An edition of Cello, bow and you
(2017)
Cello, bow and you
putting it all together
by Evangeline Benedetti
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Table of Contents
The Sound Image. What You Hear in Your Head ; Playing by Ear or Reading Music ; Shaping the Sound Image ; Elements of the Sound Image ; The Cellist's Objective
The Cello and the Bow. Observation ; The Beauty of the Instrument ; The Bridge and the Sound Post ; The Strings ; The Nut, the Tailpiece, and the Fingerboard ; The Role of the Bow
Stringing. Where the Bow Meets the String ; The Art of Stringing ; Newton's Laws in Cello Playing ; Application of Stringing
The Fingerboard. The Fingerboard Grid : An Image-Based Approach ; Harmonics ; Playing the Grid ; Learning the Fingerboard : Positions Versus the Grid
Tools of the Trade : The Robotic Left Hand and the Bow. Observing the Left Hand as a Tool ; Observing the Bow as a Tool
A Gravity-Centered Technique for Bowing. The Natural Laws and How They Affect Bowing ; Gravity-Centered Approach to the Whole Bow ; Legato : The Soul of the Cello ; The Neutral Whole Bow
Short Notes as Part of the Whole Bow Stroke. Short Notes on the String ; Short Notes off the String ; Short Notes with More Than One Note in Each Direction ; Coda
An Overview of You. Coordination and the Alexander Technique ; Whole-Body Playing ; Harmony of Movement : Hands Lead the Arms, Arms Move the Hands ; Opposition as Cooperation : Co-Handedness
Sitting and Holding the Cello. Anatomical Vocabulary ; Sitting : The First Technique ; An Overview of the Spine ; The Role of the Brain and the Spinal Cord in Playing ; How to Sit : Moving from Standing to Sitting ; Holding the Cello
Breathing. Anatomy of the Dorsal Spine, the Rib Cage, and Breathing ; How Breathing Works ; The Cycle of Breath ; The Role of Breathing When Playing
The Hands. Anatomy of the Hands ; Functions of the Hands ; Function Applied to Cello Playing
The Arm Moves the Hand. The Shoulder Girdle and the Shoulder Joint ; The Wrist and the Elbow Joints
Putting It All Together : Application of Anatomy. Bowing ; Shifting ; Vibrato ; Energetic Force for Playing
Practice as Process. Creative Practice as Experiment ; Creative Process as Research ; Progress Is Never a Straight Line, and It Takes Time ; Two Paths of Learning ; Creating Your Practice Space ; Creating Concentration and Consciousness ; Setting an Agenda ; Assessment ; Pitfalls ; Embrace What Is Right
Rhythm, Melody, and Harmony. Rhythm ; Scales and Melody ; Scales and Harmony
Auralization and Visualization. Using Auralization ; Using Visualization ; Integrating Auralization and Visualization ; Visualization as Looking Inward
Warming Up. A Practice Warm-up Routine ; Warm-ups before Playing ; A Rhythmic Routine Away from the Instrument ; Warming Up at the Instrument
Practice Techniques. Preserving Energy Through No-energy Practice ; Just the Beginning of the Note ; Correcting Wrong Notes ; Reversing ; Postlude.
Edition Notes
"About the companion website": page xx.
Includes bibliographical references (page 227) and index.
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| September 18, 2021 | Edited by ImportBot | import existing book |
| August 5, 2020 | Edited by ImportBot | import existing book |
| July 19, 2019 | Created by MARC Bot | import new book |