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The Bowing Approach to Cello PlayingJohn C. HopkinsCentral Washington University

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Recommended CitationHopkins, John C., "The Bowing Approach to Cello Playing" (1949). Electronic Theses. Paper 32.

l " ·~

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

SECTION ONE: THE OPEN STRINGS

Legato Notes of One Beat or lees One Note to a Beat Four Notes To a Beat Three Notes To a Beat

Staccato Notes Two Notes to a Bow Three Notes to a Bow Four Notes to a Bow Eight Notes to a Bow Twelve Notes to a Bow Sixteen Notes to a Bow

Spic ca to Four Notes to a Beat Three Notes to a Beat

Legato Notes of More Than One Beat Notes Lasting Two Beats Notes Lasting Three Beats Notes Lasting Four Beats

1-9 10-13 14-17

18 19 20 21 22 23

10-13 14-17

25-27 28 29

SECTION TWO: THE FOUR FINGER PATTERNS

The First Finger Pattern Legato Notes of One Beat or Lese

One Note to a Beat Four Notes to a Beat Three Notes to a Beat

Staccato Notes Two Notes to a Bow Four Notes to a Bow Two Notes to a Bow

Legato Notes of More Than One Beat Notes Lasting Two Beats Notes Lasting Three Beats Notes Lasting Four Beats

The Second Finger Pattern Legato Notes of One Beat or Lese

One Note to a Beat Four Notes to a Beat Three Notes to a Beat

1-7 8-12

13-16

17 18

19-20

21-22 23 24

25-31 32-35 36-39

i

l 2 2

3 3 3 4 4 4

2 2

4 5 5

6 9

12

15 16 16

16 17 17

18 21 24

Staccato Notes Two Notes to a Bow Four Notes to a Bow Two Notes to a Bow

Legato Notes of More Than One Beat Tones Lasting Two Beats Tones La.sting Three Beats Tones La.sting Four Beats

40 41 42

43 44 45

The Third Finger Pattern

The

Legato Notes of One Beat or Less One Note to a Beat Four Notes to a Beat Three Notes to a Beat

Staccato Notes Two Notes to a Bow Four Notes to a Bow Two Notes to a Bow

Legato Notes Longer Than One Beat Notes La.sting Two Beats Notes La.sting Three Beats Notes La.sting Four Beats

Fourth Finger Pattern Legato Notes La.sting One Beat or

One Note to a Beat Four Notes to a Beat Three Notes to a Beat

Staccato Notes Two to a Bow Four to a Bow

Legato Notes Longer Than One Beat Tones La.sting Two Beats Tones La.sting Three Beats Tones Lasting Four Beats

SECTION THREE: SLURRING

46-52 53-57 58-62

63 64

65-66

67-68 69 70

Less 71-77 78-82 83-86

87 88-90

91-92 93 94

The Open Strings Legato Notes of One Beat or Less

Two Notes to a Bow Three Notes to a Bow Four Notes to a Bow Eight Notes to a Bow Two Notes to a Bow

Legato Notes of More Than One Beat

1 2 3 4 5

Two Beat Tones, Two to a Bow 6 Combinations of One and Two Beat 7

Tones (Two Quarters and a Half)

27 28 28

29 29 29

30 33 36

39 40 40

40 41 41

42 45 41

51 52

52 53 53

54 54 54 54 54

55 55

Quarters and Dotted Halves 8 55 Quarters and Whole 9 55

The First Finger Pattern 56 Two Tones Slurred, One Detached 11-12

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 61 Two Tones Slurred, One Detached 21-22

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 66 Two Tones Slurred, One Detached 31-32

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 Four Staccato Notes, One Detached Three Staccato Notes, One Detached Two Staccato Notes, Two Slurred Three Staccato Notes, Three Slurred Four Staccato Notes, Four Slurred

31-32 33-34 35-36

37 38

39-40

SECTION FIVE: SPICCATO l'IOTES ON SAME BOW

90 91 92 93 93 94

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 D Scale 2 Eb Scale 3 F Scale 4 G Scale 5 A Scale 6 Bb Scale 7 Alternate Bowings

SECTION SEVEN: SHIF.TING AND PLAYING SCALES WITH ONE FINGER

C Scale D Scale Eb Scale F Scale G Scale A Scale Bb Scale

l 2 3 4 5 6 7

95 96 96 96 96 96 95

97 97 97 97 97 97 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

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.

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Spiccato Stokes In The Lower.Third Of. The Bow

The exercises ten through seventeen are marked to be played spi­cca to. In this style of bowing the bow bounces on the string, Use about two inches of bow close to the frog. Spiccato is produced by a movement of the whole arm, You must have a firm hold on the bow to do it properly, It is an enjoyable kind of playing and it will help you to develop good bow control,

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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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~Ec·rION T"liO

The Four Finger Patterns

A finger pattern is a way of placing your fingers on the string. Basically there are only four finger patterns used in 'cello playing. In the first and second patterns the fingers are all the same distance apart. In the third and fourth patterns the first finger is stretched back toward the nut.

Be sure that you press the strings down firmly with the part of the finger which is just opposite the finger nail •••• almost at the jJ:£ of the finger •••• and be sure that the fingers are curved over the finger board. You have already mastered the bowing styles required and should be able to devote your full attention to the fingers of the left hand. Do not lift the first finger when playing the second, third, or fourth. Keep all fingers down as long as possible.

Learning all four finger patterns when you begin your 'cello play­ing will let you play music written in many different keys right from the start. Listen and adjust your pitch to sound of the piano as your teacher plays with you.

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SECTION FOUR

Staccato Notes Played On The Same Bow

Notice that the bowing mark or slur mark in this section does not mean to connect the tones smoothly, because there are dots over or un­der the notes which tell us that the tones are to be short. Be sure to use the whole bow and divide it evenly. Remember that it must stop completely between tones. It will help you to develop a smooth style of playing if you practice each exercise by starting with a down bow as well as an up bow. This practice will help you control the up bow 1n legato playing which is a little harder to control than the down bow.

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114

SECTION FIVE

Spiccato Tones Combined With Legato Tones

Use the notes and bowings of SECTION FOUR. Remember to use only one or two inches of bow close to the frog. The purpose behind this group of exercises is the combining of spiccato tones with sustained or legato tones, something often done in 'cello music. Since you know how to do both types of bowing, you should have no great difficulty in putting the two kinds together.

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NT

SECTION SIX

Scales Showine; Combinations of Finger Patterns Required

You have noticed that a scale starting on an open string can be played with the second finger pattern through two strings. If you go through another string it doesn't sound right. To play in the same scale (or key) through more than two strings you must change your fin­ger pattern. Thi's section will show you how finger patterns are changed as you play from string to string in the same key. Listen carefully and get it in tune.

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SECTION SEVEN

Shitting and Playing Scales With One Finger

This set ot exercises will do a great deal toward helping you play in tune. .First play the scale using the finger patterns of SECTION SIX to get your ear accustomed to the sound. Then play the same scale, but use only one finger and shift from tone to tone. Be sure that you play the scale up and down, not just up. Now play the scale a third time using the patterns of SECTION SIX as at first. Try to make the three scales sound exactly the same. Do your shifting quickly and surely.

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If a bowing approach were to be used widely in

class or private instruction in the schools, the writer

believes the number of string players (particularly 'cello

players) would increase, He believes further that the

over all quality of string teaching and playing would be

improved by such a kinesthetic approach,

rurorking out the ideas in this 'cello method, it

seems to the writer that rhythmical and tonal possibilit­

ies of the first position have been exhausted, Further

study in this field would involve the application of

these principles to the higher positions,

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BIBLIOGRAPHY

Bornett, George, Bornoff's Finger Patterns for Violin, lev Yorks Carl Fischer, 1948

llotsoaer, J, J, F',, Exercises for Violoncello, Hew York: G, SehirMr, 1917, (Written about 1850)

1'.1.e•oh, Carl, The Art of Violin Playing, Hew Yorks Carl lieoher, 1924

QratllllllCher, F,, Daily Exercises for Violoncello, Hew Yorks G, SohirMr

lreutser, Jladolphe, Studies tor Violin Hew York: G, Selail'ller, 1894, (Written about 1800

JiPter, Re'lau., Revelli and Schmid, Th• World of Jhsic Orehestra Course, !few Yorks Ginn and Co,, 1937

Sohroeaer, .Alwin, 170 Fonndation Studies for Violoncello, lev Yorks Carl Fischer

lldstler, Harvq S,, Introducing the Positions tor Cello, Chicago1 Bllbenk, 1947

llli•tler, H8"97 S,, Modem Hoh!lsnp-Wehlt•hrjj Method for Vio11n1 Chicago1 Rllbank, 1947

6136'1

-'~;- .:· .:-

WE THE UNDERSIGNED AP?ROVE THE HATERIAL SUBMI1'T":D

BY MR. JOHN C. HOPKINS TO FULFILL 1'HE THESIS RE'-

QUIRl':MENTS FOR THE DEGREE nF YiASTER OF EDUCATION.

;~ a_ !.i.A ;:_, Herbert A, Bird

June 2nd, 1949