In this lesson, we’ll be looking at staccato, one of the most distinctive bow strokes on the cello. Staccato means detached, it creates a short, separated sound, unlike the smooth, connected sound of legato playing.
What Is Staccato?
A staccato stroke is a detached bow stroke. Rather than letting the bow travel smoothly across the string, you separate each note so there’s a clear break between sounds.
There are many types of staccato, but at this stage we’ll start with on-the-string staccato. The bow stays on the string rather than bouncing.
The Large, Slow Staccato
Begin by practising slow, full-arm staccato strokes.
- The movement comes from the upper arm, opening and closing gently from the elbow.
- Use the whole arm to draw the bow.
- Each stroke should start cleanly and stop clearly.
At the beginning of each note, imagine a small consonant sound, almost like a “t” or “k” in speech, a little bite or catch in the string.
- To create this, press slightly with the first finger of the right hand into the bow.
- Feel that small lean of weight into the string.
- Then release the bow quickly to the right - down and across - letting the sound open.
The quality of your stop determines the clarity of the note.
- A slow stop gives a blurred “baaah” sound.
- A fast stop produces a crisp “ba!” with a clear ending.
Down-Bow and Up-Bow
It’s easier to get a strong start to the note on a down-bow, because gravity helps the weight of the arm. On the up-bow, you’ll need to pronate, rotate the hand slightly toward the index finger.
- Turn the hand so more weight transfers onto the first finger.
- The elbow will lift a little to support that weight.
- This helps you match the clarity of your down-bows and up-bows.
Smaller Staccato Strokes
Once your larger arm strokes feel comfortable, try a smaller staccato.
- This version uses less arm and slightly more wrist and finger motion.
- Stay on the string and add a tiny accent on each up-bow.
Try practising staccato on a G major scale, or any scale you like.
- Begin with one staccato per note, then try four short strokes on each note.
- Listen carefully to the ends of the notes. They should sound clean and distinct.
If some of your up-bows sound weaker, give them a little extra attention or accent to balance them with the down-bows.
Developing Wrist Freedom
As you move toward shorter staccato strokes, the movement becomes more contained. Instead of using the entire arm, let the motion come mostly from the hand and wrist.
A useful exercise:
- Have someone gently hold your forearm still while you move only your hand right and left.
- This isolates the wrist motion and helps loosen your bow hold.
This is difficult to do alone, so it’s ideal if you have a friend or family member to help!
Practising on the Lower Strings
Try your staccato on the C string.
- The thicker string needs more weight on the first finger to get a full sound.
- It’s harder to produce a clear, ringing staccato here but excellent practice for control and tone.
Piece Suggestion
In my book It’s a Cello Thing, Book 1, there’s a piece called “Late for School” (or Late for Work or Late for College depending on where you are in life)!
This piece uses staccato bowing throughout.
- It’s ideal for practising both the large arm staccato and the smaller wrist staccato.
- You can try it with either bowing style to build flexibility and control.
Get the sheet music here.
Listen to my recording on Spotify.
Final Thoughts
Staccato is a bow stroke that combines precision, timing, and control. Start with large, full-arm strokes to understand the motion, then gradually work towards smaller, faster staccato using the hand and wrist.