It's All About the Joints
The Key to Tension Free Cello Technique
Good day fellow cellists! This article looks at what I consider to be one of the most important aspects of cello technique. You can have picture perfect hand and arm positions on the cello yet if you do not have loose, tension free cello technique through unrestricted "active" and "passive" motions, the perfect hand positions will not necessary help. Don't get me wrong, I think proper hand and arm position is important. But in the end, someone with a loose cello technique with less than ideal hand position will still tend to get around the cello better than someone with great hand position who has tension.
Some cellists use the phrase "joint motion". I think we need to be more exact in our definitions. Joints do not actually move. Rather, joints are pivot points for active and passive motions. I believe that understanding the "pivot joints" is an important, or even key, component of a loose, tension free cello technique as well as cello pedagogy. I have found in my teaching that tension always shows itself around the pivot joint.
We need to be loose when we play the cello, but it doesn't really do any good to be told, "Play with less tension". We need concrete ways to identify where our tension is and specific ways to practice being loose. Playing with less tension must be learned. Even the loosest player can find areas to release tension.
In my experience, one great way to help release tension is to identify three key elements;
- Pivot Joints: The pivot point for active and passive motions
- Active Motions: Motions that are produced directly by muscles contractions (hand wave: the hand moves actively)
- Passive Motions: Motions that are reactions to active motions (shaking out your hand: the hand moves passively)
All of these elements help us to better understand how our body works when performing certain motions on the cello. In fact, most of the motions we do on the cello encompass these three elements.
Application to Bow Arm Motions on the Cello
For the purpose of illustration, I will concentrate on the right arm. When teaching beginners I identify four main ways to play up bows and down bows. Remember, these are just the most basic ways to do up bows and down bows. In more advanced playing, you can combine these motions and there are many different types of bow strokes Advanced Bow Technique for the Cellist) use in sophisticated playing. But it is important to first identify the most basic ways to perform up bows and down bows and identify the Pivot Joints, Active Motions and Passive Motions (if this applies) and practice them separately.
One thing I find in my teaching is that students tend to favor one or two of these motions. Some cellists tend to be forearm players, some tend to be whole arm players, etc. And the reason for this is almost always - yes, you guessed it - tension. If the shoulder muscles are tight, the student will probably be more of a forearm player. If the bicep and tricep are tight, the student will tend to use the whole arm for bow strokes and avoid the forearm. The result of this is a cellist choosing a motion that may not be the most efficient for the particular job to be done. So it is important to identify the different ways we can do up bows and down bows because many cello students haven't really thought about it.
1. Forearm Active Motion: This bow stroke is primarily used in the middle to upper half of the bow, though it can be used in any part of the bow. For teaching cello technique to beginners, I recommend first teaching it as an upper half bow stroke. So let's identify the primary components:
- Pivot Joint: Elbow
- Active Motion: Forearm
- Passive Motions: Hand, fingers (writs as pivot joint and knuckles as pivot joints)
Now, this is also a motion that is a weak point for many cello students. As cellists we often prefer to play at the lower half of the bow where we can utilize the weight of our arms. Because of this, I recommend introducing this motion to beginning cellists early. You do beginning cellists a big favor by doing so.
Besides learning to be comfortable in the upper half, if we are to play fast passages with separate bows, there is virtually no other way to execute them except with the forearm. And no matter where in the bow we wish to play (upper half, lower half, middle) the forearm can be used. The reason the forearm motion is the most efficient motion for fast passages is because the cellist only needs to move a part of the arm. One can add some upper arm with it but moving the entire arm exclusively would be impossible with fast separate bows, yet many students attempt this very thing! Try playing the entire last movement of the Haydn C Major Concerto using your whole arm!
We can debate over whether we hold our elbows up when we play or low, but with this motion it is necessary to have the elbow up (but not too high!), no matter which part of the bow is being used. The elbow joint only allows motion in 2 directions. If the elbow is down, the forearm moves floor to ceiling, not left to right (up bow and down bow).
With playing at the tip while using the forearm motion, I recommend a slight increase in pronation in the forearm and hand. See Right Hand and Arm Position on the Cello.
Remember, Cellists tend to be weak in this motion. Introduce students to this motion early.
2. Whole Arm Active Motion: This is the one cellists tend to favor from the beginning. This bow stroke is best used for slow to moderate playing. We can use it for legato or for a "brush stroke". It can be done in any part of the bow, though it is used more often in the lower half. For beginner cellists, I recommend teaching it as a lower bow stroke first. So what are the components of this stroke?
- Pivot Joint: Shoulder
- Active Motion: Upper arm or whole arm
- Passive Motions: Hand, fingers (writs and knuckles as pivot joints)
In my opinion, it is better to have a lower elbow when bowing in the lower half of the bow so as to better transfer weight into the string. Please See Right Hand and Arm Position on the Cello
3. Whole Arm "Swivel" Motion: I personally do not use this motion for much other than controlled spiccato or as part of a brush stroke but it could be used for legato strokes as well. This would especially be true in baroque performance practice. So let's identify the components of this movement:
- Pivot Joint: Shoulder
- Active Motion: Upper arm or whole arm
- Pivot Joint 2: For controlled spiccato the wrist is a pivot joint
- Active Motion 2: For controlled spiccato the hand is an active motion
Often when we think of the shoulder as a pivot joint we think of a "chicken wing" motion with the upper arm moving up and down. But the upper arm can also "swivel" in the shoulder joint.
The elbow needs to be down for this motion to create a left to right (up bow down bow) motion. If the elbow is high the hand tends to go front to back.
One great exercise for this motion is to hold a roll of toilet paper (yes, a roll of toilet paper!) or a rolled up hand towel between the upper arm and body. It keeps the upper arm from doing a chicken wing.
4. Whole Bows. This is the most difficult bow stroke because the cellist must transition from the lower half of bow to upper half of the bow and involves several active motions and pivot joints.
- Pivot joints: Shoulder, elbow, wrist
- Active motions: Whole arm, forearm, hand
Transition involves:
- Low elbow transitions gradually to a higher elbow (active motion is upper arm; pivot joint is shoulder)
- Wrist slightly bent at frog to straight wrist at tip to keep bow straight (active motion is hand; pivot joint is wrist)
- Begins with whole arm motion and ends with forearm motion
- Supination (lower half) to more pronation (upper half)
So let's identify the components of this bow stroke.
- Pivot Joints: Shoulder, wrist, elbow
- Active motions: upper arm, forearm, hand
Because this motion involves connecting the lower half and the upper half, I like to teach this only after the student can perform the upper half bow stroke and lower half bow strokes separately. After all, you cannot connect them if you cannot do them separately.
Action Studies
Here are some "Action Studies" to help teach the motions described in this article. In case you are not familiar with the term "Action Study", it was coined by violin Pedagogue Paul Rolland who taught at the University of Illinois in the 1950s and 60s. The idea of these action studies is to have an individual motion that can be practiced separately, enabling the student to focus on loose technique and freedom in the active motions. This is where technique becomes kind of fascinating for me.
When I began to teach these action studies I discovered some very revealing issues in my students. The first thing I discovered is that any tension issues become immediately apparent. If tension is present, the motions become restricted. For example, if my shoulder is tight, the whole arm motion becomes restricted.
Tension always shows itself around the pivot joint!
What I also discovered is that cellists with tension try to control the motions instead of using momentum. If there is any concept I'd like for you to remember in regards to cello technique it is momentum. Think over and over while you practice: momentum, momentum, momentum! When you wake up in the morning, the first thing to come to your mind should be, "momentum"!
Cellists with tension do not use momentum when they play.
Think of any sport. When professional basketball players throw a free throw they use momentum; they don't control the motion all the way through. How about a pitcher in baseball or a soccer playing kicking a goal? They get the motion started and they use momentum to their advantage. How about when you walk? Do you control the movements with tension or do you use momentum? It would be kind of funny to see someone walking not using momentum. I bet all of you use momentum when you walk. Motions on the cello shouldn't be any different than the examples cited above.
The good news is that tension free playing can be learned and practiced! And these action studies give students a concrete way to practice releasing tension. It simply will not work to say, "Play with less tension". The cello student needs something more specific to work on. And that is what these action studies are for. They are simple yet can be very effective if practiced. Again, in this article I am concentrating on the bow arm and hand. For more action studies see, Action Studies for Beginning Cello.
Remember: When practicing these action studies, work on momentum (I don't mean to beat a dead horse but momentum is key).
Relaxed Shoulders
Action Study: Shoulder Drop: Teaches to relax the shoulders while you play.
Hold arms in approximate playing position. Raise and lower shoulders. Exhale while you drop shoulders. Relax!
Upper Half of Bow
Action Study: Door on a Hinge: (Active motion: Forearm; Pivot Joint: Elbow)
The "door" is the forearm and the "hinge" is the elbow. This Action Study is designed to help the student become more aware of how the forearm moves from the elbow (pivot joint).
Hold right elbow up (but not too high!). "Open and Close" forearm (door) while keeping upper arm from moving left to right. The left to right motion (up bow and down bow) should be accomplished only by the forearm.
Remember momentum!
Lower Half of Bow
Action Study: Grandfather Clock (Active Motion: Whole arm; Pivot Joint: Shoulder)
Relax your whole arm and let it hang from the shoulder. Swing your entire arm left to right like a grandfather clock.
Action Study: Swing (Active Motion: Whole arm; Pivot Joint: Shoulder)
While doing the Grandfather Clock gradually bend the arm from the elbow. Keep swinging the arm from the shoulder. Keep you hand relaxed and hanging from the forearm.
Grandfather Clock and Swing are designed to help the student become more aware of how the whole arm moves from the shoulder (pivot joint).
Action Study: Polish the CounterorWax on Wax Off (Active Motion: Upper Arm; Pivot Joint: Shoulder)
Primarily for controlled spiccato. Point the palm of your right hand to the ground with a low elbow. Move your forearm left to right while allowing the upper arm to swivel in the shoulder socket.
Action Study: Basketball Bounce. (Active motion: Hand; Pivot Joint: Wrist) Have the student move the hand like a basketball bounce. This movement will be added later for controlled spicatto .
Remember momentum!
Whole Bows
The most difficult so should be taught last.
Action Study: Chicken Wing (Active Motion: Upper Arm; Pivot Joint: Shoulder)
The Chicken Wing is designed to help the student become more aware of how the upper arm rises and lowers for whole bows with the shoulder as the pivot joint.
Action Study: Door on a hinge (Active Motion: Forearm; Pivot Joint: Elbow)
Door on a hinge helps the student become aware of how the forearm extends at the upper half of the bow.
- Alternate between Chicken Wing and Door on a Hinge (for whole bows)
- Wing on a Hinge (combine chicken wing and door and a hinge).
- Basketball Pass (same motion as wing on a hinge).
Action Study: Telescope I (teaches pivot between thumb and 2nd finger)
This exercise is to teach the pivot between the thumb and middle finger.
- Hold bow with left hand on the stick.
- Look through the telescope (circle using middle finger and thumb).
- Put middle finger on metal piece and thumb in nook.
- Hold 1st and 4th fingers out.
- With the left hand, raise the tip of the bow up without moving the right hand until the bow touches the index finger.
- Feelthe pivot in the right hand.
- With the left hand, drop the tip of the bow down without moving the right hand until the bow touches the pinkie. Feel the pivot in the right hand.
Action Study: Telescope II
This exercise is to teach the pivot between the thumb and middle finger.
- Hold bow with left hand on the stick parallel to the round.
- Look through the telescope (circle using middle finger and thumb).
- Put middle finger on metal piece and thumb in nook.
- Hold 1st and 4th fingers out.
- Keeping the bow parallel to the ground, raise the elbow and pronate hand until index finger touches stick. Feel the pivot in the right hand.
- Keeping the bow parallel to the ground, lower the elbow and supinate hand until index finger touches stick. Feel the pivot in the right hand.
Action Study: Touch your nose (Active Motion: Hand; Pivot Joint: Wrist)
Touch the back of your bent wrist to the tip of your nose. Do a Door on a Hinge and straighten wrist. Bring wrist back to tip of nose while gradually bending it. Keep repeating!
Remember momentum!
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