Cello Intermediate 34: Left-hand Tension Release

In this video, we are going to be talking about relieving tension in the left-hand using Bernhard Cossmann's studies. Freeing the tension in your left-hand is an important exercise when playing the cello.

Cossmann wrote a renowned collection of studies designed to train left-hand dexterity and strength. However, they are also the perfect diagnostic tool for tension. As we progress on the cello, it is very common to hold unnecessary tightness in certain fingers or joints without noticing. These exercises offer the ideal opportunity to play detective and examine how comfortable your hand truly feels.

The thumb check

Working in 3rd position, focus on sinking your natural arm weight down onto the string, centered directly over the playing fingers.

Take a close look at your thumb:

• If your thumb points up along the neck, your hand's rounded C-shape has likely collapsed.
• The thumb should sit comfortably perpendicular to the neck of the cello.
• The thumb must never press or squeeze the back of the neck.

To test this, play through the exercise and actively lift your thumb off the neck every four beats. If you struggle or feel a jolt when lifting it, you are pressing. Practising this lift trains your subconscious to keep the thumb loose and floating.

Calibrating finger weight: 100%, not 150%

Another common habit is pressing down onto the fingerboard with far more force than necessary. If you only need 100% weight to stop the string cleanly, pressing at 150% only introduces fatigue and slows your fingers down.

To find the minimum necessary weight, try this three-step calibration test:

• Harmonic level: rest your fingers lightly on top of the string as if playing harmonics.
• Halfway level: sink halfway into the string, producing a slightly veiled, semi-stopped sound.
• True stopped level: sink all the way down, but only just enough to produce a clear, beautiful, ringing note and no more.

Quiet, stable hand frame

Check that your hand is not rocking backwards and forwards as individual fingers drop. The hand frame should remain quiet, balanced over the centre of the fingers, with the motion coming straight from the knuckles above.

Finally, listen carefully to your intonation on repeated notes. A very common issue in these patterns is a 3rd finger that sags slightly flat after a wide 1-2 spacing. Keep your spacing alert, your fingers efficient, and your hand relaxed!