I love testing out strings and have been using Larsen Magnacores on my C&G strings (absolutely love them!!) and offered them to Adam to try out so I'm playing on Spirocores on C&G now. The Spirocores are still a bit too bright for me, but since the cello has opened up a bit since I tried them last, it's sounding much better. However, the Spirocores still doesn't provide the depth the Magnacores do.
I was kind of proud of the fact that I was doing vibrato at the concert, which I had NOT practiced - it kind of just happened... not sure why either!
Although it's feeling more "natural," I'm still not doing the correct movement so we went over how to do this. I can feel it being correct sometimes because it becomes "easy" and not forced, but I can't find the feeling very often.
- 4th finger - make sure that my third finger is down to help the fourth finger since the fourth finger is the weakest.
- 1st finger - make sure that my second finger is against my first finger because I tend to lift my fingers up and back.
- Don't curl my fingers back - my fingers should be relatively in the "ready" position. I have the very bad habit of pulling my other fingers that aren't being used back (or curling it up) when it should be relaxed and uncurled, or staying/hovering over loosely over the position.
I also tend to use my wrist, when I shouldn't be consciously moving my wrist - I don't think I am, but it does look like that's the case.... Just like learning how to bow, the wrist/fingers/hands follows (and is the result of) the entire arm movement. Clayton mentioned that I should not think about the hand when vibrating, but the entire arm instead to diffuse the focus on the hand. Adam suggested that I focus on the crook of the elbow when vibrating. I'll have to try focusing on different locations, except for my hand.
There are a few ways to do vibrato and both of my teachers have similar styles because I think they both have the same underlying technique. The main difference is Clayton is a bit more subtle in his movement when using vibrato and has more relaxed finger joints (I guess violinist use loose finger joints in their vibrato), while Adam uses less flexible finger joints and uses larger motion to create his vibrato. I'll have to experiment with both. Although it would be great to know how to do both - more tools in my toolkit! :)
Back to scales!! I shouldn't be changing the shape of my hand position to vibrate notes, which of course I'm changing the shape of my hand. :(
So lately, I've been working on my hand shape so I don't have to change my hand when I'm doing vibrato, but it's totally screwing up my intonation. I'm kind of glad that I'm working on vibrato now so I don't have to relearn my hand position later, but it's really frustrating at the moment.
I've been working on Judas Maccabeus, and it's not sounding that great, but I think I'll do a recording tomorrow. I need to move on from that piece! ...blah...