Cello Technique

Foreword by Janos Starker TranslatorOs Note Introduction Part One: Goal-Directed Movement I. On Controlling Movement General Issues Goal Conception Control of Movement II. The Physics of Movement Energy and Mass Equilibrium Energy Reserve and Looseness III. Movement As Gestalt Movement in Space Movement in Time Part Two: The Fingerboard IV. Position Change Total Body Movement during Position Change Rotation of the Body and the Leg Muscles Elasticity of the Body Breathing and Position Change Bow Direction and Position Change Portamento and Rhythm Movement of the Left Arm during Position Change Movement of the Hand and Fingers during Position Change Finger Activity during the Anticipatory Movement V. Placement of Fingers, Hand, and Arm Within One Position Hand and Position The First Four Positions The Transitional Positions (Fifth to Seventh) The Thumb Positions String Crossings and Double Stops VI. Movement Within the Hand Percussion The Trill Fluency VII. Vibrato Vibrato as a Means of Expression: Frequency and Amplitude Vibrato Movement of the Arm Application of Vibrato Vibrato and Pitch Level Part Three: The Bow VIII. The Bowed String How Is a Sound Produced on the String? Change of Volume: Pressure, Speed, and Contact Point Sound Colors Speed, Pressure, and Contact Point in Their Practical Application Problems of Sound Production: How to Make a String Speak IX. Transmission of Pressure to the String Arm Weight Moment of Rotation (Rotational Force) Pressure Relationships in the Bow Hand Holding the Bow Slanting the Instrument X. Movement of the Right Arm Upper Arm and Forearm in a Whole-Bow Stroke Hand and Finger Movements during a Whole-Bow Stroke Bow Change String Change Simultaneous Bow and String Change XI. Different Kinds of Bowing D tach Martellato Staccato Off-the-String Bowings Conclusion Bibliography