Cello Technique

GERHARD MANTEL is Professor at the Staatliche Hochschule für Müsik, Frankfurt, and a noted concert artist. BARBARA HAIMBERGER THIEM teaches cello and is artist-in-residence at Colorado State University.

• Foreword by Janos StarkerTranslator's NoteIntroductionPart One: Goal-Directed MovementI. On Controlling MovementGeneral IssuesGoal ConceptionControl of MovementII. The Physics of MovementEnergy and MassEquilibriumEnergy Reserve and LoosenessIII. Movement As GestaltMovement in SpaceMovement in TimePart Two: The FingerboardIV. Position ChangeTotal Body Movement during Position ChangeRotation of the Body and the Leg MusclesElasticity of the BodyBreathing and Position ChangeBow Direction and Position ChangePortamento and RhythmMovement of the Left Arm during Position ChangeMovement of the Hand and Fingers during Position ChangeFinger Activity during the Anticipatory MovementV. Placement of Fingers, Hand, and Arm Within One PositionHand and PositionThe First Four PositionsThe Transitional Positions (Fifth to Seventh)The Thumb PositionsString Crossings and Double StopsVI. Movement Within the HandPercussionThe TrillFluencyVII. VibratoVibrato as a Means of Expression: Frequency and AmplitudeVibrato Movement of the ArmApplication of VibratoVibrato and Pitch LevelPart Three: The BowVIII. The Bowed StringHow Is a Sound Produced on the String?Change of Volume: Pressure, Speed, and Contact PointSound ColorsSpeed, Pressure, and Contact Point in Their Practical ApplicationProblems of Sound Production: How to Make a String SpeakIX. Transmission of Pressure to the StringArm WeightMoment of Rotation (Rotational Force)Pressure Relationships in the Bow HandHolding the BowSlanting the InstrumentX. Movement of the Right ArmUpper Arm and Forearm in a Whole-Bow StrokeHand and Finger Movements during a Whole-Bow StrokeBow ChangeString ChangeSimultaneous Bow and String ChangeXI. Different Kinds of BowingDétachéMartellatoStaccatoOff-the-String BowingsConclusionBibliography