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Cello and Bass Notebook

Ashley Evelhoch

12/8/2011

MUS 258



1

Table of Contents
Right Hand Techniques.2
Precursors to Bow Hold...2
Bow Hold Activities and Goals...2
Pizzicato Formation.3
Bow Position3
Basic Bow Stroke.4
Direction Changes4
String Crossings...4
Double Stops5
Staccato, Stopped, Hooked Bow.5
Off-String Strokes5
Bowing Principles6
Slurring7

Left Hand Techniques...8
Body Posture8
Instrument Position..8
Hand Frame and Finger Position.9
Finger Pattern One.10
Finger Pattern Two10
Complex Finger Patterns11
Vibrato and Shifting...11

Special Topics...13
Construction and Nomenclature13
Care and Maintenance16
Tuning18
Tuning Handout 18a
Developing String Programs and Recruiting...18b
String Literature...18c
Structuring the Rehearsal
Curriculum and Assessment
Identifying Technical Problems.19
Handbooks 19 b and 19c
Games19
Scales 19d
Fingering Charts 19e
Parts of the instrument diagrams..19f
The Basic Rules of Orchestral Bowing ...19g
Top Ten List of String Orchestra Repertoire- Anne Thompson..19h
String Teaching for the Non Specialist- Resource Bib. ...19i
Developing the Bow Hand ...19j
Developing the Bow Hand part 2 19k
Double Bass and French bow grip ..19L
2

1. Right Hand Techniques

A. Precursors to bow hold
Bow Precursor Activities
*All activities should be nonverbal*
-Relax hand (weird wave, shake out hand)
-Bounce a ball
-Make a bunny using the thumb and middle two fingers
-Make the bunny chew
-Wiggle the ears
-Look through the eyeglass (space between thumb, middle and ring fingers)
Bow Hold Formation
-Thumb supports from the bottom
-Pinky acts as a counter lever
-Index finger governs the weight
-Center fingers provide stability
-All fingers are in contact with the bow
-It is called the bow hold, not the bow grip

B. Bow hold activities and goals
Have students do all steps in bow hold activities using pencil as their bow.
Give the students straws or dowels and repeat
Use PVC piping to help stimulate the bow on the string
Stir Soup
o Hold bow straight up and down. While keeping the bow hold,
make a stirring motion.
Row
3

o While keeping the proper bow hold, have students row back and
forth, using the bow as an oar.
Rocket
o Hold bow straight up and down while keeping bow hold
o Shoot bow up as if it were a rocket
Windshield wipers
o While keeping proper bow hold, move the bow like a windshield
wiper to the right, onlyleft can hinder the bow hold.
Suzuki Rhythms
o Move bow, move bow to the syllables of certain words
o Start on a down bow first
o Mississippi Hotdog
o Hot chili, Hot chili
o I wish I had a motorcycle

C. Pizzicato Formation
Pizzicato= to pluck
Thumb and first finger of the right hand straight out
Thumb should be planted to fingerboard
Wiggle string and pull horizontally
Index finger should be about 2 inches up on fingerboard

*Pizz. Formation Activities:
-Start with loose fist
-Thumbs up, say, GVSU (school name) is cool
-Stick first finger straight out
-Hand should in an L or gun shape

D. Bow Position
Bow should always be parallel to the bridge
Place bow between bridge and fingerboard

4

E. Basic Bow Stroke
Bow stroke needs to come from the arm, to the elbow, through the wrist, and then
to the fingers
Open and close on the elbow
Goals:
o Bow hand shape needs to be set
Take the time to teach this right away in beginning class
Bow Sound
Bow Placement
o Middle (Lane 3)= most played
o Fingerboard (sul tasto)= Darker, mellow sound
o Bridge (sul ponticello)=Harsher sound
o The higher the passage, the closer to the bridge you should play
Arm Weight
o Medium Weight= quieter
o Heavy
o Heavier=louder
Speed
o Andante
o Allegro
o Adagio (whole notes)

F. Direction Changes
Make sure bow hold is set
Use basic bowing stroke to begin bowing
Arm and elbow lead bow stroke
Wrist should be the last thing to react
Follow the curve of the bridge when switching between strings

G. String Crossings
Each string has a different arm level
o C string- elbow should be by ribs
o G string- elbow is slightly higher, almost parallel to ground
o D string- elbow even higher, angled up about parallel
5

o A string- elbow should be the highest ( arm around 45 degree
angle)
The elbow needs to lead every arm movement, NOT the wrist
If kids are struggling with string crossings, either
o The elbow is not anticipating the movement
o The bow is not centered
H. Double Stops
Goal: Play two strings together EVENLY
Set the bow on two strings evenly, with the same amount of bow, and the same
amount of arm weight
Must be placed on two adjacent strings
D scale with double stops would be on the D and A strings

I. Stopped/Hooked Bow
Goal: Staccato
o Pinch the bow and depress the stick
o Have index finger lean in
o Put extra weight on the bow when it is being pulled at the beginning of the
stroke
o Lighten up the weight after the initial pull
o Will not use much of the bow
*Activities*
Pinch the bows
Pinch, pull, and release
Goal: Hooking
o Same basic technique as staccato bow
o When two notes are hooked, they need to be played in the same
direction
o When hooking two notes, stop bow after the first note, and continue to
next note without readjusting bow

J. Off-String Strokes
Spiccato is most common/widely used off the string stroke
To find Spiccato placement,:
o Find balance point of bow
6

o Place hand in bow hold at the balance point
o Place bow on string, just left of the new bow hold.
o Notice that bow will come off the string slightly after each stroke
o Practice by stroking down-down-down, and up-up-up
o Move on to stroking down-up-down-up
o Move the right hand back to its proper position on the frog
o Repeat spiccato bowing practice

Brush stroke is another off the string stroke
o Stroke is similarly bowed to spiccato
o Occurs at a slower tempo

K. Bowing Principles
Right Hand
o Make contact by setting the bow on the string
o Pull bow
o Follow the curve of the bridge to switch between strings
o Arm Weight
Play like there is five added pounds to your arm
Apply more arm weight to be louder
Add even more weight when playing on a thicker string
o Suzuki Rhythm
Mississippi Hotdog- Staccato
Hot chili, Hot chilli
Triplet triplet triplet triplet
Wish I had a motorcycle
Left hand
o Shoulders relaxed
o Left elbow and arm at the appropriate level (chicken arm)
o Wrist= straight
o Thumb= relaxed
o Hand in shape of a curved C and placed correctly on the fingerboard
o Fingers curved like tunnels
o Keep the fingers close to the strings
Hands together
o Bow parallel to bridge
o Bow hold secure and well formed
o Open from elbow
7

L. Slurring
Goal: Pull bow smoothly in the same direction, connecting two or more pitches
Trill slurs
o Fast finger, slow bow
o Tap finger up and down on string, while the bow is slowly and smoothly
pulled across the string
o Learn hook first, then slurring




















8

2. Left Hand Techniques
A. Body Posture
Lengthened and balanced body
Need freedom to move
Have wide range of motion
Good Posture Activities:
o Balance in chair
Feet out in tripod shape- shoulder width apart
Feet flat on ground
Sitting on edge of chair
Back straight
o Survey land
Feet stable and body lengthened
Twist body around at the waist
o Royalty
Naturally lengthens body
o Growing an inch
Sit up in chair
Keep feet still, shoulder width apart
Pull imaginary string from top of head, lengthening spine
o Imagine a book on your head
Makes you think of the balance you are trying to achieve
o Palms on knees
o Sit down, Bouncing knees
Cellos use chairs, Basses use stools
o Hot Seat
Start with correct body posture
Snap up and down, keeping correct posture
o Elevator
Keep standing up and sitting back down to help students realize
what correct posture is standing up and sitting down
B. Instrument Position
You want all the instruments to look the same
Cello: Scroll should be positioned under the nose. Pull out endpin to adjust height
Bass: Nut should be at eyebrow level
Be sure to check each students so they can be aware and fix individual problems
that they are having.
9

Positions
o Cello/Bass Out
Hold instrument out in front of you, hanging on to the neck
o Tuck
Pull instrument in towards body
o Hug
Wrap arms around and hug instrument
o Rock n Roll
Keep hugging instrument and rock back and forth
Goals:
o Instrument needs to be supported by the body
o Instrument comes to body, NOT body to instrument
o Instrument should not be stuck in one place- place it with movement in
mind
o Need rock stop or endpin anchor to keep instrument in place
o Cello should touch chest, and inside of knees
o Bass should touch inside the left knee (inside seam)
o Cellos can be slightly angled to the right
Sitting Position-Bass
o Basses sit on stools
o Left leg should be on rung of stool
o Endpin in front of students left foot
o Inside of left knee should touch back of bass
C. Hand Frame and D. Hand position
Fingers are numbered as
Thumb
One (Index finger)
Two (middle for you)
Three (ring finger
Four (pinky)
Cello: Hands have to be able to reach a minor third.
Bass: Hands have to be able to reach a major 2
nd
Fingers should be curved, looking like a tunnel
Left hand posture activities:
o Pick up and shake can
Shake can
Hand should be in the shape of a C
o Polar Bear Claw
Imitate the paw of a polar bear with left hand
10



o Riding the rails
Make left hand posture
Fingers on one string and move up and down
polish strings
Go all the way up and down the fingerboard
o Chicken Wing
When left hand is in position, arm and elbow should be positioned
in a chicken wing
Arm should be relaxed
Wrist/hand should be straight not at an angle
o Finger push ups
o Keep fingers in tunnel.
o Put on string and take off string, keeping in position
Make activities nonverbal
E. Finger Pattern One
Tonic tetrachord of the Major Scale
Begins with an open string
Forms first five notes of the major scale
It is the most natural feeling finger position
D Tetrachord
Cello- 0 1 3 4 0 1 3 4
Bass- 0 1 4 0 1 4 2 4
Arm and shoulder should be relaxed
Have fingers stay tunneled
Work from top of hand, down (open, 1,3,etc.)
Do Fingertaps (tap all four fingers up and down in position on strings to get a
feel for finger position
Polish strings (move fingers up and down while on strings)
F. Finger Pattern Two
Based on the tetrachord of the natural minor scale
Whole step, half step, two whole steps
D minor tetrachord
Cello- 0 1 2 4 0 1 2 4 or 0 1 2 4 0 extension1 2 4
Bass- 0 1 2 0 1 2 -1 4
Play pizzicato to get a feel for this finger pattern
11

G. Complex Finger Patterns
Finger Pattern Three
-Start on the 3rd note on a major scale
-Half steps between first finger and open string
-Cello: has an extension, 1st finger moves back
Bass: Half Position
Whole hand moves half step back, lowering pitch, then keeps same finger
position as finger pattern one.
-Cello: 0 4 2 1 0 4 2 1
-Bass: 0 0 4 1 0 0 4 1

Finger Pattern four
-Starts on 7
th
scale degree of major scale
-Half step, two whole steps, half step
Cello- use same technique as pattern three, backward extension motion
Bass- Same technique as pattern three

Finger Pattern five
-Starts on 4
th
scale degree
-3 Whole steps and a half step
-Cello- 0 1 2 4 0 1 2 4
-Bass- First finger extended backwards
Combines first position and half
Starts in 1st position, moves to half, on note that raises open string
0 1 4 1 (1/2 pos) 2
H. Vibrato and Shifting
Vibrato
-Continuous from note to note
-Stay even and consistent
-Keep finger on string, no sliding
-Three types: Arm/ Forearm, Wrist, and Finger
o Cello/Bass Vibrato
More of a shaking arm motion
Wrist and arm move together
Forearm and hand move back and forth in a wide arc, from
elbow to fingertip


12

Shifting
-Extends range of instrument
-Avoids awkward string crossing
-Avoids awkward fingerings
-Musical effects
-Emotional effect
Cello/Bass players keep left elbow raised when moving to positions above
fourth position
Left hand must be free and loose to move along string
Left thumb should move at same time as rest of fingers and hand
-Avoid tightness in thumb
Leave finger on string when shift is needed until hand is in new position


























13


3. Special Topics

A. Construction and Nomenclature

Construction
o String instruments made out of:
-Sprucetop of the body
-MapleScroll, pegbox, neck, sides, bridge
-Ebony (blackwood)pegs, fingerboard, tailpiece, end button
-Metalbass pegs, fine tuners, tail gut
-Plastictailpiece, fine tuners, chin rest, tail gut
-Laminated wood (beginning instruments)
-Ebonized fingerboardsstained hardwood (beginning instruments)
o Chinrests:
-Ebony
-Rosewood
-Box wood
-Plastic

(Available in different sizes)
o Endpins:
-Steel (adjustable)
o Bows
Stick
-Professional bows (cost up to $10,000)
-Pernambucco
-Brazil wood
-Student bows
-Fiberglass
-Carbon fiber
-Brands
-Coda bow
-Musicary
Frog
Professional bows
o Ebony
Student bows
o Plastic
14

Horsehair
Professional bows
o Real hair
Student bows
o Synthetic
Come in colors
Frenchoverhand grip
Germanunderhand grip
o Strings
Metal
Metal wound with metal (abrasive sound)
Metal/synthetic (warmer sound)
Metal/gut (G and C strings)

Student brands
Glaesel
Dr. Thomastik
Eudoxa
Gold Label
Red Label
Price
Violin Strings
o G, D, A, E
o Student set
o $25
o The longer the strings, the more expensive
Cello Strings
o Full set
o Student set
o $70
Bass strings take a long time to put on
o Rockstop/Stopper
Holds instrument in place by preventing sliding
Average about $10
Brands
Xeros
o With strap to put around chair leg
o $12
o Shoulder Rests
Sponge
15

Cheapest
Can use a few regular sponges rubber banded together
Shaped with flat bottom and a divot on the top
$4-5
Brands
o Resonance $12
o Not a preferred brand!
Play-On-Air
Plastic
Blow up with air
Strad Pad
$21
Viva
$45
Kun (pronounced Koon)
$30-45
Muco
Knockoff of Kun
o Rosin
Cake of rosin
Bass rosin
Pops
o Red case
o Thick
Hillviolin, viola, cello
Around $8
Salchow
o Cases
Beginner
Soft case (cello and bass)
Professional
Hard case (10-12 pounds)
Instrument Sizing
o Beginner
Cello
size cello
size cello
o Students will have to be able to reach a minor third
o Scroll should come to nose when standing
16

Bass
Junior bass
o size bass
Students have to be able to reach a major second
Shoulders should remain horizontal

Nomenclature
o Instruments have most of the same parts
o Chart included in notebook
o List of instrument parts (listed from top of instrument down):
Scroll
Pegs
Peg box
Nut
Fingerboard
Neck
Top
Ribs (Bouts)
Purfling
F Holes
Bridge
Fine tuners
Tailpiece
Chin rest
Saddle
Tailpiece gut
End button

B. Care and Maintenance

Care
o Unpacking Case (soft case)
1. Take bow out first
2. Unzip case
3. Grab neck with left hand
4. Pull off case with right hand
5. Put case underneath chair, or out of the way somewhere
o Temperature
Keep humidifier in room with instruments
Without one, seam on instruments will come unglued
17

Dampit
Sponge-like
Run under water
Dry, and place in f hole to soak up moisture
o Cleaning Cloth
Clean rosin off of bow after use
o Fine Tuners
If too tight, can rub on wood underneath
Bigger problem with violins and violas
o Peg Dope
Grease the pegs to make them easier to move
o Strings
Replace every six months (professional)
Replace when they break (school)
o Bow
Rehair when hair thins out
Dont grip in the middle of hair
Oils in hands ruin hair
Maintenance
o Bridge
Keep straight
Line up with notches in the f holes
o Chin rest
Can come loose
If this happens, tighten it (righty tighty)
o Cello/Bass
Endpins get stuck
o Fine Tuners
Can get too stiff
o Fingerboard
Planed
Get fixed if you cant push the strings down easily
o Soundpost
Inside violin
Can come loose and/or fall over
o Strings
Use steel wool to take off rosin
o Bow
Rubber grip can loosen
18

Stick can crack if the bow is too tight (at the tip)
Frog can crack and/or chip

o Take instrument to shop if:
Seams open
Cracks
Something broke
Endpin breaks/gets stuck
o Things that can easily be fixed on your own:
String replacement
Bridge moved

Replacing a String
o Strings are expensive, so take great care NOT to break them
o Coloring on a string represents a certain brand
String comes in a roll, take it out and unroll it
Remove only ONE string at a time
If you dont, bridge could move/fall over
Make sure peg moves smoothly
Use peg compound (peg dope)
o Grease
Take pencil, add graphite to groove at top of neck and bridge
Put the string through the hole
Start closest to the peg box
Start from the top, wait until it hits the peg box and goes underneath
Turn the peg away from you
Make sure everything is lined up and even
Take the ball end, it sits through the fine tuner
Black thing on the string sits in a groove on the bridge
Strings should always be straight
C. Tuning
* See Handout
D. Developing String Programs/Recruiting
*See handout*
E. String Literature
*See Handout*
19

F. Structuring the Rehearsal
*See Handout*
G.Identifying Technical Problems
Watch left hand position
o Keep fingers tunneled
o Play with fingertips, not with pads of fingers
o Make sure the wrist and fingers are straight to the neck
o Thumb directly under second finger
Watch right hand position (bow hold)
o Thumb stays straight, no moving from side to side
o Keep a circle between fingers and thumb
o No banana thumb (doesnt flatten out)
Watch for proper posture
Correlate which instrument a student should play with height, finger and hand size
Make sure instruments are properly maintained (see care and maintenance)
H. Handbooks
*See attached handbooks*
I. Games
Pass the cup
o Students pass a paper cup from bow to bow, while keeping bow hold
o Try to do this quickly without dropping the cup, or losing the bow hold
Hide the bow
o Have one student wait outside of the classroom while someone hides that
students bow somewhere in the classroom
o Have student return and search for the bow while the class plays a short
exercise or scale
o Have students play quieter when the student looking for the bow is farther
away, and louder when that student is closer
Pass the balloon
o Have students break into small groups
o Give each group a balloon
o Students make a circle, and pass the balloon to each other while keeping bow
hold
o Try to keep the balloon in the air without falling
J.Scales
*See attached scale sheets*
20

K. Fingering charts
*See attached charts*

L. Bibliography
Bibliography
Arias, Danielle. Timberlane Middle School Orchestra Handbook. 2009.
Absil, F.G.J. String Fingering Diagrams. 2005.
"Basic Music List." Michigan School Band & Orchestra Association. Web. 06 Oct. 2011.
<http://msboa.org/resources/basicmusiclist/>.
Burmas, Ted. Two Octave Upright Bass Major Scales. 2005.
"Cello Online Scales." Cello Online - Music and Instruction for All Ages. Web. 06 Oct. 2011.
<http://www.celloonline.com/twooctavemajorvlcscales.htm>.
"Developing Critical Thinking and Assessment in Music Classrooms." American String Teacher
61, no. 2 (May 2011): 29-31. Education Research Complete, EBSCOhost (accessed October 6,
2011).
"Don't fret Frequently Asked Questions." American String Teacher 60, no. 3 (August 2010): 24.
Education Research Complete, EBSCOhost (accessed October 6, 2011).
Engelmann, George and Aimee Norris. James E. Taylor High School Orchestra Handbook.
2008.
Hansen, Eric. "DOUBLE BASS AND THE FRENCH BOW GRIP." American String Teacher
61, no. 1 (February 2011): 30-32. Education Research Complete, EBSCOhost (accessed October
6, 2011).
Martin, Jeremy. 6
th
Grade Orchestra Handbook: What Every 6th Grade Parent and Student
Should Know About Strings.
21

"Parts of the Bass." Learning Generation--Integrating Technology in Teacher Education. Web.
06 Oct. 2011. <http://learngen.org/cohorts/music/791/KCKPS/alonzo/strungoutdb.htm>.
"Parts of the Bow." Learning Generation--Integrating Technology in Teacher Education. Web.
06 Oct. 2011. <http://learngen.org/cohorts/music/791/KCKPS/alonzo/strungoutb.htm>.
"Parts of the Cello." Learning Generation--Integrating Technology in Teacher Education. Web.
06 Oct. 2011. <http://learngen.org/cohorts/music/791/KCKPS/alonzo/strungoutvc.htm>.
"Parts of the Viola." Learning Generation--Integrating Technology in Teacher Education. Web.
06 Oct. 2011. <http://learngen.org/cohorts/music/791/KCKPS/alonzo/strungoutva.htm>.
"Parts of the Violin." Learning Generation--Integrating Technology in Teacher Education. Web.
06 Oct. 2011. <http://learngen.org/cohorts/music/791/KCKPS/alonzo/strungoutvn.htm>.
Price, Deborah Barrett. "Basketball, Anyone?." American String Teacher 61, no. 1 (February
2011): 26-29. Education Research Complete, EBSCOhost (accessed October 6, 2011).
Sprunger, Edmund. "Developing the Bow Hand: Part One." American String Teacher 59, no. 3
(August 2009): 52-57. Education Research Complete, EBSCOhost (accessed October 6, 2011).
Sprunger, Edmund. "Developing the Bow Hand Part Two." American String Teacher 60, no. 4
(November 2010): 42-44. Education Research Complete, EBSCOhost (accessed October 6,
2011).
"String Bass Online - Fingering Chart." String Bass Online - Music and Instruction for All Ages.
Web. 06 Oct. 2011. <http://www.stringbassonline.com/bassfingeringchart.htm>.
"Viola Online Scales." Viola Online - Music and Instruction for All Ages. Web. 06 Oct. 2011.
<http://www.violaonline.com/twooctavemajorvlascales.htm>.
Violin Online Scales." Violin Online - Music and Instruction for All Ages. Web. 06 Oct. 2011.
<http://www.violinonline.com/twooctavemajorscales.htm>.