Transcripts
1. Introduction to the class: Hello everyone. My name is Maxime cosmos, and I am the creator of one of the most popular
educational channel or channels on
YouTube, chiller PDF. I created this
course with you in mind to help you to get
rid of frustration. Moving from beginner
to intermediate level, I often see that beginner
students gets stuck when they need to move on
and acquire new skills. It's really overwhelming. But this course will
guide you step by step from basic skills to more
advanced intermediate. The music you hear in the
background is the number one. And this is just the beginning. Working on the etudes from David Popper's 15 easy studies will help you to
improve distribution. String crossings. Pay attention to
your hands position. Take care of the way you brave. And overall, to make a step forward to become
a better musician. For each etude, you will get a lens tutorial where I will go through
measure to measure, explaining or things you
will have to work on. Then we will bleed
through in a slow tempo. Then I will play for you
the second teacher spot. So you can play
alone with me and enjoy experience of
making music together. And after that, we will move to the faster tempo
and you learn it. And I'm sure your
confidence will go up. We will also warm
up with a scale which will help us to
learn all positions. You will need to play each ATM and you will get music
with all fingerings. For each etude. You will get your copy of music with fingerings and bolts, which you will need
to study it well, there will be no room for doubt. Which finger to use
for every node. I hope you will
give it a try and enjoy your journey to become
even better musician.
2. How to play G Major scale on cello: Our first eight years, this etude is
composed in G-Major. We have F sharp as
a key signature. And it is always a
good idea before you work on piece of music to
warm up with the scale, which is written
in the same key. You will find this
scale printed to write before this Etude
with all fingerings. And this is somewhat
unusual scale. It will cover more than one
act of more than seven nodes. And we will start
with the open G, the lowest g We
can play on cello. And we will go all the
way up to D on a stream. It's a very good time to
check our bow hold to make sure that your
wrist is very flexible. That you are paying
attention to the angle of the ball and that your
fingers are quite round. Your thumb is in a position somewhat between
first and second fingers. And I think you are ready to go G-major scale one node per ball. That means you will be changing the bow direction for each node. And I will play it in tempo. Quarter note, every node
is 48 beats per minute. Make sure that you played
this scale number of times. Because now we are going
to play the actual music. And you don't want to think too hard about finding each node.
3. What are ties in music? : It's not easy to play this etude in order to
help you learning it. Well, I would suggest to start playing just
one node per ball. I will start playing it
in Tampa, eighth note 60. And I will stop
here and there to talk about important things
for you to pay attention to. Don't forget to check that your left hand is in
a perfect position. You can do it by playing b. You can play this note on piano
if you have it available, or check it with tuner. You can check it playing
it quite loudly. Or you can just briefly
touch the string with a bow. Or even with the left hand. The more experience
you will get, the less often you
will need to do that, and more this grade, you will be doing it. But please don't
hesitate to play this firstNode to tune
it well, because again, if you start into you, the chances are that you
will play this piece much longer without any
problem with Indonesian. In the second measure, you have two Ds are
eaten one after another. Why didn't I stop the
ball or changed it? Well, the reason is that those two Ds are
connected with a tie. This line looks quite
similar to a slur, which is right above it. But when you see the
two similar nodes, two Ds in this case,
are connected, tied. This way. That means you
don't stop the ball. Those two nodes merge into one. And the total length
of this node will be five eighth notes in a dotted quarter note and
two in a quarter note. Here, you just have to
make a simple addition. Why composers do that? Well, there is no one symbol which can give us the
length of the node, which is five eighth notes long. If you think about half-note, that would be for
eighth notes loan. And next node, next longer
node will be dotted half note, which is six eighth notes loan. So nothing in-between. No one node, which could be five
eighth notes loan, always double-check
that the second note of the tie doesn't have a
dad or a line like this. If you see that, that means you
would have to stop the ball and play the
second node separately. But in this case, we just play one. Note.
4. How to understand accidentals in music : At the end of the
second measure, we have a C Sharp, and this is an accidental. What's the difference between key signatures and accidentals? The same sharps or flats? Well, when you have sharps or flats written right
next to the clef, that means that all letters which marked with
this sharp or flat, for instance, for this etude, we have F sharp. So all of those letters nodes will get this sharp or flat. In this etude, we have F
sharp as a key signature. That means that all
Fs in this etude, you will have to
play as F sharps. But music would be
very boring and repetitive if composer wouldn't have a freedom to
change something. And here come, accidentals. Accidentals work
only in the measure. They are printed. Once you see the bar
line, they are canceled. They affect the node
there are printed before, and all similar nodes until
the end of the measure. Sometimes editors remind us
that the rule works this way. The bar line cancels
accidentals. This is why in the
third measure, you have a C natural, natural sign cancels
sharp or flat. But strictly following that, our whole right after bar line, the accidental in the previous
measure wouldn't work. However, editors know
that many musicians forget about this and they
pulled the courtesy sign. This natural sign. You just gentle reminder that accidental
doesn't apply anymore. In those measures. We had to make ladies
to incur since we had to go from a stream
to D back-and-forth. Remember, no matter if you
just use one node per ball or if you use the original Boeing's slurring
many nodes together, you will have to take
care of stream crossings. Your goal will
have to be to make those string crossings
as smooth as possible. It helps a lot. When you turn the
ball a little bit, when you go for one
string to another. If you would like to hear much longer explanation
about that, you might want to check my
cello course for beginners. In short, you will have to
make sure that your ball will stay approximately in between those two corners of the cello. And when you go from a stream, you have to change the angle
this way towards yourself. Then you go to G string, you change it even more, and then C strain even more. When you play until
the lower strings. You can take a look and
you should see that your wall has to be approximately in-between
those two corners.
5. Grace notes: the basics : Do you do pay attention to
this C-sharp accidental? And now you know why there is C natural in
the following measure. Again, that's a courtesy. It's just a gentle
reminder that this C-sharp accidental does not work in the following measure. I'm sure that you counted
dotted quarter notes, eighth notes in each of them. And you might be familiar with grace notes just in case you never experienced
blame them. Let me explain what
the grace note is. Those tiny nodes are aided by composer to make the
little special effect. They are quite fast. They are not measured as
strictly as any other nodes, but you always will have to find time to play them right
before the following naught. In other words, they will take a little bit of the time
from the previous node. But when it comes time to
play the following node. In this case, on
the fourth beat. When you would count
the eighth node, number four in this measure, you have to play
this quarter note. This way to Grace nodes will make the previous
eighth node C, in this case a bit shorter. Sometimes it just more
intuitive to pay attention and copy the way other experienced
cellists are doing it. And then after you get
used to how it sounds, you can actually
think how that works. I will play this measure
for you with a metronome, the same tempo, eighth note 60. So you will hear when exactly I'm playing
those two Grace nodes.
6. How subdividing can change the way you play music : Here we have a challenge
to play a dotted rhythm. We count by eighth nodes. And the third node
of the measure, 16th note, will come
after the third beat. There is a more precise
way to measure it. You can do it by subdividing
each eighth note. Instead of counting
123456, you will count, in this way, 1.2 and 3.4, 5.6, and where each subdivision
will be a 16th note. And you will have to play
a dotted eighth note, the 16th notes long. You can also set a metronome two times
faster than eighth nodes. Here we have eighth notes, 60. If you set the metronome 220, you will get 16th notes in
exactly the same tempo. Now, I will play for you this measure with the
metronome showing 16th notes. This is a difficult measure. It has two challenges. The first challenge is to go all the way from the C
string to a string. And you don't just move
the bowl without thinking. You have to do it in
three-dimensional way. Not linear. You don't just move the ball
without changing the angle. Instead of making
a straight line, you have to make a curve. It would be a great exercise
just to play the low D, high D over and over again. You prepare the bowl
for the low D and check the angle so the bowl is positioned somewhere
between those corners. Then you move the ball
across all strains. And at the same time you
have to change its angle. If you just move the ball
without adjusting the end goal, you will end up in
this situation. Did you see that the ball
went all the way up towards the fingerboard and also the
sound quality was way worse. That will happen if you forget to adjust the
angle of the ball. When you play on lower strains, you keep the ball going this
way, closer to yourself. And when you play
on top strains, then it's quite different angle. So you will feel that your wrist goals little bit
away from yourself. And the second
challenge here is to pay attention to a
tie and accidentals. We have two eighth notes. D is tied together. Remember, when you see this line connecting two
similar nodes, that's a tie. And you play those two
notes as the quarter note, you add the length of
each eighth notes. And the total length of this
d will be a quarter note. You add the length of eighth
node and another node. You have to seize after that. First is C-sharp. And then right away, this accidental is canceled. So the second node is C natural. The difference between
them is half a step. You also remember how
to play grace notes. Those two tiny notes
right before B. You place them
before the downbeat. So you take little bit of
time from the previous Node, C sharp in this case. And when your metronome
will give you a clique indicating that it's
time to play the downbeat. You have to play the first eighth note B with the metronome
eighth note 60. That will work this way. And the rest of this etude is the same as first 16 measures.
7. Time to play the top part in slow tempo: Now we can play this
etude through in Tampa. Eighth note, 60. I will be using
one node per ball. So for now, you shouldn't worry about paying
attention to Boeings. Yeah.
8. Let's play the top part with an accompaniment: Now it is time for us to play
together different parts. I will be playing the second cello part,
the accompaniment. And we will play
in the same tempo. And you will notice that
plane with accompaniment will enhance the sound of your cello. And also, we'll open
up the character of this piece to make sure that it's easier for
us to stay together, I will set the metronome
to the same tempo. Eighth note, 60.
9. Bow distribution: what it is, and how to get the most out of it : Okay, you spend time
practicing measure by manager, working in slower tempo, one node per mole. And now it's time
to put everything together and play with
the original Boeing's. It is quite challenging
to play connecting nodes. This bow stroke, legato, which is to connect in Italian, means that you will have to pay all attention how smoothly
you connect every node. If you have enough ball
to play several nodes, you get a very good chance to be able to connect them well. But it's quite
hard skill to get. You will have to move your
right hand very smoothly. And also, you will have to
pay attention how you do it. One important thing to
consider is boll distribution. That means that when you
have several nodes per ball, you don't spend too
much of the ball. For the first few nodes. You have six nodes per ball, like in the first measure. And you want to spend as little ball as possible
for the first few nodes. And this way, you will
have plenty of Bowl left for the rest
of that measure. Let's see what might happen if I don't take care of
boll distribution. If I don't think ahead about saving some bull for
the last few nodes. In this example, first few
notes made very good sound. But then the last three
nodes had way less ball available and they
didn't sound as well. So there are alternative
way of using the bowl is to move the ball with a little bit slower
speed at the beginning. So then you have
more bowl available. It seems to be quite
easy thing to do. But Blaine measure after
merger will be challenging. You will need to get used to
the idea of saving the ball. And if you end up in a situation when you have
very little ball left, that will be reminder for you to work on those
measures and get a habit to be mindful about how much you spend for each node.
10. Why is vibrato is hard to master?: I will be using some vibrato when I play this
etude in a faster tempo. If you are familiar
with this technique, of course, feel free
to do it the same way. If not, I would
strongly recommend you to go through my
course for beginners, where I talk about
vibrato at length. However, for those of you who cannot get access
to that course, I will briefly explain what it means to
play with vibrato. When you use vibrato, you make the sound of each
node to move higher and lower. You can achieve it by
turning your wrist. And you will be
touching this train with a different
parts of your finger. You will be tilting it one
way than in other way. And your goal is to make
it as, even as possible. Things to pay attention when
you play with vibrato is that you don't use your
raised in any way like this. You might want to
imagine that you have just one bone here because the main action will
be happening when you just turn your wrist
together with your left arm. It is a good idea to work on
vibrato in very slow tempo. When you just slowly turn
your wrist up and down. You'll have to make sure that your thumb starch in
the neck of you chill. It's never in this position. And you start with the second finger and
work in a slow tempo. Once you feel that you
are making progress, you can switch to other fingers. And again, I cover
vibrato at length in my chill law course
for busy beginners.
11. Follow me in playing the top part in fast tempo: Now I will play this
etude for you in Tampa. Dotted quarter note 48. In 68 meter. Like in this etude, you can count every
measure by eighth notes, 123456, or you can
count by larger beats, which are dotted quarter note. This way, each measure
will get two beats, 12. And in each beat, you will need to feed
three eighth notes. Counting by eighth nodes is really helpful when you
Blaine slower tempo. But once you move
to a faster tempo, it might be very good idea to try to count by
dotted quarter notes. But of course, you can also sub-divide each dotted
quarter note to eighth notes, especially when you get more challenging
rhythm to deal with. Let's play this Etude
with original Boeing's. In tempo, dotted
quarter note 48.
12. The final challenge: play in fast tempo with an accompaniment: In case it feels lonely to
play this beautiful melody. Here is my accompaniment. We will play in the same tempo, dotted quarter note for aid. And I'm sure we will enjoy
playing it together. To make it a bit easier
to play with me. I will keep the
metronome Iranian. So you will hear a very
dotted quarter note beat.
13. How to play C Major scale on cello: The Etude number two, the best way to prepare
to play this etude is to warm up with
C major scale. Let's do it. We will
play two octaves, C major scale, one
node per ball, starting from the
open sea stream. You will find all fingerings
in music I provided with this course and will include the close up
of the left hand. So you have no doubt how to use each finger in case
you need to see me, Blaine, this and many other scales with the cello,
which has tapes. I would recommend to watch
my beginner's cello course. There. I give very
detailed instructions how to play each scale
using the cello, which has all tapes
for the left hand.
14. Some challenges with rhythm: Now you are ready to start
working on this etude. Will start playing in tempo, the eighth note, 60. And I will stop many times to talk about interesting
things to work on. Let's talk about a rhythm. In this etude, you will have many groups of the eighth
node and two 16th notes. It looks like fairly basic, easier or EBM to
deal with, right? Even if you feel so, I would encourage you to pay a lot of attention
to precision, how you divide each
eighth note, 16th notes. Because when you
play this rhythm all over again and again, it's quite easier to forget about that
and just let it go. And as a result, your performance will not be as impressive as it could be. One of the ways to work
on it would be to repeat the first measure number of
times using the metronome. And nodes will be easy for you. I think you can
memorize it quite soon. And you will be able to
listen to the metronome, making sure that you
divide each beat, each eighth node to
two equal parts, and your 16th notes are perfect. It will work like this. It's quite challenging to place each node extremely close to
the beat of the metronome. But you do it several
times and you will be excited to figure out that
you can actually do it well. What is that symbol above C? This is an accent. To play the accent, you will have to play the
beginning of this note louder. The best way to do it
is to briefly stop the bowl and then start moving
it with a faster speed. Compare to how you
would usually blade. Did you see how I did it? I stopped the bull, arrived before see
made sure that my ball is in perfect
contact with this train. And then I moved
the ball faster. As a result, I got
a bit harsher, definitely much louder sound. And this is how you play
the nodes with Excellent.
15. The importance of accents and dynamics: Yeah. Here we have piano. You will have to
play it much softer. The best way to do it is to use less bowl and give less
energy to the stream. In simple language, dress
less on the stream. Although the word to progress is the word we try to avoid
playing stringed instruments. You make sound No,
just by pressing, but by feeling the resistance of this train and moving
the ball along the stream. Whichever way we
talk about this, we will also need
to show accents. In piano. Accents have to be
softer than in 40. This way, it will require just a little
increase in volume. You're playing piano
and accents are just tiny bit louder than
the nodes around it. And we have pianissimo,
double piano BIT. Cmo is one of the softest
dynamics we have in music. Makes sure that you don't blade so soft that we don't hear. Good sound quality. Each instrument has limits, how loud it can play, but also how softly. It might feel. Like
a good idea to barely touch the strain
when you play pianissimo. But as a result, you will get more
noise than salt. And that will not
make much sense. Try to listen to the
sound when you play very softly and make sure that it
still sounds like a cello. With my experience, I can
tell you that's always much harder to play softly than
to make a lot of sound. Did you hear how
much difference I tried to make between
pianissimo forte? That's how dynamics work. They show the difference. Say your piano is here, your force has to be way louder. Of course, that's quite obvious. But once you muster
their ability to play much quieter yet
with a good sound, when you play
pianissimo and piano, you're 40, will make
way more difference. Your dynamic range will expand, and it will be way more effective and interesting
for audience to listen. In other words, your goal
as a musician has to be to play forte fortissimo, as active, loud, yet
beautiful as you can, and play piano and pianissimo
as soft as you can. Yet, finding the good
quality of the sound, especially when you play
with soft dynamics.
16. Creative ways of phrasing: I'm sure you noticed. I didn't try to connect the end of this measure with the first note of the
following measure. And the same happened
to measure Slater. I did it on purpose. Because when we play with,
think about phrasing, how you connect the nodes, but also where you don't
want to connect nodes. The idea is when you play, you imitate human speech
or how people seen. We have to believe
when we speak, we stop here in there to make the point to divide
different ideas. So that's more accessible to a person who is
listening to you. In this case, it seems
to be a good idea to briefly stop after
those quarter notes to take a short breath and to show that the next part
is a different phrase. Also, that would help you to play the next node with clarity. And in case when you have
to move or where strain, when you go from gesturing
directly to the a string, it will help you to
make less noise. This way, you will not
be moving the ball along the stream and it will not
make this unwanted noise. Here. How it works. I tried to avoid any sound which DStream could make when they moved
from G string to the a string. First of all, I made
sure that I was touching the D string
with my first finger. That helps to avoid unwanted through
vibration of open stream. After I was done with
the a on the G string, I might very quick polls and use that time to move the
ball to the a string. And since I didn't try to
connect those two nodes, it was way more
effective technique to avoid any noise
from the D string. This is a very exciting end of the first part of this etude. You have to be extremely active with the way
you use your bowl. You might want to use
more bull for each node. And when you play accents, you might actually
use some vibrato. But of course, it depends how confident you are
with this technique. You can use vibrato
because it will help you to make this loud and
active sound a bit sweeter. That will work this way. But if it's too challenging at this point for you, no worries. You can still make the accent
just using your right hand, increasing the bow speed and briefly stopping
before that node. Since there are so many
string crossings involved, make sure that you remember about paying attention
to the ball angle. Once you learned the left hand, keep staring at your ball and watch how that moves
from one string to another. And of course, listen. And you will notice significant sound quality
improvement when you will be able to adjust the angle
of the ball for each string.
17. Mastering mordents and string crossings: Okay, what is that
squiggly line above B? This is a more than mordant, essentially is a short trail. You just make one turn and you believe that note you
have there, which is B, then you play the note above, the next letter above, which is C. And then you
play be the original node. Again. You play the first
two nodes fairly quick. And then you use the
rest of the time to play the main node to make a distinction between a
mordant and grace nodes, which could be written before B. You have to make
sure that you play first two quick notes
right, on the beat. Exactly where you would think
the first beat would come. You need to place
the first node here. How it works. I will play for you those two
measures with a metronome, and I hope you will hear
that I will be placed in the first week note of more than right at the
beginning of the measure. Alright? When you hear a
click of the metronome, when you do it, the first week node will seem to be
done with a little x. And just because it comes right at the
beginning of the measure, a very common
mistake is to place the more than right
before they beat. This way, it will sound
like to graze nodes. It's quite a tiny difference. But in music everything matters. If you play it like Grace nodes, the third node will be louder, and that is incorrect. It goes against the
wheel of composer. Those two measures are
very hard to play well, let's try to break it down to
several things to work on. First of all, string crossings. In this measure, you
start on D string, then blade to 16th
notes on a strain. And to make very quick
string crossing two G. After you're done
with the base train, you go to the G
string and you turn the ball from a
stream to gesturing. You have time to do that
because it will take some time for ball to go
from a stream to stream. And while moving the ball, you can also change its angle. It would be very useful exercise to play just
on open strings. You play on Open and go to G string. Again. A quick stop. You move the ball
across two streams, and then you start
on the G string. In the following measure. It's even harder because
you start on the G string, then play to 16th
notes on a string, and then go all the
way to the sea strain. If I would play it
without left-hand, then it would be very clear what the right
hand has to do. One eighth note on gesturing to 16th notes on a strain and
the quarter note on C string. Now they're useful exercise
to master this spot.
18. How to overcome challenges with extensions extensions: Now let's talk about left hand. In this measure, you have to play two notes in half position. First, you have to extend your first
finger to play B-flat. Then you have to reach D. But then to play
G-sharp on a train, keep the first finger
in extended position and just with
across two streams. In slow tempo, it
will work this way. In the next measure, you move the first finger back to the first
position to play. And to play the D-Sharp
on the C string, you don't have to
make an extension. You will just use
the second finger. By the way, this D-Sharp will make the same
sound as E flat. And if it's too confusing for
you to think about D-sharp, you can imagine it as E flat. And you can put
two hands together and play those two measures
in very slow down bowl. And the last thing to
take care of is dynamics. First, three notes
of the measure. You played very loud. You use a lot of the bowl. And for quarter note, which supposed to be piano, you will use very slow bow
speed and a bit lighter touch. In those two measures, you will have to
make a cast shadow. I'll play louder and louder to prepare for the first theme, first melody to come back. You will also need to
make an extension. Here. You need to extend your second finger
to play F sharp, and that will help being
key to reach G-sharp. All of those extensions extremely important
to learn well. You have to rely on good extension between
first and second fingers. Those fingers are
way more active, way more flexible and
easier to extend. And once you move
the second finger, all other fingers move with it. And that helps to reach
G sharp. Being good. It might be very helpful
for you to consider turning your raced towards
the fourth finger. Especially if you don't
have very long fingers, then flexibility of your raised will be extremely important
to pay attention to. It works this way. It's much harder to reach. G-sharp if you're raised
is in this position, let's say 90 degrees
to fingerboard. If you turn it a little bit, making the angle between your raised and fingerboard
a bit sharper here. Then it will be easier for
pinky to reach the spot. This technique will work
in a different way. For every cellist. Again, it depends on
your raised flexibility, how much you can
extend your fingers, fingers length, and you're
playing habits and experience. But you should always
consider helping your pinky with turn
off your wrist. In the rest of this etude, debit pauper repeats, the same music were
already learned. And in the next lesson, we will play this etude
through in Tampa. Eighth note, 60.
19. Time to play through in slow tempo: Now let's play that
top part together. Temple, the eighth note, 60. Um, um.
20. Are you ready to try it with an accompaniment?: Now, let's try to play
both parts together. You are the soloist. You play the melody,
the top part. And I will happily
accompany you. For now. We will stay in
the same tempo you worked on when you
played just your part. And that will be the
eighth note, 60. You will hear for clicks. Then we will start
bleeding together. And, and, and.
21. Play through in fast tempo: Now I will play it
for you in Tampa. Eighth node hundred 20. The tempo marking
for this etude, con moto Allah march
means with motion. In tempo of March. Usually the tempo
of March is 120. You can measure every
eighth note with metronome, which will be 120. Or you can set a
metronome to 60, which will tell you where
each quarter note cards.
22. The final task - fast tempo with an accompaniment: Hi, you're ready to play with
accompaniment. Let's do it. Tempo, quarter note, 60 or
eight, node hundred 20. We start together, and I'm
sure we will finish together.
23. How to warm up with F Major scale: In the A-Check number three. Besides playing a
wonderful melody, we will work on paying
attention to Boeing's. Boeing's here are quite tricky. But no worries, we
will learn it well. We will also use
extensions and learn how to play some new
nodes, like D flats. Since this etude is
eight and in F-major, Let's warm up with
F major scale. We will start with
F on cease train, and we'll go all the way
up to d on the eighth. The last node we can play
without making a shift. If making an
extension to reach B flat is quite new for you, it might be very helpful
just to practice few nodes. I would suggest
starting from G on the D string and then
play opened a and B flat. You will make this extension
while blame open a, you'll have extra time. Just make sure that when you
are making an extension, you keep a farm where it
is in the first position. You're only moving
your first finger. All other fingers intelligence
will stay in place. You also want to check that your fingers are
in route position. That will help you to avoid
touching other streams. Because sometimes it can
make unwanted noises.
24. The importance of accidentals: Now let's start
playing this Etude. I will bleed in Tampa, the eighth note AD. And, you know, I will
stop every time. It seems to be important to talk about certain issue to solve. Opening for managers. Right away, we have to deal with
boll distribution. Once you play the long game node or a liking the first measure, you have to use four
nodes, bear bowl. Then you'll end up Blaine in
opposite part of the wall. And in the first measure, lost two eighth notes. You will have to
play at the tip. And then for the next 30 nodes, in the second measure, you will stay closer to the tip, are both part of the bowl. And then when you have
a dotted quarter note, our bowl, you will move all
the way back to the frog. I'll play for you. Those first two measures. Pay attention what is going
on with boll distribution. And this will happen quite
often in this etude. After plane, F major scale. You are familiar
with the extension. When you have to play
B-flat on there a stream. Once you're done with this note, you don't have to
keep the first finger extended because you will
not need it right away. General rule for extensions
is once you're done with it, you want for your fingers to go back to the
normal position. Keeping your fingers extended, takes more effort and makes your left hand dire
it quiet sooner. Of course the exception
is when you have to stay in the same
extended position longer, because you will
have other nodes in this extended position to
play almost right away. In this example,
I would suggest, after you're done
with the B-flat at the end of the first measure
to relax your left hand. And only at the end of
the second measure, brain your first finger, back to the extended position. However, if going back and forth seems to be too tricky
for you at this point, you might want to keep your
first finger extended. The advantage is that you
will have it right there, ready for the next B-flat. And disadvantage is that
it might get tired sooner. Here, you have to pay attention
to accidentals, F sharp. And after that, B
natural in F-major, we would have B flat. But here, composer wants music to go to the
different key, which is C major in this case. And this is why Popper
wants us to play B-natural. And for a few measures, that's exactly what
you'll be doing. Yeah. Did you remember to
play B-flat here? Accidentals don't work beyond
the measure of a line. And here, we still
have to play B flat. And after that, we
have to play D flat. This dotted quarter note died with the next
node is D-flat. And by the way, remember, when you have two nodes connected and those
nodes are the same, then you just add length
of one node to another. You don't repeat it. And those are actually
the same two nodes. Never mind that
firstNode has D-flat and the second one right after
that doesn't have D flat. Once you got accidental flat, in this case in the Measure, it works for all similar nodes, similar letters
until the bar line. Both dotted quarter notes are dyed with the
following f naught. So the total length of that loan node is
for eighth notes. Eighth notes, and a
dotted quarter note plus extra eighth note. And in both cases, the accidental works
for both nodes.
25. How to improve string crossings: In this measure, we have quite
an extreme string Carlson. And in order to do it, well, you have to make sure that you remember to change
the bowl position. And there might be
tiny interruption of the sound when you go
from C stream opens C to F. And this is okay because you have
to go over G string. You will have to
practice and figure out the exact bow speed, so the noise is
barely noticeable. But if you listen carefully, you will not be able
to avoid tiny bit of noise because the ball will be going across the GI strain. And no matter what you do, it will make at least a
little bit of unwanted cell. Here. You have to play
seven nodes per mole. Again, if you think
about boll distribution, how much of the bowl you use
for our first few nodes, you will be able to
play those seven nodes. Well. Try to spend as little as possible
for the first few notes. You use less bot. For first few nodes. You can spend more of
it for last few nodes. And you will never
be in situation when you have little or
no bull to use. For the last few notes. If you forget about this, you might end up in
situation like this. It started to really well. First few nodes sounded good. And last few notes
got almost no cell. After you play seven
nodes per ball, you have to make sure that
you will move towards the frog and you
use the whole bowl. So the next good
old book, seven, you start as close to
the frog is possible. So this way you will
have warm bowl to spend. Again. In this measure, you will have to play E
flat and you can take an advantage of opens
Tuesday night before that. Way, you can move your first finger to
E-flat ahead of time. In this major, I had to make a shift to the lower
fares position. All fingers move half a
step including the thumb. And that's the
definition of the shift. And I use first finger for G sharp and then the
second finger for E. This helped to avoid making a shift back to the first
position right away. I could play two nodes
in this new position. And then after that, I have an eighth note
rest to make a shift back and continue in
familiar first position. Did you remember to pay
attention to both distribution? Here we had to use seven
nodes by bowl again. And again. We just have to be
aware not to spent too much of the bowl for the first few notes
of the loan slur. This was another example when
you make an extension to E-flat that you had to take advantage of the open string
or right before that. And then right after
you done with E-flat, you can move your
first finger closer to other fingers because
you are not going to use the extension
for the next few nodes. The last part of
this etude is the same as the first part. We are already worked on a
number of challenges there. So you just will
have to repeat it, showing that you got it right and enjoy playing
this melody again.
26. Lets try it in slow tempo: Why don't we play the top part together from the
beginning to the end. In Tampa. Eighth note. Before I start plane. Remember that you
have to breathe. While paper into play music. We sometimes tend to tense
up and hold our breath. And this is not
good for your body. It will affect your sound. Whenever we have tension
in our body that will affect how we
move our hands. And that will affect in turn, the quality of sound. When you believe you are
making sure that your help, your body to be in
their best state, in a relaxed state. And that is extremely important. You can train
yourself to do that, reminding yourself to breathe right before you start playing. And little by little, that will become your habit. And when you will be Blaine, even difficult passages, you
will remember to breathe. And that will make a difference. Um.
27. Are you ready for a duet?: Are you curious how it will sound together with
the second cello part? Now it's time to do it. By the way, when you work on this etude in
the slower tempo, feel free to play
with different bones. If the slur is too long for you, you can play one node per ball. And once you are confident
with the left hand, then you can try to play
with suggested boys, again. The same tempo, the
eighth note AD, you play the top part. I will play that company.
28. Mastering fast tempo: Now it's time to
play this etude. Tempo suggestion here
is allegretto sauce. That's somewhat
faster moving tempo, but not extremely fast. Allegretto is somewhat
slower than Oligo. I will suggest to use the
tempo dotted quarter note 52. If you would like to use the metronome for
each eighth node, that would be temporal 156. There are 38 nodes in
a dotted quarter note. So if you would like to measure the tamper
with eighth nodes, you will have to multiply 52 times a day and
you will get 156.
29. Lets put it together in fast tempo: Time to bleed together. The same tempo,
dotted quarter note, 50 to you blame the top voice. I will accompany you. Hey.
30. How to warm up with A Major scale: The absolute number
four is quite special. One, it's written in a major and it gives it special
signing, happy, warm color. And to play it well, you will have to pay
a lot of attention to your sound quality to be
ready to play this etude. Let's warm up with
a major scale. We will have to pay
attention to extensions. We will just play one octave scale and add
a couple more nodes. But you will not have to
make any shifts to play higher nodes because it's
not needed for this etude. We will play one node per ball and keep tempo, quarter note 40. When you work on this scale, you will have to pay a lot
of attention to extensions. We will use the magic
of the second finger. That means that since
this finger is very strong and independent
from other fingers, you can extend it
with certain ease. And by extending it, well, you will help or their fingers, the third and fourth fingers, to get to the spot they have to be on the juice
train when you make extension to be make sure that you do it
in very active way. And also you might want
to turn your wrist. It lists slightly towards
second finger and pinky. That will definitely help
you to make this extension. And if you do try it, your pinky will end up
in a perfect position. Since everyone has
different hands, we will need to spend a
good amount of time to find your perfect way to
make all those extensions. You can experiment
just trying to move your wrist a little
bit closer to pinky or little bit closer
to the middle part, or even turn it slightly
towards the first finger. And whichever way
it will work for you to be able to reach
with pinky without problem. This would be the way, this would be the angle
or shape of your wrist. You are going to use this. What practicing should do
to you, your experiment. You see what works,
what doesn't work. And then whichever successful technique you will find
to be working for you, you repeated many times
until you get to the point. You don't even need
to think about that to play well, one more thing. When you are done with
extension on the G string, you might want to keep your fingers extended
because right away you move to the D string and you will need to use extension. However, when you
move to the a string, you don't need the
extension anymore. And you want to bring fingers
much closer to each other. Try to think ahead and consider how long you need
to keep fingers extended. As our rule of thumb. Whenever it's possible you want to keep fingers
in a normal position. Extension will make your
fingers to feel tired sooner. And unless you have several nodes on several
strains in extended position, you might want to get back to the normal position right after you're done
with the extension.
31. Subdivisions review: Now, let's start playing
this etude in slower tempo, eighth node 60, and stop here and there to talk
about important things. Right? Before you start playing. Don't forget to breathe. Try to make it your habit
to think about the way you believe it seems to be absolutely
normal theme to behave. Of course you have to do it. But if you do it
in conscious way, if you making sure that you take a deep breath before
you start playing, usually, it helps you to make better sound at the
beginning of the piece. And once you feel that you start playing with
excellent sound, chances are that you will just keep making this sound
throughout the piece. You take a deep breath
and you exhale. And when you are exhaling, your shoulders, your
upper body goes down. And it will help you to add
this call yet secure n of j to the bowl and it will transfer to better
sound quality. Few things to mention here. This etude is
written in meter 38. That means that each measure
is three eighth notes long. And this is something
to pay extra attention. Naturally, we much better plane in meters with even
number of beats, 2444. But when it comes to
meet our slide 38, we usually need to
pay extra attention. First, three measures
will show how well you can count the speed of 16th notes and their
exact placement on the third beat is
extremely important. It's very common mistake to rush those nodes or blame them sooner than the beginning
of the third beat. Practicing with the
metronome will help a lot. Let me show you how
it should work. As always. It turns
out to be much harder to do that it
seems from the gloves. But once you achieve
this steady base, then you will be able to play this etude in very
calm my Azure Two-way. And this is exactly
what seems to be what Popper intended. This etude. Here, we have even more difficult
to read them to figure out dotted eighth note and
three-sixteenth nodes. The best way is to
subdivide to 16th notes. And again, metronome will
be extremely helpful. Our target tempo for
now is eighth note 60. If you set the metronome to 120, that will show you how fast
16th nodes will have to go. Three 16th notes in
dotted eighth note, blade few times with metronome, and then try to
play without that. Instead of just counting
in your mind one and 2.3. And soon you will get use to
automatically sub-divide. Maybe you actually already
have a habit of doing it. This is the part
of music-making. When you play music. You also have to
feel how time goals. In other words, you have to have your metronome on in
the back of your mind. But of course, you play like human being note as a computer. So little by little, you will learn when you
can be somewhat flexible and stretch there even with
Adobe ID or push it forward. But every time you want to
bend the rules a little bit, you need to make sure that you can play a chord
into their roles. And that will make every
exception meaningful. And to your audience
will feel that you're in control of
tempo, entering them.
32. How to improve your left hand technique: When you see two
notes slurred and a dot on top of the second node. That usually means
that you have to stop before that
note with a dot. It's a little bit
counter-intuitive because we might think since the dart
makes a note shorter, that we have to make
stop after that. But how it usually
works in music, you also have to stop
before that node. And that will sell like this. In this measure, you have
two connected nodes, which you will have to play with the same finger but
on different streams. At first, you might
end up playing like this lifting finger to
move it to the next tree. But then you will
realize that there is no way to connect
those nodes. Well, let's try to play
it in a different way. Right? After you're done
with the first node, you will just turn your
third finger like this. And you will actually use the inner part of your third finger to play
F sharp on the D string. Instead of lifting a finger to move it to the
different stream, you will just lower your erased. And again, you will use the inner part of your finger to play F sharp on the D string. You might try it a few
times without a bowl. And I bet it might
feel quite strange. But I would strongly recommend
you to try it several times and see what kind of advantage it
might give to you. Because you will be
able to connect nodes when you go from one stream
to another much better. And this is exactly what we
need to play, this etude. I'm sure you will not
forget to count, right? You have a tie between dotted quarter note and the following eighth node. So the total length of this loan will be
for eighth nodes, three in a dotted quarter
note plus extra eighth node. And after that, I would
suggest to make a brief stop. If you feel like you can
actually believed there. And this is this part
right after the downbeat, where I would suggest to show that This is the end of
the previous phrase. You done with this
phrase with a sentence, and you take a breath. And then you start
the next sentence. The same way we speak. We played music. It's part of our life which
reflects us as human beings. And music is a
language which follows many similar roles
as human speech. Here we have the a sharp, which you will have to
play in half position. You will have to make
a shift to that node. And to make a shift, you will need to
move all fingers, including the
preparatory exercise, would be just do it without bull and make sure that
you will slide. And that has to
be done in quiet, calm, and graceful way. Right after a sharp. You will have to get back to the first position
because you will have to play C-sharp and you will need to use
third finger to do it. Here we have two
shifts in a row. And the same way, your slide and play a
sharp in half position. Your slide the other direction and get back
to the first position. There is an alternative way
to get to this C-Sharp. You can make an extension. But this is fairly hard to do because this is
quiet, big extension. So unless you have long fingers and some
experience with extensions, I would recommend you to make a shift when you get
back to C-sharp.
33. Tips on string crossings on lower strings: In this measure, you will have to pay attention
to string Carlson's. Because you have
to 16th nodes and each of them is on
different strains. To make things harder to play. The first 16th note G, you have to move the ball from the a
string to this train. And right after that, you have to go back
and play on a stream. When we have to go back and forth from one
string to another, we usually don't want
to use elbow too much. When you use bigger
parts of your body, you cannot move them as
fast as smaller parts. For instance, motion
with fingers is weak, weaker than the motion
with elbow, shoulder. And here, you will just need to slightly turn the ball
with your fingers. And this kind of
erased motion rather than moving your
elbow down and up. And one more thing
in this measure, when you play G, you need to make sure that
your pinky is very round. So it's not touching
that a stream. If it happens that it
will damage the a strain. When you already start playing the next
node that opened a, then you will hear
very strange noise. You might be wondering if there's something
wrong with your cello. If a breach has to be adjusted or something
going on with the bowl, maybe you need to repair it. But actually, that is all about how you place your
fingers on this train. Sometimes we can have some flexibility and keep
fingers in the lower position. But in cases like that, when the following note
is on the next train up, your fingers have to be in a
perfect role and position. In those few measures, you'll have to play
on lower strains. Don't forget to adjust
the angle of your ball. You go from D
Stream to J stream. You need to turn
the ball a little bit towards yourself. This way. If I exaggerate, of
course not that much, I'm just showing it to you. So you'll have no
doubt how to do it. And you turn the ball a little bit when you
go to the G string. And when you play on C strain, you'll have to do it even more. And another thing
to pay attention here is the boll distribution. When you have to play
F natural and E, two low notes on the same wall. Remember, not to spend too
much of the ball right away. Save it little bit. You don't need too much of the ball to play
on lower strains. You can go deeper in this train and to usually it does not
require very fast ball speed. Then if you take care of that, you will get strong
yet beautiful sound. And you will not end up in
the situation that you just have no Bowl left to play
the end of the second note. The following part is the same as the opening
of this etude. And let me just play for
you the last four measures. When melody goes to the
different direction. Here, again, you will have
to go to the half position. But right before this shift, you have an open string, you play D. And you can
take advantage of that. Instead of making this
shift in the last moment, you can do it while
plane on the open D. Did you see how I did it? If you forget about this, you might and up
doing it like this. And you might succeed in finding the proper spot
for the fourth finger, but it will sound rushed. And usually it will not
work in very precise way. We always try to
take advantage of open strains if
the following node is in a different position. This way, you will
need to work on more advanced
coordination between the left and two right hands. Your right hand is
still BZ plane, the node before the shift, but your left hand
is one step ahead. And two, you practice
in a slower tempo. Try to get used to
this kind of thinking. Again, after
practicing, you will be able to do it without
much of thinking. And that will allow you
to enjoy playing music. Of course, it's not
every time that you can play open string
before making a shift. So here, after we're
done with the G-sharp, with the first finger, you will have to make a shift. Just make sure that
when you make a shift, you'll slide with all fingers. And your thumb should be touching the back of
the neck of the cello. It should never be up in
the air, and that's it. Now, you should be ready to play this etude through
in a slower tempo.
34. How to play this etude in slow tempo: I will play this etude
for you in slow tempo, the eighth note, 60, and I will use some vibrato. We talked about vibrato
in previous lessons. Just to remind you, vibrato should not
be a distraction from the good intonation
or clear rhythm. If you feel that you
need to work more on position of your left hand or how you use your right hand. Don't worry about vibrato. You can always add it later. Think about vibrato as a spice. Of course, it's great to
add a little bit of that. But you cannot cook a
dish just using ******.
35. Are you ready to play with me?: This etude comes with a
second part to accompany. Usually the teacher would
blade alone with the student. And the second part is
quite challenging in the way it communicates
with the first part. You will hear that
second cello has to switch from blame with
the ball to pizzicato. It also has fast 16th notes when the first cello
just has longer notes. And even some times, the second part has few nodes which are not
coming on the beat, but little bit off
one-sixteenth note later. But why don't we try to play
together the same tempo, the eighth note, 60. And you will hear the
metronome in the background. And that will help
us to stay together. So not a lot of
it will get lost. Okay.
36. Here is the way to play it in fast tempo: Time to blade in the original tempo and
done the sostenuto, I suggest to set the metronome
to the eighth note, 92.
37. The last challenge - play a duet with me in fast tempo: You seem to be right here. For performance. We can do together. Let's try it again. We'll set the metronome
to help us to stay together and we will
keep this faster tempo. The eighth note, 92. Hey.
38. In conclusion: Are you already done
with this course? Amazing. Where to go next. If you didn't get
a chance yet to go over my course
for busy beginners, you might enjoy experience
doing it because it will provide even more
music to play along with me. And it's perfectly
fine that it will not be very difficult for
you to play cello. You have to enjoy it. And this course might
be right for you. And there is also
a step up course, intermediate level, whichever way you choose
to keep making progress. I'm sure that you will enjoy your experience with this
wonderful instrument. I wish you all the best. And I hope we will meet again via another course or video.
Maxim Kozlov, Cellopedia YouTube
