Course Syllabus
Aaron introduces the ten "practicements" – ten concepts that outline his entire approach to playing and interpreting music on the cello.
Breathing is a fundamental part of cello playing. Our breaths should align with the movements of our bow, and our motions should come organically from the hips. For this lesson, Aaron demonstrates why our exhales are longer than our inhales and much more.
Perhaps the most foundational and efficient system for scale fingerings, Aaron's system is an excellent place to begin. He demonstrates major and two types of minor scales, as well as intervals and practice strategies.
Free the Biceps and Triceps
In this lesson, Aaron explains how keeping the biceps relaxed keeps the arms relaxed. Using a rubber band, he shows how we can practice remaining balanced and tension-free.
Good phrasing requires exquisite bow control. That is why Aaron devotes this lesson to practicing with different lengths of bow, generating balance, controlling the abductor digiti minimi muscle, and holding coins on his wrist. Aaron provides several exercises to address these, including Starker's Serial Control Exercises.
Coordination of the Hands
With the help of an excerpt from Popper's first etude, Aaron demonstrates "set-cross," a method for coordinating motion of the two hands. He teaches ghosting, a technique to sensitize our fingers to different pressures on the string.
In this exciting lesson, Aaron shows how different bow patterns, crossings, and articulations produce different shapes when a laser pointer is attached to the bow. This method highlights any potential unevenness in our playing, and gives us a tool for correcting issues in our repertoire.
In this lesson, Aaron teaches us why our power must come from the shoulder, not the hand. He also demonstrates momentum, a concept from physics, and applies this to the motion of our bow.
Shifting and L.H. Movements
Shifting is all about balance – and knowing what part of our hand to lean into. Aaron provides a set of practice exercises for integrating shifts with our breath, using vibrato, practicing many intervals, and playing double stops with the opening of the Saint-Saéns concerto.
By manipulating the bow's placement, speed, and weight, we can create a near-infinite variety of tone colors. Aaron proposes a simple code of one letter and one number to define bow position and speed. Finally, he examines the full life cycle of a phrase and looks at how many different paths through the space of possible tone colors one can take.
Finally, we discuss polyrhythms – a perplexing concept for many. Through diagrams and demonstrations, Aaron whets our appetite for further self-exploration of various polyrhythms, provides apps that can help us study further, and shares how they can help us practice rubato.
Click here to download the course workbook PDF and see the full syllabus →