Author: Emily Wright

check it out! (part 1 of 3)

Have a look at the basic outline of my book. (or 1/3 of it, anyway!) This is just pasted from the proposal I send to OUP. Teachers and students! I call upon YOU to help me make this an undeniably useful and fabulous book. Of course I am not looking to poach innovative approaches, so if you are writing a method and do not want me to include your suggestions in my ruminations, please don’t comment! xxoo, emily 1) Body Concept and Positioning (10 images, 2 or 3 pages) The first few chapters are congruent to the typical first few lessons I give. In fact, much of the genesis of this book was because I realized that the first 50 pages of my students’ notebooks had the same exercises and technique tips and corrections. This chapter is heavy on the pictures and presents a dual approach to technique: general concepts; “Position on the instrument is like a series of gentle curves based upon a square frame” and detailed description; “The emphasis of the bow grip is the right index finger, where the weight of the entire arm travels from the shoulder, through the elbow, the wrist, and finally comes to rest, in a single point, on the finger.” All examples have pictures that bring the technique to life. There is nothing worse than someone trying to explain a complicated...

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the bow

der bogen l’arco de buiging 大提琴弓 (that last one is my personal favorite) To me, the left hand is academic, and the right hand is, though rigorously technical, laced with the perfume of mystery and tacit knowledge of finesse. Oh yes, when Emily starts busting out the wordcraft, you know she’s got something brewing. There is much talk of the independence of the hands. I understand the genesis of this, (don’t shoot through a mile of bow when you shift, fast notes do not equal fast bow) but in the end, I think that a better way to approach it is to make them as interconnected as possible. The right hand should contribute to the efforts of the left hand. It colors, emboldens and, at root, voices the left hand’s otherwise silent input. This topic warrants more than a multi paragraph blog, but we have to start somewhere. I had a little back and forth with another cello blogger who was duking it out with a triplet passage in a concerto. One thing I mentioned was the idea of a digital bow motion. By digital, I mean 1 or 0. On or off. Moving, or not moving. I find that many of my advanced students (and this guy is definitely advanced) struggle with this issue. They get “garbage” creeping into their sound: little pops and pings during string crossings,...

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help me help you

I have written a book. A cello technique book, to be specific. It’s sort of a manual for the technical aspects of the instrument, and I have been submitting it, one publisher at a time, for review. Yesterday, I came home to an ominous package that I immediately recognized as my manuscript, bereft of a book deal, from Oxford University Press. But when I opened the enclosure, there was a letter saying that they liked a lot of things, but that they wanted a much larger book, and gave me an example of a book that fit their criteria. Not 100% rejection, but in definite need of radical change. So I turn to you guys. Should I take my 60 page manual and turn it into a 200 page tome? I have this fear about a large volume because: 1) that means it will cost more 2) people might be scared off if it looks text-y 3) it’s meant to go on a music stand But I respect OUP, and I could easily bolster my existing content. Would you buy a chubby cello book? What would you like it to address? Perhaps I will put the table of contents and a sample chapter up for your perusal later this week. Thanks so much to everyone who is reading and sharing my blog. It is meaningful to me, and I...

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practice makes perfect. if you survive.

I wish I could send my adult students to music school, just for a week. Not to be inspired by the hours and hours of practice or by the tide of talent that floods the halls every hour. No, I want them to witness the bizarre behavior of serious music students. My adult hobbyists (who range from beginner to semiprofessional) silently suffer with the same ailments any earnest student is victim to: frustration, restlessness, hopelessness, cabin fever, negativity, euphoria, and the all pervasive ennui. Since most of them are lone practitioners, they have no idea that these things are not only the burden of all musicians, but are inherent to the learning process, and are good for creativity. I am of the belief that anything done superbly is an art. I also believe that the creative process is one borne of emotional upheaval, introspection, and perspective. So when we are students, trying to create art, we have to come up with some coping mechanisms and reminders in order to stoke the creative fire and avoid giving up entirely. Coping mechanism #1: a sense of humor When confronted by the combination of pressure (applied by yourself, an upcoming audition or recital) and a passage of Bach that seems technically implausible for people who are cruelly limited to 5 fingers on the left hand, there are two options. The first involves...

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