Things I learned after 10 years of cello lessons

Have you heard of the Black Hole endpin stop? Have you? Have you heard of it? Because if you haven’t, let me be the one to tell you it’s awesome. You know those portable holes some cartoon character used to carry around and use to escape with?

Maybe it was Wile E. Coyote, maybe it was someone else. I can’t remember right now. I’m getting conflicting signals when I try. [Edit: Looney Tunes, apparently. Thanks, Anne. ] But remember what a cool idea that seemed like?

Anyway, after 10 years of battling with a big T made of wood scraps that I wedged beneath my chair when I practiced, to stick the end of my endpin into, I discovered the Black Hole, a black rubber disk about 4 inches in diameter, with a hole in the center to hold the end of your endpin. It is made of a rubber that is non-skid on wooden or tile floors. It is said to be washable if it gets too dusty to grip the floor anymore.

It fits in your pocket. No more giant wooden T. I love it, and not only because of its name. But partly because of its name.

Second thing I learned about playing cello:

Don’t forget to breathe.

I am quite good at holding my breath. I can go two minutes. I can swim two laps underwater, if the pool is not too big. I apparently can play an entire tune without taking a breath, too, without keeling over off my chair. But that is not enough. Holding your breath affects your playing.

Who knew?

Ruth, you there?

Anyway, breathing. As if fingering and bowing at the same time wasn’t hard enough already.

Also: I’m getting really tired of Bach? Not to diss Bach, I love his music. It is just taking me forever to learn this tune I’m working on. How do you find a tune to work on that is both enjoyable and at the proper difficulty level? That is my problem, ignorant of music as I am. I hear something exquisite, want to learn it and then am all Holy Toledo! when I get a look at the notes, usually.

So I’m trying to compose something. A little something. About grunion.

I even – this is really awesome – I even met with a composer to discuss what I’ve come up with so far. He didn’t seem all that impressed about the grunion, but that’s okay. What I found cool was that he wasn’t even interested in hearing the MP3 my composing program (Finale) had generated. He just spread out the notes and heard it that way. That is not something I can do, so I was impressed.

[Edit: I tried breathing yesterday. It makes a huge difference. I had thought, Great, breathing, a third thing to worry about besides left hand /intonation and right hand / bowing. But it actually seemed to lessen the panic and /or frustration I often feel while playing, and was really groovy.]

Slow

My cello teacher told me to play the tune I’m working on faster. I’ve got the intonation down more or less, just need to work  on the bowing (as always) and the tempo. My learning process is this sort of global bringing all the millions of elements into focus thing.

So, I will work onthis. That, and making it actually sound like actual music. Unfortunately that comes last with me. It’s as if I can’t relax and play something (somewhat) musically unless I know everything else is working. Also, serious coordination deficits, I suspect.

God.

I blame the amalgam fillings.

I am wondering, though, whether it might also be adviseable to seek, or compose, tunes more in line with my character, or nature – which is it? – and whether that might involve something extremely slow and drone-like, at least at the moment (a moment that has lasted, so far, decades).

Something slow, and procrastinating, but also persistent and perseverent.

Zoe Keating has a neat number on what I believe is her latest album, which plays at I think one-quarter the speed it was originally recorded at.

At.

It sounds real neat.

Also, I am totally at sea in my quest to find the right combination of effects pedals for my electric cello. Jacob has been very helpful with his patient advice, but in the end it comes down to, I guess, carting the thing to a shop and trying some out. Or carting it somewhere else and trying some out. And I suck so badly that I have serious inhibitions about trying anything out in public.

So I have been killing time watching demos on youtube of various pedals I have googled or otherwise found. I am, on the one hand, looking for something to add a little grit and character to the instrument’s sound, and on the other hand looking for something with a maximum of flexibility re: the parameters one can adjust and change.

I bought a cheap distortion pedal on ebay a while back, I have mentioned it before, and discovered that what works for a guitar works differently for a bowed instrument. It makes a fun noise, but is not adjustable enough, in the end, although I do love its ability to receive Russian short-wave transmissions when plugged into the theremin. It’s like ET phoning home.

I’ve been looking at moogerfooger demos, but due to the guitar/cello discrepancy and their expense am at something of a loss since local shops stock only a few of the models and not usually the ones I’m most interested in, so even if I did find the guts, and time to try them out, the actual ones I’m interested in would not be available.

Meh.

Bleat.

Weekend of scientific research

Research conclusion: garden clippers go way more easily through the tip of your left ring finger than they do through rose canes.

On a related note, got less cello practice in this weekend than I’d planned for. So I fired up the theremin instead, as my wife was out of town. Turns out when I run it through my distortion pedal, I get Russian short wave radio. Even when the theremin is turned off. The pedal itself, with all the other cords, cables and wiring, appears to suffice.

Ten years of this

“Do you think you’re profiting from these lessons,” my cello teacher asked me the day before yesterday. I was a little gobsmacked. I mean,  I’ve been wondering the same thing, but why was he asking? Does he want to break up with me? Is he being contrite? I didn’t get it and said something vague.

But the truth is that my improvement has been marginal ten years of this and I’m still absolutely musically clueless. My technique is bad as is everything else. I have a nice cello, though, in a nice red hard case.

It is somewhat frustrating. It would be more frustrating were I to have actual musical goals I was wanting to accomplish, but when I try to visualize a goal all I get is haze.  Maybe there’s a kind of musical dyslexia and I have it.

That would be nice, because it would be an excuse, rather than insufficient practice and impatience. Largely, though, I guess it’s pretty much mea culpa. A few brief, unfocused practice sessions per week doesn’t cut it. My teacher hasn’t been much help, he’s been pretty nice and patient and forgiving until now, whereas what I probably needed part of the time was a mean little old Russian lady with a willow switch making me play scales until my fingers bled.

I’ve bought a book of etudes I’m trying to work through. I bought a book of scales I’m going to try to work on, although, I am ashamed to admit, I am still shaky on the whole concept of key signatures and other basic music theory.

Also my bowing sucks and my breathing is ridiculous. I’ve started hatha yoga and that ought to help with the latter.

My intonation is okay. So-so. Second and third fingers a little close together, but if I concentrate on that it’s okay.

I say ten years.  I do think so. Ten years is a long time.

On my end of the process, I would have to guess that insufficient practice and a lack of any sort of vision of what I really want to do are my main problems. My original goal was to find out how a cello works. So what now? I blindly stumbled into playing in an orchestra. Maybe playing competently in an orchestra? Playing specific pieces competently?

Understanding what the hell is going on? Maybe that’s asking too much.

Something brief about playing the cello

So it’s been what, nine years roughly. And my teacher just now shows me this thing, a composition for three or more cellos, four basic patterns to be played at will, over and over, composed in such a way that no matter which patterns you play, or how you play them, they sound good together. And I was all, Wow, because I could, for once, not freak out about reading the notes or my intonation, I could concentrate on hearing and making the music.

And I was all, motherfucker, why didn’t you show me this nine years ago? And defenestrated him, finally.

Actually, I was all, why do these sound good together? and he was all, Pentatonic scale. And I was all, Ahah.

Because I’d had an idea for a composition that worked roughly that way (patterns played at will) but got busy with something else.

I was talking to a guitar-teacher friend who said improvisation is the highest form of music and I said, yeah, but you have to know what you’re doing and he said, What about you and the theremin? and I said, WTF is it with you music teachers? Actually, I said, I’m not claiming that’s a high form of music, what I do with the theremin. His point with the theremin was, most players are improvising without actually mastering the instrument, which is probably correct.

Where was I? Pentatonic notes on the cello. It sounded beautiful. I could play that all day long. I was all, This is why I’m studying this here instrument.

Being posh is so much hard work

Earlier this week I was trying, briefly, to develop an aesthetic of music that encompassed and accounted for every sort of music and sound including the ambient and uncomposed, but then one thing led to another, and the kittens got out and we had to catch them, and one of the big cats brought a mouse home, and we had to put flea collars on all of them, except the tortoise, which my sister-in-law would have stepped on except Gamma hollered in time. Also, we were busy planning my birthday party, and Alpha and Gamma were packing and making arrangements for their trip to Hong Kong, and it occurred to me that maybe I should pack, too,  for my trip to Vicenza this weekend, where my orchestra plays tomorrow (Vicenza fans: I’ll be the guy in the third row of cellos stabbing the cellist to my left in the heart with my bow).

We’re stopping at Venice on our way back on Sunday.

The sun just came out.

Early Shakespeare, and orchestra report

Shakespeare’s Father: Forsooth, my lad, thou weep’st more loudly than a maid at the deathbed of her betroth’d!

Shakespeare: Father, verily, I beg thee, rein in thy anger and desist in your violence!

Shakespeare’s Father: Aye, thou dar’st call that violence! Weep’st thou? Weep’st thou? Wilt thou sound reason for weeping? Thou maid! Shall I provide thee with sound reason for weeping? Verily, I shall fetch mine girdle and give thee sound reason for weeping!

Everything sounds better in Shakespeare.  Now if I could only remember what this was supposed to segue into…

But, no luck.

Did your dad used to threaten to get the belt when you were a kid, too?

Damn, it’s gone.

I was out of town with the orchestra this weekend. I was awfully sad most of the time, despite the fact that our rehearsals were held in a castle in a nice little town in a nice scenic area and I didn’t get lost driving there. I had a nice room, pleasant roommate, the food was awful but that’s not high on my list of priorities. It snowed, and that was pretty.

The rehearsal rooms were big enough and the acoustics were good. But the entire time I sat there feeling sad and thinking that playing the cello is, for me, like being married to a beautiful woman who will never love me. And I thought back on my cello career, and how the predominant emotion I associate with it is despair and not joy, which made me wonder whether now would be a good time to look for a new hobby.

I was seated next to a young woman who was a far better cellist than I am, with wicked technique. Very crisp bowing, which made it necessary to pay close attention to my own bowing to avoid collisions i.e. accidentally bowing in the wrong direction and poking her. At first it was just more stress and the vast difference between her ability and mine added to my despair, but then I noticed that I had learned more about bowing in the few hours I had been playing next to her than I had in the past several years, and my perspective began to change.

I plugged in my theremin during a break and various people goofed around with it.  I sometimes forget that not everyone is familiar with the theremin. It was fun to watch people try it out.

While brushing my teeth I noticed in the mirror that I still have paint flecks on my glasses from painting a room at our house weeks ago, but every time I remove the glasses to clean them, the paint flecks are no longer visible.

We played our first concert of the season on Sunday, in an excellent venue, in a new building with fine acoustics and a stage large enough for the orchestra. The only thing missing was an audience. We played, let’s see, works by Haydn, Beethoven, Kodaly, Bizet, and um… Bartok.  The orchestra played very well. It was too bad that so few people came to hear us, but maybe eleven AM on a Sunday is not the best time for concerts.

It was great fun to play with so many talented kids.  I made relatively few mistakes, and nothing really awful. The teachers who run the show are all brilliant, and our conductor is especially wonderful.

Another concert next week, and the week after that we go on tour to Italy. For a weekend, but still.

So it’s all very nice, but my relationship with the cello remains as desperate as ever. I really don’t know whether to stick with it, or change to the double bass (a slightly heavier, plainer woman who might or might not love me), or spend more time with the ukulele (a woman who is in a good mood all the time) or what. Maybe look for a new metaphor.