Cello Intermediate 36: How to Practise (part 2)

In this video, we are continuing our look at efficient practice techniques with part two of working on my piece "The Journey" from It's a Cello Thing, Book 2 (published by Boosey & Hawkes).

In our previous lesson, we started at the end of the piece to build bulletproof familiarity where concentration normally slips. Today, we work through the final four bars right to the concluding ritardando and pause, layering each technical element step by step.

Rhythm and open-string choreography

We start by isolating the pulse away from the notes:

• The final phrase sits in 6/8 time, starting on the upbeat of beat four.
• Look out for the contrasting rhythmic motifs, alternating between long-short-long and short-long-short figures.
• Notice the tempo markings at the close: a gradual ritardando (slowing up towards the end) followed by a pause on the final note to let the sound ring on.
• Before adding the left hand, play the bow path across open strings.

This passage takes you on a rapid string crossing from the deep C string, through three notes on the G string, and onto the D string for the remainder of the piece. Practising this without the left hand allows you to focus purely on arm weight, pronation on the C string, and shaping your final crescendo and fade-out.

Polishing substitution shifts

When you add the left hand, avoid looping from the beginning of the bar. Isolate just the two shifting notes:

• The 4-to-1 substitution shift: this shift occurs within a slur between G and A. If you move too early, the shift sounds "soupy" and smeared. Leave the shift as late as possible, initiate your circular hand release, and keep the bow firmly in the string so the tone does not drop out.
• The return shift: use the same targeted approach for the second substitution shift in the penultimate bar.

The 5-repetition rule: repeat each shift cleanly five consecutive times. If you slip on repetition four, reset your count to zero until you achieve five clean runs in a row.

The "salt shaker" vibrato technique

Because the open D string cannot take vibrato, moving directly into full, wide vibrato on an adjacent stopped note sounds jarring. Think of vibrato here like seasoning food: rather than tipping the entire bottle of salt onto the note, add just a gentle sprinkling as you emerge from or lead into an open string. As the phrase crescendos, widen and intensify the vibrato, then gradually scale it down to match the dying bow on the final pause.

The 3-take recording strategy

Once you have worked through the passage, become your own detective:

• Record yourself playing the eight-bar section three times on your phone or camera.
• Listen back critically after each take: Did you make unintended swells? Was the vibrato too wide on the 4th finger? Did your knuckles collapse, causing a finger to brush against an adjacent string?
• Isolate and correct any weak spots.

Once that chunk is secure, step backwards into the previous section of the piece and repeat the process. Leaving a full run-through of the piece to the very end of your practice session keeps your work disciplined and focused, making that final performance your well-deserved reward!