES PLAYED ON THE SAME BOW The First Finger Pattern Two Staccato Notes, One Detached 1-2 75 Four Staccato Notes, One Detached 3-4 76 Three Staccato Notes, One Detached 5-6 77 Two Staccato Notes, Two Slurred 7 78 Three Staccato Notes, Three Slurred 8 78 Four Staccato Notes, Four Slurred 9-10 79 The Second Finger Pattern Two Staccato Notes, One Detached 11-12 80 Four Staccato Notes, One Detached 13-14 81 Three Staccato Notes, One Detached 15-16 82 Two Staccato Notes, Two Slurred 17 83 Three Staccato Notes, Three Slurred 18 83 Four Staccato Notes, Four Slurred 19-20 84 The Third Finger Pattern Two Staccato Notes, One Detached 21-22 85 Four Staccato Notes, One Detached 23-24 86 Three Staccato Notes, One Detached 25-26 87 Two Staccato Notes, Two Slurred 27 88 Three Staccato Notes, Three Slurred 28 89 Four Staccato Notes, Four Slurred 29-30 89 The Fourth Finger Pattern Two Staccato Notes, One Detached 31-32 90 Four Staccato Notes, One Detached 33-34 91 Three Staccato Notes, One Detached 35-36 92 Two Staccato Notes, Two Slurred 37 93 Three Staccato Notes, Three Slurred 38 93 Four Staccato Notes, Four Slurred 39-40 94 SECTION FIVE: SPICCATO l'IOTES ON SAME BOW Directions on page 94a. Use bowings and notes of SECTION FOUR~ pages 75 to 94 the first time through only. SECTION SIX: SCALES AND PROPER FINGERihGS C Scale l 95 D Scale 2 96 Eb Scale 3 96 F Scale 4 96 G Scale 5 96 A Scale 6 96 Bb Scale 7 95 Alternate Bowings SECTION SEVEN: SHIF.TING AND PLAYING SCALES WITH ONE FINGER C Scale l 97 D Scale 2 97 Eb Scale 3 97 F Scale 4 97 G Scale 5 97 A Scale 6 97 Bb Scale 7 97 ILLUSTRATIONS
Title Page
Proper Playing Position ix
Parts of the 'Cello and Bow x
Holding the Bow 5a
The Finger Patterns 5a
Library Central v·,,, :<"'.''Cn College. SECTION ONE I The Open Strings Detached Strokes Using The Whole Bow This section contains notes representing every tone which can be played on the 'cello without using the fingers of the left hand. One must be careful to use every inch of the bow for each tone. Long smooth strokes played in a confident manner will produce full, rich tones. When moving from string to string you must have a firm grip on the bow or scratchy unpleasant sounds will be produced. Try to keep perfect time in all exercises. A bodily movement such as tapping the foot will help you feel the rhythm, especially when there are rests. Rests are every bit as important as notes; count them just as carefully. You will notice that there are accent marks all through the music. These must be observed carefully. They will help you play with good rhythm. Try to make your accents just as strong when you play up bow as when you play down bow. /. "'°6.*° l n ~ .,;..;1~*" > > ,.,. ~ > , Jl ~ik1 l ~) Jl l Pt rr lif j(/ j ttCI ff 11 j JJJ 14 ttf
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Staccato Strokes Using The Whole Bow The exercises which .are marked staccato are played with a quick jerk of the bow across the string and a sudden stop, Maintain the bow pressure in between notes, Try to space your bow so that each note gets
~·. i ta full share, In this type of bowing the arm and wrist ·.must remain stiff, You will find that the tones played at the tip of the bow tend to be weaker than those played at the frog, In order to make them of the same intensity, increase the bow pressure as you move toward the tip, This type of playing will help you develop your long tones by making the pressure the same at the tip and frog,
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