The Sequential Method: An Analysis of Robert Jesselson's Cello Pedagogy

University of South Carolina
Scholar Commons
Theses and Dissertations
Fall 2018
The Sequential Method: An Analysis of Robert

Jesselson’s Cello Pedagogy
Kalim D. Alvarez Campos
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Alvarez Campos, K. D.(2018). The Sequential Method: An Analysis of Robert Jesselson’s Cello Pedagogy. (Doctoral dissertation).
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THE SEQUENTIAL METHOD: AN ANALYSIS OF
ROBERT JESSELSON’S CELLO PEDAGOGY
by
Kalim D. Alvarez Campos
Bachelor of Music
Universidade Federal da Paraíba, 2003
Master of Music
Azusa Pacific University, 2014
Submitted in Partial Fulfillment of the Requirements
For the Degree of Doctor of Musical Arts in
Performance
School of Music
2018
Accepted by:
Robert Jesselson, Major Professor
Kunio Hara, Committee Member
Craig Butterfield, Committee Member
William Terwilliger, Committee Member
Cheryl L. Addy, Vice Provost and Dean of the Graduate School

© Copyright by Kalim D. Alvarez Campos, 2018
All rights reserved.
ii
DEDICATION
This dissertation is dedicated to my father, Nelson Campos, who was my first
cello professor and always supported my dreams. He has been an important example to
me and a constant source of encouragement during the challenges of my life.
iii
ACKNOWLEDGEMENTS
I would like to thank my former cello professors: Dr. Felipe Avellar de Aquino,
Dr. Fábio Soren Presgrave and Dr. Marek Szpakiewicz. They always encouraged me
during my cello studies in Brazil and in the United States.
I would also like to thank my University of South Carolina professors, Dr.
William Terwilliger and Dr. Craig Butterfield who helped me academically and
musically during my years at USC.
My thanks to Dr. Brenda Leonard for helping me innumerable times with my
English in this dissertation.
I would like to express my special gratitude to my cello professor Dr. Robert
Jesselson, who was essential to making this project happen and who helped me to get
where I am now.
iv
ABSTRACT
Dr. Robert Jesselson has made significant professional contributions as a cello
performer and music educator. His pedagogical approaches are innovative in helping
students overcome technical problems, building good work habits, instilling self-
discipline, addressing kinesthetic issues, and improving practice techniques. His
Sequential Method involves a systematic and logical progression of technical exercises,
scale systems, etudes and repertoire. It is unique in its applications for teaching and
learning left and right hand techniques, building a progression of etudes which address
technical and musical issues and working through the cello repertoire in an organized and
meaningful manner that is appropriate to the playing level of the student.
This dissertation explores Dr. Jesselson’s approach to cello pedagogy, technique,
warm-ups and exercises. It also addresses issues such as memorization, coordination,
concentration, sight reading and musicality. Finally, Dr. Jesselson’s contributions to
music education in the United States are reviewed.
Musical instrument pedagogy is often based on the oral tradition. Over time, vital
details can be lost. This study codifies Dr. Jesselson’s teaching philosophy in a written
document that will help cello teachers improve their teaching methods and will interest
students seeking to improve their understanding of cello technique. Additionally, it
documents Dr. Jesselson’s contributions from his over 38 years of teaching at the
University of South Carolina, including the effect his teaching has had on teachers and
the level of cello playing in South Carolina and in the region.
v
TABLE OF CONTENTS
DEDICATION.................................................................................................................. iii
ACKNOWLEDGEMENTS ............................................................................................ iv
ABSTRACT ....................................................................................................................... v
LIST OF FIGURES ......................................................................................................... ix
CHAPTER 1. INTRODUCTION .................................................................................... 1
1.1 Jesselson’s Pedagogical Methodology and his Approach to Teaching Cello

Technique ......................................................................................... 1
1.2 Overview of Jesselson’s Approach to Teaching and Learning ......................... 3
1.3 Professional Biography of Robert Jesselson ..................................................... 6
CHAPTER 2. WARM-UPS.............................................................................................. 9
2.1 The Importance of Warming Up ....................................................................... 9
2.2 General Warm-ups .......................................................................................... 10
2.3 Right Hand Warm-ups .................................................................................... 25
2.4 Left Hand Warm-ups ...................................................................................... 27
2.5 Melodic Improvisations .................................................................................. 32
CHAPTER 3. CELLO TECHNIQUE........................................................................... 35
3.1 The First Lesson: Getting it Right From the Start .......................................... 35
vi
3.2 Right Hand - Bow Technique ......................................................................... 43
3.3 Left Hand Technique ...................................................................................... 73
3.4 Other Issues ................................................................................................... 119
CHAPTER 4. A SEQUENTIAL APPROACH TO TEACHING BOW TECHNIQUE,

SCALES, ETUDES AND REPERTOIRE ...................................................... 133
4.1 A Sequential Approach to Teaching Bow Technique Through the Feuillard

Daily Exercises ................................................................................... 134
4.2 A Sequential Approach to Teaching Scales and Arpeggios ......................... 152
4.3 A Sequential Approach to the Cello Etudes ................................................. 163
4.4 A Sequential Approach to the Cello Repertoire ........................................... 168
CHAPTER 5. CELLO PEDAGOGY .......................................................................... 174
5.1 The Beginning, Intermediate and Advanced Cello Student.......................... 174
5.2 On Practicing ................................................................................................ 176
5.3 Left Brain/Right Brain .................................................................................. 179
5.4 Memorization ................................................................................................ 181
5.5 Mentalization ................................................................................................ 189
5.6 About Talent ................................................................................................. 191
5.7 Cello Teacher’s Self-Examination Checklist ................................................ 193
CHAPTER 6 JESSELSON’S OTHER CONTRIBUTIONS .................................... 198
BIBLIOGRAPHY ......................................................................................................... 207
APPENDIX A: FEUILLARD DAILY EXERCISES No. 34 ...................................... 213
APPENDIX B: TWO AND THREE FINGER SCALE SYSTEMS ......................... 218
APPENDIX C: SCALE SYSTEMS ON ONE STRING ............................................ 219
APPENDIX D: THE AROUND & AROUND SYSTEM .......................................... 220
vii
APPENDIX E: COMPILATION OF SCALE AND ARPEGGIO SYSTEMS ....... 222
APPENDIX F: TWO OCTAVE MAJOR SCALE SYSTEM USING MARYS ..... 225
APPENDIX G: TWO OCTAVE HARMONIC MINOR SCALE SYSTEM USING

MARYS ............................................................................................. 227
APPENDIX H: TWO OCTAVE MELODIC SCALE SYSTEM USING MARYS.228
APPENDIX I: USC CELLO SYLLABUS .................................................................. 229
APPENDIX J: TABLE OF THE PEDAGOGICAL INTENT OF THE ETUDES IN

THE DOTZAUER 113 ETUDES, BOOK 1 ................................... 232
APPENDIX K: THE “HOW TO PRACTICE” FLOW CHART ............................ 236
viii
LIST OF FIGURES
Figure 2.1. Finger Stretches #1 ......................................................................................... 14
Figure 2.4. Finger Stretches #4 - “Mr. Spock’s Vulcan Salute” ....................................... 15
Figure 2.5. Dotted Rhythm Exercises for Relaxation ....................................................... 17
Figure 2.6. Vivaldi Cello Sonata in A minor .................................................................... 24
Figure 2.7. Exercise for Independent Fingers ................................................................... 27
Figure 2.8. Cossmann Exercise #1 .................................................................................... 28
Figure 2.9. Cossmann Exercise #2 .................................................................................... 29
Figure 2.10. Cadence Exercise #1..................................................................................... 30
Figure 2.13. Lullaby .......................................................................................................... 33
Figure 2.14. String-crossings Exercises ............................................................................ 34
Figure 3.1. Round Thumb ................................................................................................. 45
Figure 3.2. Front and Back of the Hand Exercise ............................................................. 50
Figure 3.3. Four Basic Bow Distribution Exercises ......................................................... 51
Figure 3.4. Marcello Sonata in F Major ............................................................................ 52
Figure 3.5. Second Movement of the Elgar Cello Concerto ............................................. 55
ix
Figure 3.6. Cadenza from the Tchaikovsky Variations on a Rococo Theme ................... 56
Figure 3.7. Arc .................................................................................................................. 59
Figure 3.8. Arc .................................................................................................................. 60
Figure 3.9. Circle .............................................................................................................. 60
Figure 3.10. Circle ............................................................................................................ 60
Figure 3.11. Figure Eight .................................................................................................. 61
Figure 3.12. Figure Eight .................................................................................................. 61
Figure 3.13. Wave Figure ................................................................................................. 61
Figure 3.14. Wave ............................................................................................................. 62
Figure 3.15. Duport Etude No. 7....................................................................................... 64
Figure 3.16. Saint-Saëns Cello Concerto No. 1 ................................................................ 64
Figure 3.17. Sides of the String ........................................................................................ 70
Figure 3.18. Galamian son filé dynamics exercises .......................................................... 72
Figure 3.19. Left Hand Position ........................................................................................ 74
Figure 3.20. Position Chart ............................................................................................... 76
Figure 3.21. Two octave arpeggios ................................................................................... 77
Figure 3.22. Extension Exercise #1 .................................................................................. 78
Figure 3.25. Over-extensions.............................................................................................80
Figure 3.26. Example of the Three Different Semitones .................................................. 82
Figure 3.27. Mary Had a Little Lamb ............................................................................... 84
Figure 3.28. “Mary” Exercises.......................................................................................... 85
x
Figure 3.29. “Marys” in the Duport Etude No. 11 ............................................................ 85
Figure 3.30. “Mary” patterns in Duport Etude No. 11...................................................... 86
Figure 3.31. Configuration of the Hand ............................................................................ 87
Figure 3.32. “Ghost Shifts” ............................................................................................... 89
Figure 3.33. Romantic and Classical Shifts ...................................................................... 89
Figure 3.34. Pitch Vibration.............................................................................................. 91
Figure 3.35. Vibrato Chart ................................................................................................ 92
Figure 3.36. Continuous Vibrato Exercise ........................................................................ 93
Figure 3.37. Finger Exercise Alternating 1-2 and 3-4 ...................................................... 96
Figure 3.40. Aldulescu Finger Exercise ............................................................................ 99
Figure 3.41. Left Hand Exercises ................................................................................... 101
Figure 3.42. Trill Rhythm Exercise ................................................................................ 102
Figure 3.43. Round Thumb ............................................................................................. 103
Figure 3.44. C Shape in Thumb Position ........................................................................ 104
Figure 3.45. Thumb Position Scales using Tetrachords 1 .............................................. 107
Figure 3.46. Tetrachords in the Saint-Saëns Concerto ................................................... 108
Figure 3.47. Alexanian Exercises ................................................................................... 112
Figure 3.48. Strengthening the Thumb ........................................................................... 113
Figure 3.49. Harmonic Nodes ......................................................................................... 114
Figure 3.50. Saint-Saëns Concerto No.1 ......................................................................... 115
Figure 3.51. Popper Etude #38 ....................................................................................... 117
xi
Figure 3.52. Dotzauer Etude #27 .................................................................................... 117
Figure 3.53. Duport Etude #7 ......................................................................................... 118
Figure 3.54. Feuillard Daily Exercises No. 12................................................................ 119
Figure 3.55. Global Syllabus for a Musician .................................................................. 120
Figure 3.56. Tortelier Bow Speed Exercise .................................................................... 122
Figure 3.57. Bow Coordination Exercises ...................................................................... 122
Figure 4.1. Feuillard Theme of No. 32 ........................................................................... 135
Figure 4.2. Feuillard No. 32 - Variation #1 .................................................................... 137
Figure 4.10. Feuillard No. 32 - Variation #9 .................................................................. 142
Figure 4.11. Feuillard No. 32 - Variation #10 ................................................................ 142
xii
Figure 4.19. Feuillard No. 32 - Variations #18-21 ......................................................... 146
Figure 4.20. Feuillard No. 32 - Variation #22-24 ........................................................... 148
Figure 4.24. Sequential Approach to Scales and Arpeggios ........................................... 154
Figure 4.30. Lucktenburg/Jesselson Rhythmic Variations ............................................. 161
Figure 4.31. Octatonic and Whole Tone Scales .............................................................. 162
Figure 4.32. A Syllabus for Intermediate Cello Studies ................................................. 166
Figure 5.1. A Syllabus for Intermediate Cello Studies ................................................... 176
xiii
CHAPTER 1
INTRODUCTION
1.1 Jesselson’s Pedagogical Methodology and his Approach to Teaching Cello

Technique
This document will focus on Dr. Robert Jesselson’s pedagogy and his philosophy
for teaching the cello, with particular emphasis on his concept of the Sequential Method.
The document will discuss Dr. Jesselson’s methodology by examining his ways of
teaching cello technique, as well as his strategies for helping to improve a cellist’s
musical and artistic skills. It will explore the sequential development of left-hand and
right-hand techniques, as well as his approach in building good work habits, instilling
self-discipline and expecting consistency. Dr. Jesselson believes the goal of creating a
secure technical and musical foundation is achieved through a healthy diet of scales and
arpeggios, exercises, etudes and a gradual journey through the literature. This document
will help cello teachers to improve instruction on major aspects of cello technique, as
well as related concepts such as relaxation, breathing, concentration, memorization and
establishing high standards. It also documents Dr. Jesselson’s contributions to music
education in the United States.
In Chapter 2, the author will present Dr. Jesselson’s emphasis on the importance
of warm-ups that can help focus the player’s mind and establish physical readiness for
playing. Chapter 3 will focus on Dr. Jesselson’s approach to cello technique, divided into
four sections. The first part will be an introduction of what should be taught in the first
1
few lessons with a new student, since those initial meetings set the stage for the student’s
subsequent development. The second part of Chapter 3 will present Dr. Jesselson’s
teaching methodology for the bow hand. This will include issues such as basic tone
production, bow distribution, string crossings and other right hand techniques. Dr.
Jesselson plays and teaches a variant of the French style of bow technique. This includes
use of wrist and fingers, collé strokes and the use of the fourth finger for balance. It
implies a nuanced sound with a large palette of tonal colors. The third section of Chapter
3 will discuss left hand cello technique, including the geography of the fingerboard, the
mechanism for shifting between positions, thumb position, and intonation, as well as
information about articulation, flexibility, speed and of course the myriad possibilities of
vibrato. The fourth part of Chapter 3 will deal with issues of coordination, concentration,
sight reading and musicality.
Chapter 4 is essentially the centerpiece of this paper, focusing on Dr. Jesselson’s
concept of the Sequential Method for teaching cello. In this chapter, the author will
present Dr. Jesselson’s approach to teaching technique through exercises, scales and
arpeggios, and etudes which are presented in a logical and systematic way. His
philosophy of teaching repertoire follows a similar approach by presenting pieces that are
appropriate for the playing level of a student.
Dr. Jesselson believes that exercises, scales and arpeggios are the basic operating
system for playing the cello. The first part of Chapter 4 will provide detailed information
about this method of teaching bow technique through exercises, including Dr. Jesselson’s
use of the Feuillard Daily Exercises. In the second part of Chapter 4, the author will
discuss Dr. Jesselson’s organized and sequential approach to the teaching of scales and
2
arpeggios. Information about the Sequential Method is presented by means of pictures,
charts, citations, interviews and examples.
Robert Jesselson believes that etudes should be a major part of the cellist’s daily
practice regimen. Etudes should be challenging, but within the scope of a student’s ability
level. They build on the exercises, scales, arpeggios and technique that the student is
working on. In the third section of Chapter 4, the author will present Dr. Jesselson’s
sequential order for these etudes. As an example of this approach, the document will
provide detailed information about the Dotzauer etudes. The fourth part of Chapter 4 will
present Dr. Jesselson’s views about choosing appropriate cello repertoire according to the
level of the student, while varying styles, periods and genres.
In Chapter 5 the author will discuss various issues related to Dr. Jesselson’s
pedagogy and his philosophy of musical talent, teaching and practicing. Dr. Jesselson
uses the theory of brain lateralization, the “left brain/right brain” metaphor, his focus on
structured practicing, and his emphasis on memorization and “mentalization” in his
teaching.
Chapter 6 will focus on Dr. Jesselson’s investment in string education in South
Carolina, which has had a significant impact on the lives of local cellists, and also on his
other important contributions to the field.
1.2 Overview of Jesselson’s Approach to Teaching and Learning
According to Dr. Jesselson, effective cello teachers must be far more than just
good players on their instruments. They have to be good communicators who understand
the learning process, are aware of how the brain works and recognize different
personalities and various styles of learning. Effective teachers must have a well-
3
organized pedagogical system, including good materials and clear sequencing. They must
balance technique and repertoire and understand the big picture and the small picture. A
good teacher must be well organized and have both short and long term goals for the
student.
One of Dr. Jesselson’s core principles is that cellists are similar to athletes in
many ways. He says that cellists are “small muscle” athletes, involving use of our fingers,
wrists and arms. As a result of this philosophy, Jesselson emphasizes the importance of
stretching before and after playing. He also spends a lot of time with students on
understanding how the body works most efficiently and effectively. He teaches that it is
essential for cellists to be aware that muscles should not be fighting muscles in playing,
that there are no “kinks” in the arms and that the body is aligned well, that tension is the
enemy of the musician, that “if you can move a body part, the muscle is more relaxed”,
and the importance of mental work in improving performance. As athletes, cellists must
train for endurance as well. Another commonality between musicians and athletes is the
importance of self-discipline and the requirement for patience, diligence, and
perseverance.
Another important philosophical tenet in Dr. Jesselson’s approach to teaching,
appears in a video. In this video, he states:
As a general principle I start with the big picture and work towards the small
details. The more time we have in learning a piece, the more we can get towards
the tiny details. When a sculptor carves a piece of marble, he doesn’t start with
the details of an eye – he starts with the large general forms and shapes. We also
start with the large body motions and work towards the smaller muscles.1
1
Robert Jesselson, “An Artist Teaching Artists: Dr. Robert Jesselson 2010 Mungo Distinguished
Professor Of The Year,” Center for Teaching Excellence,
https://www.sc.edu/about/offices_and_divisions/cte/events_calendar/video_archives/mungo_jesselson.php
(accessed August 20, 2018).
4
Dr. Jesselson uses the concept of brain lateralization in understanding how
different each of the students may be.
Every student I teach has a different learning style and everyone is motivated by
different things. Some of my students are very left-brain oriented – meaning that
they are good at getting the technical concepts of the music they are learning.
They may be well organized and very concrete-sequential. But a lot of musicians
are more right-brained – they are more intuitive and creative and sometimes have
a harder time getting from point A to point B in a logical, sequential manner.
They often have a different understanding of time and it is part of my job to help
them learn how to organize themselves well. However, the challenge for the left-
brain student is to leave that left-brain behind when they are performing and feel
the music. When you are on-stage, you want to be in your right-brain and time is
timeless. But when you are practicing we often need to be more in our left-brains
to learn new tasks.2
In addition, Dr. Jesselson believes in teaching concepts rather than just specific
details, so that in the future they can become their own teachers.
Another facet of my general philosophy of teaching is that I teach principles. In

other words, I want to have the student understand principles of fingering choices,
rather than just give him the fingerings for a particular passage. I want them to
understand why we choose a particular sound for Baroque music and another kind
of sound for a big Russian concerto. I want them to recognize the patterns in
music and to understand the basic organizing principles of a piece or a genre of
music. Another basic aspect to my teaching is that I don’t go on to a new concept
until the old idea is firmly implanted – that may take more time for one student
than another, but I have to help pace the rate of progress so that students are not in
over their heads. One of my principles is that a students’ technique should be at a
higher level than the piece he is playing – in other words, the music should be
easier than the level of technique that they are working on. This is so that when
they are playing the music, they can forget the technical aspects and communicate
what the music is about without worrying about the technique. I have become
very good at picking the right piece for a particular student to work on so that they
can shine and really express the music.3
The focus of this document is on the teaching and pedagogical philosophy of Dr.
Robert Jesselson. The topic is of importance because of Dr. Jesselson’s successful career
as a cello performer, professor, and music educator. He has had many successful students
2
Ibid.
3
Ibid.
5
who are working in the profession as cellists, performers and teachers. Dr. Jesselson's
efficient methodology deserves to be studied and published in detail for future educators
and performers. This document does not propose that Dr. Jesselson’s methodology is the
only system that works, or that it should be strictly followed by all teachers, but it should
be seen as a teaching experience which has shown impressive results.
1.3 Professional Biography of Robert Jesselson
Robert Jesselson is a Carolina Distinguished Professor Emeritus at the University
of South Carolina, where he taught cello and played in the Jesselson/Fugo Duo and the
American Arts Trio from 1981 to 2018. In 2013, he was named as the Governor’s
Professor of the Year by the SC Commission on Higher Education. In 2015, he was
appointed Carolina Trustee Professor. He is the recipient of the 2010 Mungo
Distinguished Professor of the Year, the highest teaching award given by USC. He has
also been awarded the 2002 Cantey Award for Outstanding Faculty, the 1992 Verner
Award from the SC Arts Commission, the 1989 S.C. Arts Commission Artist Fellowship,
the 1995 Mungo Teaching Award, and the first SC ASTA Studio Teacher Award in 2005.
Dr. Jesselson has performed in recitals and with orchestras in Europe, Asia, South
America, and the United States and has participated in the Music Festivals at Nice
(France), Granada (Spain), Santiago (Spain), Aspen (CO), Spoleto (SC), the Grand
Tetons (WY), and the Festival Inverno (Brazil). His performance degrees are from the
Staatliche Hochschule für Musik in Freiburg, West Germany (where he studied with
Marcal Cervera), from the Eastman School of Music (where he studied with Paul Katz),
and the DMA from Rutgers University (where he studied with cellist Bernard
Greenhouse). He has been principal cello of the South Carolina Philharmonic Orchestra,
6
the South Carolina Chamber Orchestra, and the Orquesta-Sinfonica de Las Palmas,
Spain. His CD of new music for cello and piano, called “Carolina Cellobration”, was
commissioned to celebrate the 30th anniversary of the Jesselson/Fugo Duo.
In 1983, Dr. Jesselson was in China for a six-month residency, one of the first
Western cellists to visit that country. During that time, he performed as a soloist, gave
master classes, and taught at several conservatories (including in Beijing, Shanghai, and
Canton). In December 2001, he led a delegation of string players and teachers to Cuba to
begin professional contact with Cuban musicians. He has also taught at Sookmyung
University in Korea, Sun Yat Sen University in Taiwan, the University of Auckland in
New Zealand, at the Royal College of Music in London, and recently in St. Lucia in the
Caribbean.
Dr. Jesselson was the national President of ASTA, the American String Teachers
Association, from 2000-2002. During his tenure as president he initiated the National
Studio Teachers Forums (2000 and 2002), started the National String Project Consortium
(with sites now at 44 universities and grants of $3.1 million), and began the planning for
the first stand-alone ASTA national convention in 2003. He was the founding Executive
Director of the National String Project Consortium and is currently on the NSPC Board.
Dr. Jesselson is former conductor of the USC University Orchestra and the
Columbia Youth Orchestra and he was the cello teacher at the S.C. Governor’s School for
the Arts for 17 years. For 15 years he was the director of the USC String Project, building
the program into one of the largest and most prominent string education programs in the
country. His pioneering work on this program was recognized in an article in the New
York Times in December 2003. ASTA awarded him the “Marvin Rabin Community
7
Service” Award in 2009 for his work with the NSPC and teacher training. Jesselson plays
a 1716 Jacques Boquay cello.
8
CHAPTER 2
WARM-UPS
2.1 The Importance of Warming Up
It is vital to warm-up before diving into practicing or performing. According to
Dr. Jesselson, warm-ups can help focus the player’s mind and establish physical
readiness for playing. They can also help to relax the musician physically by putting
attention on breathing and preparing the mind and the ears before playing. Warm-ups
“engage the brain and the body as we prepare to focus on the day’s work.”4 According to
Dr. Jesselson, “these exercises are like the hors d’oeuvres before a meal. They are ‘bite-
sized’ delicacies that help to prepare a player for the main course by gently tantalizing
and stimulating the mind for the possibilities of the upcoming meal. For cellists, these
warm-ups can help to take the player out of the hustle and bustle of the day and into the
‘cello world’ in which we are focused, concentrated, relaxed and ready to learn.”5
Cellists have many different ways of warming up and Dr. Jesselson teaches and
demonstrates many possibilities. He provides a kind of smorgasbord of warm-up ideas
4
Robert Jesselson, “100 Cello Warm-ups and Exercises Blog 2: Introduction,” cellobello,
August 31, 2015, accessed in July 15, 2018, http://www.cellobello.com/cello-blog/in-the-practice-
room/100-cello-warm-ups-and-exercises-introduction/.
5
Ibid.
9
for his students. He states, in the same way that every cellist has a different sound:
Our bodies are different, our brains are wired differently, and we have various
approaches to playing the cello. A friend of mine who is a professional violinist in a
major symphony orchestra says that he needs a half-hour to warm up before the
orchestra rehearsal starts. Otherwise he couldn’t function. Other people seem to be
able to dive in right away without any problem. I remember a morning master class
with Paul Tortelier in Nice. He walked in and said he needed to warm-up before the
class started. He then plunged right in playing two minutes of the fastest four-
octave scales I have ever seen in my life – and that was it. He was ready.6
It is important for students to figure out for themselves the best way for them to
approach the instrument. Some people like to start the day with stretches, others with
open strings, shifting exercises, cadences, or melodic improvisations. The goal may be
mental focus, physical preparedness, attention to the fundamentals of tone production,
vibrato, or intonation. These warm-ups should precede work on scales, arpeggios, etudes,
or pieces. They serve as a little introduction for the practice session.
Warm-ups are also a good opportunity to “explore” the cello. Both students and
advanced players can learn a lot about the instrument and themselves by experimenting
with sound production, improvisation, cello geography and more during their warm-up
sessions. Warm-ups are useful for discovering things such as: “what is the highest note
on your fingerboard,” or “how many ways can I play a D on one string,” or “how many
Ds are there all over the cello.”
2.2 General Warm-ups
2.2.1 Stretching
Stretching is an important part of the warm-up routine as it can “increase flexibility,
improve circulation and posture, relieve stress, enhance body awareness, balance and
6
Ibid.
10
coordination and reduce risk of injury and irritation to joints, tendons, muscles.”7 Dr.
Jesselson often compares musicians to athletes, saying that musicians are “small muscle
athletes” rather than “big-muscle athletes” such as football players. Thus, as athletes we
need to warm up the body to prepare for a “work-out” and to prevent injury. According to
Ryan George, “lactic acid build-up is what causes pain during and after intense
exercise.”8 Stretching is important after playing as well as prior to playing because the
acid that builds up in the joints through activity can do real damage to the tendons and
soft-tissue. Stretching helps to dissipate lactic acid. All exercises, including stretching,
must be done without pain. The old saying “no pain, no gain” is neither applicable nor
appropriate in cello playing.
There are many possible stretches available to the cellist. It is best to start with the
larger muscles of the back and arms, and then to work down to the smaller muscles of the
hand and fingers.
I like to focus on a couple of stretches which I think they are particularly

important for cellists and other string players. The first stretch is what I call the
“Under the Chair” stretch. So we start out sitting in the chair, just going
underneath the chair and letting the arms flow freely and of course monitoring the
breathing and then come back up. Do a few repetitions. I think this stretch is
particularly good for warming up and stretching out the back, the shoulders and
the arms. This is a good way to start the day.9
7
Donald A. Miller, Easy Exercise All Ages: Stay Vital and Prevent Scary Diseases (Salt Lake
City, UT: Thimk Biz, 2004), 23.
8
George, Ryan. Doorframe Pull-Up Bar Workouts: Full Body Strength Training for Arms,
Chest, Shoulders, Back, Core, Glutes and Legs (Berkeley, CA: Ulysses Press, 2014), 19.
9
Robert Jesselson, “100 Cello Warm-ups and Exercises Blog 2: Introduction,” cellobello,
August 31, 2015, accessed in July 15, 2018, http://www.cellobello.com/cello-blog/in-the-practice-
room/100-cello-warm-ups-and-exercises-introduction/.
11
Sometimes cellists and other athletes share the same stretches, such as “Touching
the Toes”: “I also like to do some Standing Stretches and one of the most important of
those is just touching your toes with your fingers, going down as far as you can go. If you
can, touch the palms of your hands to the floor, it is even better!”10
Other stretches that Dr. Jesselson advocates include “shoulder shrugs,” upper
body twists while sitting, arm rotations, “head rolls,” and pulling and stretching the upper
arm with the opposite hand. A similar exercise involves stretching the flexor and extensor
muscles by pulling the wrist with the other hand.
Some stretches are designed to help mitigate or prevent future problems such as
tendonitis, which can destroy a musician’s career.
I think that one of the most important stretches for string players is what I call
the Anti-Tendonitis stretch. In which you put the palms of your hands together,
slowly go down, hold it for one or two seconds and then come back up and then
shake it out. If it is done in a regular basis, on a daily basis, it is really good for
the tendons, stretching out the tendons a little bit, together with the muscles and
helping to prevent tendonitis. Doing it in the opposite direction is also good, just
coming up, holding it a little bit, coming back down and finally shaking it out.
All these stretches must be done with no pain at all.11
There are many stretches for the wrist, which is one of the most complicated joints
in the body. A good way to stretch the wrist is the “Wave Bye-Bye” stretch, in which one
waves the hand up and down as if to say “bye-bye.” It is a good way to relax the wrist
and get the blood flowing. Dr. Jesselson also advocates waving bye-bye horizontally, as
if the wrist were flat on a table. Making “Wrist Circles” is also good for loosening up the
10
Robert Jesselson, “100 Cello Warm-ups and Exercises Blog 3: Stretches,” cellobello,
September 7, 2015, accessed in July 17, 2018, http://www.cellobello.com/cello-blog/in-the-practice-
room/100-cello-warm-ups-and-exercises-blog-3-stretches-part-one/.
11
Ibid.
12
wrists. Another wrist exercise is called “Around the World,” in which one rotates the
wrist loosely in a circle around the forearm, going in both directions. As with all these
exercises, there should be no pain.
Warm-up exercises for the fingers include massaging the fingers, various
coordination exercises in moving the fingers and “Finger Flicks” for relieving tension and
increasing blood circulation.
I like to do them before performances sometimes, but of course it is good to do

them anytime. A lot of times before performances, I like to massage the fingers,
going to each joint and gently rubbing them, getting the blood flowing and
warming up the fingers a little bit. Another exercise that I really like to do, I call
the jellyfish exercise. It is just the gentle rotating of the fingers, the palms coming
together, the arms going up and down, as I do this. It gets the blood flowing, it is a
great way to move the fingers and keep them nice and flexible.12
As a result of stretching the fingers, the hand can become more flexible and pliable.
Dr. Jesselson talks about how, when he was a student, he would walk around Freiburg
with a wine cork in between the fingers in order to stretch them out for extensions. (see
Figures 2.1 and 2.2). As a result, his left hand fingers are capable of having a much wider
stretch than his right hand. (see Figure 2.3). The right hand requires different kinds of
flexibility, which are produced with other exercises. In his master classes and workshops,
Dr. Jesselson demonstrates the “Hello Cello” hand sign, which is similar to Mr. Spock’s
Vulcan Salute (see Figure 2.4). The purpose is to work on an appropriate stretch for
cellists’ hands.
12
Ibid.
13
Figure 2.1 Finger Stretches #113
13
Robert Jesselson, “100 Cello Warm-ups and Exercises Blog 4: Stretches,” cellobello,
September 13, 2015, accessed in July 17, 2018, https://www.cellobello.com/cello-blog/in-the-practice-
room/100-cello-warm-ups-and-exercises-blog-4-stretches-part-two/.
14
Ibid.
14
Figure 2.4 Finger Stretches #4 - “Mr. Spock’s Vulcan Salute”16
15
Ibid.
16
Ibid.
15
2.2.2 Relaxation and Releasing Tension
One of the most important overall concepts in playing a string instrument lies in
finding the optimal level of muscle relaxation. As with other athletic endeavors, the body
works more efficiently and effectively when it is more relaxed. The cellist should pay
constant attention to releasing tension in the fingers, hand, arms and the entire body.
Relaxation is important for adjusting intonation, playing fast notes with clarity, changing
vibrato speeds, and in virtually every other aspect of technique.
A major cause of tension in the right hand is the thumb squeezing into the bow. The
cellist should make sure that the thumb is round, with minimal pressure at the frog.
Equally important for relaxation is to make sure that the shoulder and elbow are at the
lowest and most relaxed places when at the frog. Dr. Jesselson asserts that “one of the
major causes of pain and tension is not releasing the muscles when at the frog so they can
be used effectively at the tip.”17 It is part of the cycle of tension and release.
According to Dr. Jesselson, “a good exercise is just to sensitize the feeling of
relaxation at frog and then going out to the tip; feeling where the elbow has to be with the
least amount of energy you need and then going back to the frog with relaxed muscles.”18
One of the tricks in playing dotted rhythms is to make sure that the bow is releasing
after the dotted eighth note and before the sixteenth note. A good exercise for this, is to
say the word “relax” rhythmically when practicing dotted rhythms, with “láx” being
accented and falling on the second eighth note of the rhythm. The next step is to
17
Robert Jesselson, “100 Cello Warm-ups and Exercises Blog 13: Breathing and Relaxation,”
cellobello, November 16, 2015, accessed in July 12, 2018, http://www.cellobello.com/cello-blog/in-the-
practice-room/100-cello-warm-ups-and-exercises-blog-13-breathing-and-relaxation/.
18
Ibid.
16
consciously relax the muscles of the right arm while saying the word in rhythm, as noted
in Figure 2.5.
Reláx! Reláx!
Figure 2.5 Dotted Rhythm Exercises for Relaxation19
It is important to feel the muscles releasing before playing the sixteenth note. This
produces a better sound with more resonance in the dotted eighth note. The bow must
really get into the string before the sixteenth note is played in order to have good
articulation and a clear sound on the short note.
2.2.3 Breathing
Conscious breathing can be used to help with relaxation; this natural activity of life
can help in playing an instrument. Adults breathe between twelve and twenty times per
minute, which means 17,000 to 30,000 breaths in a day when in a resting state. However,
we very rarely think about how we breathe and how we can use our breathing to promote
relaxation. Most people breathe very superficially – meaning that we do not fill our lungs
completely. According to Gerard Egan,
The reason I referred to this breathing as “shallow breathing” is due to the fact that
when you breathe high in your lungs, there is less capacity for the exchange of
19
Louis Feuillard, Daily Exercises for Violoncello (Berlin: Schott Music, 1919), 39.
17
oxygen in the upper lung due to the fact that there are less oxygen exchange
structures in that area of the lungs.20
We often breathe with just a small portion of our lungs. According to Dr. Jesselson,
“when I ask a student to show me how they breathe, usually they take a deep breath by
just breathing in. And then I have to explain that this is really very superficial breathing
and taking a deep breath does not maximize our breathing potential.”21 In order to
breathe for relaxation, we cannot just breathe in. First, we need to get rid of the old air in
our lungs and only then we can take a deep breath with new fresh air. So, in order to
consciously breathe for relaxation, the first step is to breathe out. Then the body will
automatically breathe in. If one just breathes in, one can hold the breath for a long time.
Most people can hold the breath for thirty seconds or so, but as a result of that one will
get tense.
On the other hand if you blow the air out, you cannot really prevent yourself from
breathing in. There is an automatic part of your brain, the hypothalamus, which
makes you take the air into the body. You cannot really stop yourself from taking
the air in. If you blow the air out, you automatically have to breathe in.22
Dr. Jesselson asks his students to notice what happens to the body as they blow out
the air and then take in a breath. When the air goes out, the spine curves outward and
when breathing in, the spine straightens up. In addition, when one breathes in, the
shoulders go up and when one breathes out, the shoulders go down. According to Dr.
20
Gerard Egan, Redemption from Addiction: The Eleven Powers and the Eleven Arts
(Bloomington, IN: AuthorHouse, 2013), 462.
21
cellobello, November 16, 2015, accessed in July 6, 2018,
http://www.cellobello.com/cello-blog/in-the-practice-room/100-cello-warm-ups-and-exercises-blog-13-
breathing-and-relaxation/.
22
Ibid.
18
Jesselson, the body is like a large balloon that fills with air and then releases the air. This
is part of the life cycle of tension and release; when the air is in, one is more intense and
when the air is out, one is more relaxed. It is important for cellists to monitor themselves
as they learn more about healthy breathing and that they practice this breathing cycle
consciously while observing the body.
Dr. Jesselson recommends practicing breathing along with scales: “I would start
with blowing out the air again and then coordinating the down-bow with breathing in and
the up-bow with breathing out, so as you go to the frog, you get to the place that is the
most relaxed and as you approach the tip where you need the most energy.”23 In this way,
the cellist takes in an entire lung-full of air with the down-bow, which is coordinated with
opening up the body. On the return to the frog with the up-bow the air is released, and the
shoulder should come down. Furthermore, the elbow is lowered.
A special exercise for breathing that results in very quick relaxation is what Dr.
Jesselson calls “Square Breathing.” “In Square Breathing you breathe out for four counts,
then hold breath for four counts, then breath in for four counts and then hold your breath
for four counts.”24As the cellist does that, the spine, shoulders and diaphragm should be
monitored. Square Breathing is a quick and efficient way to relax the body and lower the
heart-rate.
When I was a principal cellist in an orchestra in Spain, I used to do Square

Breathing a few measures before the solo came up, in the tempo of the piece we
were playing. As a result of doing this I play much better because I am more
relaxed. I almost always do some Square Breathing now before performances,
because I know that it helps me to relax.25
23
Ibid.
24
Ibid.
25
Ibid.
19
2.2.4 Balance
Balance is a vitally important concept for string players because it affects
equilibrium, ease of playing, flexibility, agility, stability, steadiness and control. An
awareness of balance can also enhance confidence while playing an instrument. Elizabeth
Morrow asserts, “Balance is a necessary component to arriving at maximum energy
efficiency with minimal effort, a sensation we interpret as relaxation.”26 Cellists need to
be aware of the importance of balance in the bow hold, in the efficient use of the left-
hand fingers, in vibrato, in shifting and especially in the large fundamental movement of
the body in contrary motion, which Dr. Jesselson calls “Left-Right Motion.” In “Left-
Right Motion,” the body and instrument move in opposite directions. So, in taking a
down bow cellists will push with the right foot and lean to the left. For an up bow, cellists
lean to the right. Cellists need to experiment and become familiar with this motion, which
is further discussed in Chapter 3, page 40.
Another important balance concept involves the little finger (fourth finger) on the
bow. The function of the little finger is to balance the bow like a seesaw, with the ability
to raise and lower the bow from the string. As a result, the bounce in spiccato and sautillé
strokes is facilitated by the little finger. In addition, string crossings are controlled by the
little finger, along with the wrist and upper arm.
There are a several exercises which can help in discovering and promoting the use
of the little finger for balance. For these exercises Dr. Jesselson recommends having the
26
Elizabeth Morrow, “A Question of Balance,” American String Teacher 57, no.1 (February
2007): 56.
20
little finger on the top of the stick. In this way, a cellist can enhance the use of the fingers
in controlling the bow. Instead of creating a violin bow hold, in which the hand and
fingers are pronated, the cellist should keep the usual square position on the bow. By
placing the little finger on top of the stick, the cellist becomes more sensitive to how the
little finger controls the up-and-down movements of the bow. If the joints of the little
finger bend inward, they are probably not strong enough. In this situation, Dr. Jesselson
recommends using isometrics to strengthen the fingers (See Isometrics in Chapter 2, page
24.) Another of Dr. Jesselson’s exercises for practicing balance with the little finger
involves, “making various circles and arcs with the bow in the air, always monitoring the
thumb, making sure it is round and bending. You can also spell your name with the tip of
the bow.”27
A good test for finding the balance property of the little finger, according to Dr.
Jesselson, is the following: cellists should hold the bow out in front of themselves parallel
to the ground, with the little finger on the top of the stick. Then they should release the
little finger. If the bow stays steady, it means that they are squeezing with the thumb in
order not to drop the bow, which creates tension and is not good. However, if the cellists
release the little finger and the bow drops down, then they are not “holding” the bow, but
instead are “balancing” the bow, which is what we want.28
The little finger also controls string crossings at the frog. To promote this use of the
little finger, Jesselson recommends doing various flexibility exercises. In the “Wiggle-
27
Robert Jesselson, 100 “Cello Warm-ups and Exercises Blog 6: Balance Exercises, Part Two,”
cellobello, September 27, 2015, accessed July 4, 2018, http://www.cellobello.com/cello-blog/in-the-
practice-room/100-cello-warm-ups-and-exercises-blog-6-balance-exercises-part-two/.
28
Ibid.
21
waggle” exercise, the cellist puts the bow on the C-string at the frog and rocks it over to
the A-string and back, with the little finger doing all the work. The arm does not move,
just the fingers. This makes the movement easier and more efficient. A variation on this
exercise is to hold the lower arm on the side of the cello, thus preventing the arm from
doing any of the movement. This insures that the string crossings are done with the
fingers, when desired. String crossings can also be done with the upper arm and the wrist
(See Chapter 3, page 56.) Practicing string crossings in this way helps with many
passages in the repertoire. A good etude for working on this string crossing movement of
the hand and fingers is the Duport etude No.7.29 Practicing it with the little finger on top
enables the player to eliminate large muscle movements of the arm, thus saving energy
and preventing tension and exhaustion.
The cellist’s left hand also needs balance to work properly. It is important to
balance on each finger using only the minimum amount of weight needed to produce the
pitch. Balance motion is also involved in vibrato. Dr. Jesselson says,
We don’t really need to actively vibrate up and down; we can conserve energy by
actively vibrating in the “up” direction, with the top of the vibrato at the desired
pitch. If the arm and hand are relaxed, then the “ping” produced on the “up” motion
will result in a movement in the opposite, or “down” direction. Basically, the
vibrato motion employs Newton’s Third Law: every action has an equal and
opposite reaction. The active motion is the “up” part of the vibrato – the reaction is
passive. Since the “up” motion of the vibrato pitch is really a physical motion
towards the bridge on the cello, we are using gravity as well, so we don’t have to
work as hard. The “down” vibrato’s movement is the reaction to this. If the hand
along with the arm and fingers are completely relaxed, the vibrato motion will
bounce back without any effort.30
29
Jean-Louis Duport, Twenty-one Etudes: For Cello (Leipzig: C.F. Peters, 1895), 20.
30
Robert Jesselson, “100 Cello Warm-ups and Exercises Blog 6: Balance Exercises, Part Two,”
cellobello, September 27, 2015, accessed July 10, 2018, http://www.cellobello.com/cello-blog/in-the-
22
Dr. Jesselson asserts, “as we think about these issues, we can find other situations
where balance is important in string playing. For example, in finding the right balance in
playing double-stops, or in finding the balance we want when playing with a pianist or
chamber group. We also may be looking for some philosophical balance in our approach
to playing Bach: we are somewhere on a continuum between playing in a historically
accurate “performance practice” approach, versus a highly personal, romantic
approach.”31 Balance is essential for everything when playing the cello.
2.2.5 Ballistic Motion
Ballistic motion is an important movement related to balance. Dr. Frank Wilson
describes the ballistic motion as “…very energetic and short lasting. It launches the limb
in a set direction and ceases long before the limb will have completed its course of action.
Because of the similarity of this kind of move to the firing of a gun shell, it was called
‘ballistic’.”32 Dr. Jesselson states that if the cellist plays a fast down-bow and wants to
retake the bow, muscle power can be used pull the bow back. However, this is inefficient.
Alternatively, the cellist can allow ballistics to take over by throwing out the arm. If it is
relaxed, it will bounce back like a boomerang.
In order to experience the difference between pulling the arm back and letting it
bounce back, a student should first try this exercise without holding a bow; subsequently
the student can move the bow in the air without playing on the string. Finally, the student
should play a note with a fast bow speed from the frog to the tip and let the arm bounce
back through ballistic motion. In the Figure 2.6 from the Vivaldi Cello Sonata in A
31
Ibid.
32
Ibid.
23
minor, the cellist can use the ballistic motion to get back to the frog when playing the top
A’s and the top E’s.
Figure 2.6 Vivaldi Cello Sonata in A minor33
Students may first encounter ballistic motion when they work on the Feuillard Daily
Exercises No. 32, variation #27, which is discussed in greater detail in Chapter 4, page
153.
Another kind of ballistic motion is used in vibrato, in which there is an active “up”
motion by the arm and a passive ballistic motion as it responds in a “downward”
direction.
2.2.6 Isometrics
According to Jeanne Nagle, “Isometrics are exercises that build muscle by pushing
or pulling against a stationary object.”34 Isometric exercises can help to strengthen the
muscles of the hand and arm and can be used to build strength in the fingers. Many
people think that their fingers are double-jointed. In most cases, the problem is that the
fingers are just not trained to be round, as they need to be for efficient and optimal
33
Antonio Vivaldi, Cello Sonata in A minor (Milano: G. Ricordi & C., 1968), 1.
34
Jeanne Nagle, Frequently Asked Questions about Wii and Video Game Injuries and Fitness
(New York, NY: The Rosen Publishing Group, 2010), 14.
24
articulation and control. A simple isometric exercise that can solve this problem involves
holding the palms of the hands together and pushing the fingers against one another for a
few seconds at a time. The small muscles will be trained quickly by doing many short
repetitions frequently during the day. One must be careful not to overdo these exercises
in order to prevent injury. In a famous example of what not to do, Robert Schumann tried
to strengthen the muscles of his hand with a machine and as a result “his right hand was
permanently damaged.”35 These isometric exercises should be done for just a few
seconds at a time. In between repetitions of the exercise, shake out the hands and relax
the muscles. It usually takes no more than a week or so of doing this several times during
the day to strengthen the fingers. Once all the fingers have been trained to be round
together, then one can do similar isometrics with just one finger at a time to focus on
training each one individually. It is important to make sure that all the joints are round to
prevent training the muscles with the joints bent in the wrong way. As the fingers get
stronger, separate the palms and check if the other fingers are strong enough to stay
rounded. Isometrics can help to strengthen the knuckle joints and the thumb as well, and
they can be done on a table top or on the top of the cello. Dr. Jesselson emphasizes, “I
like to do an isometric exercise to train what I call the “Innie and the Outie” for a strong
thumb position, by pressing the left first finger against the left thumb and of course
always relaxing after pressing it.”36
35
Willard A. Palmer, Essential Keyboard Repertoire, Volume 7 (Spanning Seven Centuries): 84
Early Intermediate Selections Spanning Seven Centuries - Medieval to Modern (Boston, MA: Alfred
Publishing Co., Inc.,1995), 114.
36
Robert Jesselson, “100 Cello Warm-ups and Exercises: Blog 14: Isometrics, Strength and
Articulation Exercises,” cellobello, November 24, 2015, accessed August 8, 2018,
isometrics-strength-and-articulation-exercises/.
25
2.3 Right Hand Warm-ups
It is best to start the warm-ups with right hand exercises. Since the bow produces
the basic sound, it is best to establish the sound before working with left-hand issues. In
addition, the bow arm uses more of the big muscles of the upper arm and back, while the
left hand uses more of the smaller muscles of the lower arm and fingers.
According to Dr. Jesselson:

I usually start with an open G string. This string is great for starting because I can
feel the arm weight into the string in a healthy way. As I do this I think about some
of the issues that are the basis for a good cello techniqueː the Three Principles of
Tone Production (contact point, weight and speed); I think about the bow being
parallel to the bridge; I also think about the upper/lower arm issues: the upper part
of the arm controlling the lower part of the bow and the lower part of the arm
controlling upper part of the bow. Moreover, I think about my bow hold; the
placement of the fingers on the bow; the function of different fingers and I often do
what I call Left/Right Motion or Contrary Motion.37
There are many good open string warm-up exercises. These include exercises for
different bow strokes (spiccato, sautillé, up-bow staccato, detaché, etc.), the Feuillard
Daily Exercises No. 32 (see Chapter 4, page 134), the Bowing Figures (see Chapter 3,
page 60) and string crossings (See Chapter 3, page 56.) A good example of an exercise
for string crossings would be the Feuillard Daily Exercises No. 34.
According to Jesselson,38another good exercise for the bow involves changing the
contact point by changing the angle of the bow while playing an open string. On a down
bow, move the hand towards the bridge and the bow will move to a higher contact point.
On the up bow, move the hand towards the bridge and the bow will move back down
close to the bridge. The opposite can also be done: if one wants to move closer to the
37
Robert Jesselson, 100 Cello Warm-ups and Exercises: Blog 7: Open String Warm-Ups Part 1,
accessed in July 25, 2018, http://www.cellobello.com/cello-blog/in-the-practice-room/100-cello-warm-ups-
and-exercises-blog-7-open-string-warm-up.
38
Ibid.
26
bridge on a down bow, move the hand closer to the fingerboard and once you get there,
straighten the bow to keep it in a new contact point. And on the up bow, move the hand
closer to the fingerboard to move the bow back up. This sounds complicated, but with a
little bit of practice, it is not difficult to execute.
2.4. Left Hand Warm-ups
Warm-ups for the left hand involve issues of strength, articulation, speed, shifts,
vibrato, endurance, intonation, flexibility, relaxation, coordination and independence of
the fingers. Some of these topics will be discussed further in Chapter 3. There are
hundreds of possibilities for warming up the left hand and focusing on the issues
mentioned above. A few examples of left-hand warm-ups advocated by Dr. Jesselson are
cited below.
1) The following exercises deal with coordination, independence of the fingers and
the lifting action of the second finger. The repeats are important as they involve the
reverse articulation. These exercises can be done with all combinations of the fingers and
also in thumb position, as noted in Figure 2.7.
Figure 2.7 Exercise for Independent Fingers39
39
Robert Jesselson, “100 Cello Warm-Ups and Exercises Blog 14: Isometrics, Strength and
Articulation Exercises,” cellobello, November 24, 2015, accessed September 3, 2018.
27
2) The Cossmann exercises work on intonation, articulation and clarity. Most
cellists are familiar with the first Cossmann exercise. This exercise can be augmented by
repeating the third measure, using the finger pattern 2-4-3-4. Played spiccato, it is also a
good exercise for coordination, as noted in Figure 2.8.
Figure 2.8 Cossmann Exercise #140
https://www.cellobello.com/cello-blog/in-the-practice-room/100-cello-warm-ups-and-exercises-blog-14-
28
The second Cossmann exercise is similar, but involves string crossings:
Figure 2.9 Cossmann Exercise #241
These exercises “test our strength, relaxation and endurance; if we have difficulty getting
through these exercises on all the strings and then back up we need to examine whether
we are pressing/squeezing with the fingers.”42
3) Strength: A good exercise for strengthening the left thumb is to rub the thumb
along on the string in the upper registers. This will help to train the thumb and make it
40
Ibid.
41
Ibid.
42
Ibid.
29
strong enough to keep the “inny and the outy” thumb position. It also helps to build the
callus on the finger.
4) Cadence exercises: Dr. Jesselson recommends doing various cadence exercises
to work on ear training, intonation, string crossings, geography and tonal issues. Here are
a few that he suggests.
In this first exercise, the cellist should use the fingerings indicated in the example.
After each cadence one can move a half step higher and repeat the exercise. As noted in
Figure 2.10:
Figure 2.10 Cadence Exercise #143
In the next exercise, the student should use the fingerings indicated in the example.
Again, after the cadence one can repeat it a half step higher. As noted in Figure 2.11:
43
Robert Jesselson, “100 Cello Warm-Ups and Exercises Blog 12: Flexibility and Coordination,
Part 2,” cellobello, November 8, 2015, accessed September 3, 2018, https://www.cellobello.com/cello-
blog/in-the-practice-room/100-cello-warm-ups-and-exercises-blog-12-flexibility-and-coordination-part-
two/.
30
In the next exercise, these chords should be played chromatically going from ½ position
to IV position, as noted in Figure 2.12:
44
Ibid.
45
Ibid.
31
2.5 Melodic Improvisations
It is important for cellists to be creative during their warm-ups as well. One of the
best ways to explore the instrument and warm-up is by playing simple improvisations,
focusing on the sound and phrasing. It is best to start these improvisations with a few
given parameters. The students should pick a key, a meter, a tempo and a pulse. Keeping
it simple, they should at first just stay within an octave and not modulate. But within
those parameters they can be creative, using various rhythms, strokes, tone colors,
dynamics and so on. As students become comfortable with these simple improvisations,
they can widen the scope – adding octaves, changing positions, modulating, playing in
thumb position, etc. They should keep a sense of proportion in the phrase groupings,
using 2, 4, 8 measure phrases, etc.) in a way that makes musical sense. Young players
often find it challenging to keep the improvisation simple and not to “go crazy” with
complexities at first. The improvisation should not be random or overly complicated. One
of the benefits of melodic warm-ups is the opportunity to be creative with the melody yet
at the same time being aware of technical issues such as the bow angle, body posture, or
vibrato.
Another way to approach melodic warm-ups is to take a known melody and play it
in different ways.
Some people like to improvise a little before starting to practice. A clarinetist friend
has a consistent warm-up melody that he plays when he first puts the instrument
together – he didn’t even realize that he was doing this, but when a composer friend
of ours wrote a piece dedicated to him, he used that little melody as the theme since
he had always associated that melody with the clarinetist. I often warm up on a little
melody that my grandmother sang to me starting at birth – she created a different
32
melody for each of her grandchildren and mine has stayed with me all these years!
It has become a tiny warm-up “ceremony” that I do almost subconsciously.46
This is the melody created by Paula Merzbach, Robert Jesselson’s grandmother:
Figure 2.13 Lullaby47
When playing this melody as a melodic improvisation, Jesselson explores it in
different ways by playing in different keys, putting the whole melody on just one string,
or by inventing different versions of it with different bowings or fingerings.
The next three examples developed by Dr. Jesselson are intended to help the player
warm up with string-crossings using a fast bow speed and a large arc motion with the
arm. They should be played quite fast.
46
Robert Jesselson, “100 Cello Warm-ups and Exercises: Introduction,” cellobello, August 31,
2015, accessed July 28, 2018, http://www.cellobello.com/cello-blog/in-the-practice-room/100-cello-warm-
ups-and-exercises-introduction/.
47
Paula Merzbach’s Lullaby. Edited by Sam Cavalcanti.
33
Figure 2.14 String-crossing Exercises48
48
Robert Jesselson’s String-crossings Exercises. Edited by Marcílio Onofre.
34
CHAPTER 3
CELLO TECHNIQUE
This chapter presents Dr. Jesselson’s approach to cello technique, divided into
right hand and left hand technique, as well as other pertinent issues such as coordination,
concentration, organization, etc. Before discussing these issues in detail, I believe it is
important to consider his approach to lessons with a new student.
3.1 The First Lesson: Getting it Right From the Start
3.1.1 Preliminary Meeting:
Dr. Jesselson works mostly with intermediate to advanced level students and the
pedagogical approach that will be described in this document is based on this. He does
not work with beginning cello students. The student “may be a middle school or high
school student who has started in a public school or Suzuki environment, perhaps with
some private lessons. He/she enjoys playing and wants to be more serious about music
and become a better cellist.”49
Prior to the first actual private lesson, Dr. Jesselson has a preliminary meeting
with a prospective student and his/her parents. He asks the student to play something for
him, then evaluates whether he wants to work with this student. If he decides not to take
the student, he usually gives the parents some names of other possible teachers, indicates
49
Robert Jesselson, “The Joy of Feuillard – A Sequential Approach to Teaching Bow Technique
Blog 1: Introduction,” cellobello, September 17, 2018, accessed September 18, 2018,
https://feuillard.blog/2018/08/19/the-journey-begins/.
35
that he will “keep an eye out” for the student’s progress in the future and often invites the
student to participate in his free Saturday classes for area pre-college cellists. If he feels
that he would like to work with this student, he then asks the student what his/her goals
are for the lessons. At that point Dr. Jesselson describes what he expects from the
student:
● at least 1 ½ hours of practicing every day.
● weekly hour lessons, with no “excuses”.
● participation in the Saturday Pre-College classes.
● participation in recitals at the end of the semester.
● a commitment that this will take priority over other after-school activities.
Dr. Jesselson then asks that the student and parents go home and discuss the
realities of these parameters so that there is a family commitment to the process. In some
cases, the parents may be hesitant about a commitment to weekly lessons or another
requirement listed above, or the family’s level of support. But he feels it is best to agree
on these parameters before the actual lessons begin so there is no misunderstanding on
both sides. If they decide to continue with lessons, Dr. Jesselson asks that the students
bring the following to the first lesson: a notebook, the Feuillard Daily Exercises and a
specific etude book (often Dotzauer Etudes Book 1).
3.1.2 The First Lesson
Following a preliminary discussion session about commitment, Dr. Jesselson
recommends that the cello teacher check to see if the cello is in good condition in the first
lesson. This includes checking if the cello has the correct height of bridge, decent quality
36
strings, a bow with sufficient hair that has is not tightened too much and is loosened after
playing and so on. The cello teacher should periodically check these things in lessons, as
students often do not notice these problems. The teacher will discuss repertoire with the
student in a future lesson. However, Dr. Jesselson usually asks the student to send him a
repertoire list showing the pieces that he/she has played, and which pieces were
memorized and/or performed. This list should be updated periodically.
Many students do not have solid knowledge of the parts of the cello. The teacher
can have the student draw a picture and go through all the parts, making sure students
know the correct terminology. Dr. Jesselson likes to do this with a group of students
rather than in the first lesson, as it takes a bit of time.
In the first lesson, the cello teacher should check the three points to look for the
correct positioning of the cello. The cello should:
a) touch the body in the upper middle of the chest: not too high or too low.
b) be positioned so that the lower bouts touch the legs between the upper and
lower leg, near the knee and so the bow does not rub against the instrument.
c) be placed so that three fingers could fit between the neck of the cello and
the top of the left shoulder. The neck of the cello never should touch the
shoulder while playing.
The end-pin height should be checked by the cello teacher occasionally in future lessons,
especially when the student has a growth spurt. As the child grows, the end-pin must also
“grow.” The teacher should also check that a student is using the correct height chair.
Tall cellists tend to slide their feet back near the front legs of the chair. As a result, the
37
cellist loses their solid base and the foundation may be wobbly. For a good sitting
position, the cellist should have the hips slightly higher than the knees.
In the first lesson, Dr. Jesselson’s agenda includes the following main topics that he
hopes to accomplish. By doing so, he intends to establish very clear guidelines for the
student right away, with the idea that there will be an enormous change in the physical
approach to playing as well as the basic sound concept. If the student perceives these
changes as positive after one lesson, then the ground is set for future accomplishments.
The primary focus at first is on the bow arm, since that is where the basic sound
production occurs. The main topics in the first lesson will be:
● “Core sound”
● “Block of sound”
● Upper Arm/Lower Arm issues
● Elbow arc
● The “Getting into the String Exercise”; “ke” sound
● Left/Right Motion
● The Three Principles of Tone Production
● Demonstration and explanation of the 2-octave scale and arpeggio system
● Feuillard No. 32
When the student is practicing open strings, attention should be given to what Dr.
Jesselson calls the “core sound.” A “core sound” is one that has a real center to it. One of
the things that the teacher is doing is changing the way that the student hears the sound.
The student must also learn to look for the “Block of Sound.” In this concept, the sound
is the same from the frog to the tip and does not weaken when approaching the tip.
38
Cellists generally identify four parts of the right arm that are involved in playing:
the upper arm, the lower arm, the wrist and the fingers. While playing the cello, cellists
must be aware of which part of the arm they are using. (See Chapter 3, section B under
String Crossings, page 56.) In particular, cellists should be aware of the elbow moving in
an arc shape as they bow from the frog to the tip. After asking how the elbow works, it is
sometimes useful to have the student imagine having a pencil attached to their right
elbow. If the student were to draw with this pencil on a piece of paper, Dr. Jesselson
often asks “what shape would be drawn?” Students often see a straight line, but the
correct way of using the elbow is to envision an arc, with the lowest place at the frog and
the highest part of the arc when playing at the tip.
Sometimes the string does not speak well at the beginning of the note. To avoid this
kind of sound, Dr. Jesselson uses his “Getting Into the String Exercise.” This involves
putting the bow on the string at the frog and using the weight of the arm to move the
string back and forth without producing any sound. The arm probably has more weight
than is needed; if the cellist played with that amount of weight, the sound would crunch.
However, the student should first sense the ability to have that amount of passive weight.
They will then be able to release it a bit. As a result, when the student plays, it will have a
little consonant sound. Dr. Jesselson calls this the “ke” sound.
The next issue is one of the most important for Dr. Jesselson’s physical and
philosophical approach to playing the cello: Left/Right Motion (sometimes called
“Contrary Motion”). This concept is vital for a young player because it helps with
balance, coordination, sound production at the tip and most importantly, relaxation. It is
especially necessary at the earliest stage of development for an intermediate level cellist
39
because it establishes principles that will be built on in the next lessons. In teaching
Left/Right Motion, Dr. Jesselson usually starts without the cello. The students are asked
to put weight on the right side of the body while they lift the left leg and move it forwards
and backwards. Then they change their balance to the left side and move the right leg in a
similar fashion. After they feel a good balance in the body and the sitting position, then
they do the same thing while holding the cello. Dr. Jesselson will often ask the students to
“hug” the cello very low-down, in order to magnify the feeling of relaxation and balance.
Next, he asks the students to put the bow at the frog with the weight balance of the body
on their right side. Then they put the bow at the tip with the weight balance on the left
side. After that coordination is achieved, he asks them to draw the bow using Left/Right
Motion. After a few repetitions, he asks the students what they are sensing. Usually they
will hear that they are producing a better sound at the tip and usually they will sense
some relaxation at the frog. Sometimes they will say that it feels “strange” - but that they
understand this is all new. It usually takes one or two more lessons for students to feel
completely comfortable with this motion and with applying it to almost everything they
do: open strings, scales, arpeggios and etudes. (See Chapter 2, under Balance, page 20.)
After the student has understood the basic concepts of Left/Right Motion, Dr.
Jesselson begins the discussion about the “Three Principles of Tone Production.” (See
Chapter 3, section B under Basic Tone Production, page 47.) The first concept that must
be understood and internalized is the relationship between the bow and the strings. The
bow needs to be perpendicular to the string, or parallel to the bridge so, that the bow stays
in place with one contact point from the frog to the tip. If the bow is not “straight” then it
will slip up or down the string. The students must practice the bow angle using a mirror.
40
Because they are behind the cello, there is an optical illusion created by the position of
the cellist to the right of the neck of the cello. As a result, they cannot see the angle
clearly. For cellists, playing with a straight bow means that there is a perception that the
bow is angled away from the body on a down-bow and that the tip is pointed away from
the player on an up-bow.
After explaining these basic important aspects of the right arm and sound
production, Dr. Jesselson talks about the left hand issues. He demonstrates the two octave
scale from Feuillard and explains the bowing system of one, two and four notes to a bow.
(See Chapter 4, section 4.2 under A Sequential Approach to Teaching Scales and
Arpeggios page 152.) He also demonstrates the two octave arpeggios, emphasizing the
style which he requires: two notes to the bow for the eight notes; four notes to the bow
for the 16th notes; taking repeats; tempo at about 60 to the eighth note; using full bow.
He asks the student to write the names of the arpeggios in the music (see Chapter 4,
section 4.2 under A Sequential Approach to Teaching Scales and Arpeggios) and to
memorize these names for the next lesson.
Still in the first lesson, Dr. Jesselson explains how the Feuillard No.32 will work.
(See Chapter 4, section 4.1 under A Sequential Approach to Teaching Bow Technique
Through the Feuillard Daily Exercises, page 134.) The theme of Feuillard No.32 is
perfect for the student to solidify basic technical issues. Dr. Jesselson says, “each
variation should be polished like a gem and perfected with good sound and a mastery of
the fundamental bow technique. Terms should be clearly understood, including the
41
difference between spiccato and staccato and the importance of a well-executed detaché
or legato.”50
Throughout the lesson, Dr. Jesselson writes notes in the assignment notebook.
This will become the “contract” for what the student will be expected to know and to do
in the next lesson. If the cello teacher cannot cover all these aspects in the first hour
lesson, there is probably too much verbalization, or talking about non-cello issues.
In the second lesson, the cello teacher should review all the previous information
and make sure that the student has absorbed all of it. If there are deficiencies, these must
be addressed before going on. The second lesson is important for setting standards of
expectations: to see how much has been learned. The teacher can ascertain how well-
focused the student was during the week and address that right away. For example, the
student should know all the new terminology. A very telling moment is to see if they
know the names of all the arpeggios. If not, Dr. Jesselson will work with them on
memorizing the names. In doing so, he is able to see how easily the student can memorize
something and also show “tricks” for memorization that will be used in memorizing
music. (See Chapter 5 on Memorization, page 181.) In the second lesson, Dr. Jesselson
starts to talk about the basic “rules” for sound production. (See Chapter 3, section 3.2.2
under Basic Tone Production, page 47.) Afterwards, he discusses the Placement of the
Fingers on the bow, the Function of the Fingers on the bow (see Chapter 3, section 3.2.1
under Bow Balance, page 44) and the Front and Back of the Hand (See Chapter 3, section
3.2.2 under Basic Tone Production, page 50.) At the end of the second lesson, Dr.
Jesselson and the student write in the positions for the next scale and arpeggios together.
50
Robert Jesselson, “Part Three: A Sequential Approach to Etudes (for Cellists and Other String
Players!),” American String Teacher 63, no. 2 (May 2013): 35.
42
The student should do that at home in the future and Dr. Jesselson just checks that it has
been done correctly. Dr. Jesselson continues the lesson with the Feuillard No. 32 theme
and variations and he assigns an etude. Dr. Jesselson waits to talk about repertoire until
the third lesson or so, to make sure the basics are “set”.
3.2 Right Hand - Bow Technique
The bow produces the cellist’s voice. It is of utmost importance for cellists to
develop their bow technique in order to play expressively and with a good sound,
controlling dynamics and accessing all the tonal possibilities at their disposal. As Dr.
Jesselson explains:
The bow is where the artistry lives in playing a stringed instrument. As an artist
we must be able to control every aspect of the bow as we work towards our
artistic goals. But we must first master our craft on the way to becoming artists.
We must know all the elements for controlling the bow to produce the rainbow of
colors that we need in music. We need to be able to get a good sound from all
parts of the bow and to play with accurate rhythm. We need to know about bow
distribution and how to play legato, detaché, spiccato, sautillé and all the other
strokes. And we need to know how to shape phrases. We need to be able to sing
with the bow and also to speak with it. In short we need to be able to control the
bow, rather than having the bow control us. If the bow is a horse and we are the
rider then we need to control the horse, not vice versa.51
As indicated previously, Dr. Jesselson teaches a variant of French bow technique,
which involves the use of the fingers for balance and collé. This chapter will examine
some of the important facets of bow technique as taught by him, including basic tone
production, the “bow hold” (or as Dr. Jesselson describes it “bow balance”), bow
distribution, various bow strokes, string crossings, bow changes and articulation. Each
area is discussed in this section.
51
43
3.2.1 Bow Balance
Most string players refer to the position of the hand on the bow as a “Bow Hold.”
However, Dr. Jesselson believes that using this term implies that the player will be using
muscles to grab the bow. He prefers to use the term “Bow Balance” to help convey the
idea that the bow is gently balanced in the hand without using force. Each finger has a
specific placement on the bow:
● The first finger is placed on the grip with the first joint or the phalange above the
first joint touching the stick.
● The second finger rests on the ferrule (or the “metal tab”) with the tip of the finger
hanging slightly below the ferrule so that the hand sinks onto the frog.
● The third finger goes on or near the eyelet.
● The pad of the fourth finger is placed on the junction between the ebony of the
frog and the wood of the stick. It can also be placed on top of the stick when used
for certain strokes and string crossings.
● The thumb rests at the juncture of the two woods. It is placed on the diagonal and
should be rounded.
The fingers on the bow, with round thumb are shown in Figure 3.1.
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Figure 3.1 Round Thumb52
Each finger also has a specific function on the bow.
● The first finger transfers the weight of the arm to the bow.
● The second finger is the “anchor” - it keeps the hand on the frog
with the second finger on the ferrule.
● The third finger centers the hand and deals with the rotation of the
stick; it is also the “centering finger.”
● The fourth finger has the important function of balancing the
weight of the bow and is used for off-the-string strokes (spiccato,
sautille, etc.) and string crossings.
● The thumb is a counterbalance and helps to guide the bow. In
other words, it is the “boss.”
52
Robert Jesselson, “100 Cello Warm-ups and Exercises Blog 6: Balance Exercises Part 2,”
cellobello, September 27, 2015, accessed in Aug 13, 2018, https://www.cellobello.com/cello-blog/in-the-
45
Jesselson studied with cellist Paul Katz (former cellist of the Cleveland Quartet
and professor at Eastman School of Music and the New England Conservatory). Katz
uses a little story to describe the fingers’ functionsː he says that the bow is like a ship and
the fingers are the sailors on the ship.
● The “thumb” is the captain; he is the leader.
● The index finger is just lazy, lying on the deck.
● The middle finger is the “captain’s first mate” because the thumb and
middle finger are close to each other.
● The ring finger likes to look out of the “porthole”, so it stays on the eyelet
of the bow.
● The little finger has climbed up the mast, so it is higher up on the bow53
This little story is amusing and helps students remember how to position the hand and the
function of the fingers on the bow.
Various exercises can help students improve their bow hand and the use of the
fingers. In balance exercises for the little finger, students are asked to draw a circle, or an
arc in the air, or spell their names with the bow tip. The “wiggle-waggle” exercise is also
useful. (See Chapter 2, under Balance, page 21.) Another good exercise for the bow hand
is “climbing up the bow with the fingers”, which helps the fingers develop flexibility and
balance. Holding the bow vertically, each finger climbs along the stick until the tip is
reached and then they climb down similarly. The same exercise can be done with the bow
in a horizontal position, which helps the student perceive the use of the little finger for
balance.
53
Paul Katz, “Bow Hold Principles - Part 1,” cellobello, December 29, 2017, accessed in August 6,
2018, http://www.cellobello.com/cello-lessons/right-hand/bow-hold-principles-part-1/.
46
An important exercise for the little finger involves holding the bow out straight in
front of the player with the little finger on the top of the bow. When asked to remove the
little finger from the bow, the player can check whether they are squeezing or if the little
finger was truly balancing the weight of the bow. If they are squeezing, the bow will
remain in a horizontal position, parallel to the floor. If the little finger is truly balancing
the bow, the tip of the bow will drop facing the floor when the little finger is lifted. That
is the desirable “bow balance.”
As students begin to sense the release of tension from the bow when they learn
this “bow balance,” they will often think that they will drop the bow. Dr. Jesselson asks
them if the feel like they will drop the bow and if they answer “yes,” he asks them if this
is a “good thing” or a “bad thing.” If they think it is a “bad thing,” he explains that it is
actually good, because they are not squeezing the thumb onto the stick and are beginning
to feel the proper “bow balance.”
3.2.2 Basic Tone Production
Dr. Jesselson identifies two basic types of sound: the “core” sound and the
“resonant” sound. The core sound is the tone that is produced close to the bridge with a
low contact point. This is the sound that is needed for projecting in a large hall, for
playing a big romantic concerto, or for playing with other instruments which project
sound more easily, such as the piano or violin. The “resonant” sound is produced with a
faster bow speed and a higher contact point. This type of sound is used in Bach or for
subtle nuances in solo playing. Obviously, this description is a vast generalization and
there are gradations in sound from “core” to “resonant” that are used in virtually all
literature from all periods.
47
Dr. Jesselson feels strongly that students need to work with the core sound first,
because it is often more difficult to produce this sound and it is important for students to
develop what he calls a good “sound concept.” Students are generally used to playing
with a sound that is pretty under the ear but does not project in a hall. Developing the
core sound means changing the way that students hear sound under their ear, and it
usually takes a few weeks to get used to the “barbs” that this way of playing sounds to
student.
Producing the sound and changing the color or volume of the sound requires an
understanding of what Dr. Jesselson calls the Three Principles of Tone Production. These
are:
1. contact point
2. weight
3. bow speed
The student must work carefully with these three elements to discover how they interact.
Dr. Jesselson has developed several “rules” which the student needs to study and
internalize. These rules include:
● The higher the string, the lower the contact point.
● The lower the string, the greater the weight.
● The lower the string, the slower the bow speed.
● The shorter the string length, the lower the contact point.
● The closer to the bridge, the more weight.
● The faster the bow speed, the higher the contact point.
The cellist must control all these factors in all parts of the bow.
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In order for the bow to remain parallel to the bridge, it is vital for the student to
understand how the upper arm and lower arm function. Playing from the frog to the
middle of the bow requires using the upper arm; playing from the middle of the bow to
the tip requires lower arm movement. Dr. Jesselson uses the following “formula” in
describing this: “The upper part of the arm controls the lower part of the bow and the
lower part of the arm controls the upper part of the bow.”54 When students are working
on sound production, they need to understand that the elbow makes an arc shape when
moving the bow from the frog to the tip.
A cellist must learn to use the natural weight of the arm. This can be taught by
having students hold the right arm with the left hand. When the cellist feels the right arm
is heavy, drop the left hand. If the arm stays in the air, the arm is not yet completely
relaxed, and muscles are being used to hold up the arm. According to Dr. Jesselson, the
goal is for the arm be completely floppy. When the left hand is removed, the right arm
should just drop down and swing. That is the weight needed on the bow. The arm’s
weight is more than sufficient to produce a big sound. Dr. Jesselson’s “Getting into the
String Exercise” teaches arm weight and the “Ke” sound. He states that “at the frog, just
let the weight of the arm move the string left and right, then release some of the weight
with a very slow bow speed. If you are relaxed, you actually have much more weight than
you need at the frog.”55
54
55
cellobello, November 16, 2015, accessed July 6, 2018, http://www.cellobello.com/cello-blog/in-the-
practice-room/100-cello-warm-ups-and-exercises-blog-13-breathing-and-relaxation/.
49
To improve sound, Dr. Jesselson teaches about what he calls the “front and back
of the bow hand.” The front of the hand is the part closer to the thumb and the back of the
hand is the part closer to the little finger. At the frog, the back of the hand is more
important because it allows the cellist to relax the elbow and sink down. The first finger
is not actually needed to get weight into the string at the frog, though it remains on the
bow. However, at the tip, the first finger is needed to transfer weight into the string, while
the little finger is not. Again, the little finger should remain on the bow. Dr. Jesselson’s
exercise for sensitizing students to the use the front and back of the hand involves making
several short down bows at the frog without using the first finger; then moving to the tip
and making several short up bows without using the little finger. Students should feel the
transference of weight from the back of the hand to the front of the hand. Finally,
organize the exercise with this rhythm:
Figure 3.2 Front and Back of the Hand Exercise 56
Always transfer the weight from the back of the hand to the front of the hand on
the down bow and vice versa on the up bow.
56
Robert Jesselson, “100 Cello Warm-Ups and Exercises Blog 8: Open String Warm-Ups, Part
2,” cellobello, October 12, 2015, accessed September 4, 2018, https://www.cellobello.com/cello-blog/in-
the-practice-room/100-cello-warm-ups-and-exercises-blog-8-open-string-warm-ups-part-two/.
50
3.2.3 Bow Distribution
Bow distribution is the way that a player divides the bow stroke. The definition of
bow distribution includes two parts: how much bow is used, and which part of the bow is
used. It is important that cellists learn to be comfortable playing in all parts of the bow.
Dr. Jesselson created four basic bow distribution exercises that he uses with his students:
Figure 3.3 Four Basic Bow Distribution Exercises57
1. For the first exercise in Figure 3.3, draw the full bow using the upper and lower
arm and then use only the lower arm to make two shorter strokes at the tip. Students can
practice this exercise in their scales by playing one long note and two short notes on each
pitch, paying attention to proper bow distribution throughout the scale. Using contrary
motion is very important with this exercise.
57
Ibid.
51
2. In the second exercise, students play one long note and four sixteenth notes on
each pitch, paying attention that at the tip the bow motion is controlled by the lower arm
and at frog it is controlled by the upper arm. The bow distribution is similar for these first
two exercises.
3. The third exercise involves using a small amount of bow and then on the up
bows working back to the frog during the triplet. The upper arm is active and moves the
bow while the wrist is passive.
4. The last exercise is a rhythm of a quarter note followed by a dotted eighth and
sixteenth note rhythm. Following the dotted eighth note, the bow leaves the string in
other to enhance the resonance and also moves slightly back toward the tip, in order to
have more bow for the short note. It is important that the cellist places the bow back on
the string each time, catching the string for the last up bow note. Again, the upper arm is
active, and the wrist is passive; both upper arm and wrist make circular motions. This
fourth stroke is frequently used in Baroque music, for example in the Largo from the
Marcello Sonata in F Major:
Figure 3.4 Marcello Sonata in F Major58
58
Benedetto Marcello, Cello Sonata in F Major (Leipzig: B. Schotts Söhne, 1911), 1.
52
3.2.4 Bow Strokes
The most important strokes for an intermediate level cellist are legato, detaché
and staccato, as well as basic dotted rhythms; later they add spiccato and sautillé strokes
as well as up-bow staccato (also called hooked staccato). These are the primary bow
strokes; while there are others, they would be addressed in a student’s later development.
Some important concepts for each stroke include:
● In the legato stroke, students must keep the connection between notes by
keeping the arm weight applied to the string. When crossing strings, the
student must pay careful attention in order to not break the sound.
● The detaché is perhaps the most important stroke for playing separate
notes. In the detaché stroke, the cellist must be aware of using the correct
part of the arm. When playing detaché at the tip, the lower arm controls
the bow and when playing detache on the frog the upper arm or wrist
controls the bow, depending on the type of sound or volume.
● The staccato stroke is a short on-the-string bow stroke. Dr. Jesselson uses
the concept of “catch and float,” in which the bow catches and then
releases the string to create a clear articulation. He describes every note as
having a beginning, middle and end. The “catch” helps to focus attention
on the type of articulation at the beginning of the note, while paying
attention to the “float” helps to focus on what happens after the initial part
of the stroke. There are myriad combinations and possibilities of how to
attack and release any given note.
53
● Dotted rhythms are very complicated for string players to produce and the
student must be aware of the common pitfall of dividing the note into
thirds rather than into half or quarters. For more discussion of dotted
rhythms, see Chapter 2 and the “relax” exercise, page 17.
● In spiccato, it is vital to find the proper balance in the hand for this off-the-
string stroke. One type of slow spiccato is the “brushy off-the-string
stroke.” In this important stroke, often used in Mozart or Haydn
accompaniment passages, the upper arm controls the bow close to the
frog. The faster the spiccato, the further out on the bow and the more the
wrist is used. In general, the upper part of the arm is active, and the wrist
is passive here. Dr. Jesselson asks his students to play the daily scale
system using “off-the-string” strokes with duplets, triplets, 16th notes,
sextuplets and octuplets. By doing this daily, students become comfortable
with finding the correct balance in the hand, the use of the little finger on
the top of the stick, the correct part of the bow for the speed of the
spiccato being played and the optimal part of the arm to be used. In this
way, students are already familiar with the fundamentals of spiccato
before they encounter it in Feuillard and learning spiccato is more organic
and natural. When they start working on Feuillard No. 32 Variations #25
and #26, they can refine the technique and play it faster.
● Sautillé is defined as a fast, uncontrolled off-the-string stroke. In other
words, the arm does not control each bounce, but rather the bow is
allowed to find its own bounce. The upper arm is still active, but the
54
motion is very small, and the wrist moves passively. Dr. Jesselson asks the
students to hold the arm out in front of themselves and wave “bye-bye.”
He then asks them to “wave bye-bye” from side to side, with the wrist
shuttling right and left as if resting on a table. The active motion comes
from the upper arm. If the motion is generated from the wrist, the arm will
be very tight, and the player will be unable to be move it quickly. To help
prepare the sautillé stroke, Dr. Jesselson created the “Bouncy Bow” and
“Bubble” exercises. The “Bouncy Bow” exercise 59 should be played at 60
to the pulse, with two notes per beat than three, four, six and eight. As the
stroke goes faster and faster, the height of the bounce gets lower and
lower. When a student is comfortable at 60 to the pulse, the tempo can be
gradually increased to about 80, which is the tempo required for the
second movement of the Elgar Cello Concerto:
Figure 3.5 Second Movement of the Elgar Cello Concerto60
59
Robert Jesselson, “100 Cello Warm-Ups and Exercises Blog 8: Open String Warm-Ups, Part 2,”
cellobello, October 12, 2015, accessed September 4, 2018, https://www.cellobello.com/cello-blog/in-the-
practice-room/100-cello-warm-ups-and-exercises-blog-8-open-string-warm-ups-part-two/. [Accessed 4
Sep. 2018].
60
Edward Elgar, Cello Concerto (London: Novello & Co., 1921), 24.
55
The “Bouncy Bow” exercise is the only time the stroke starts from above the
string. Virtually all other strokes start from the string. However, in this exercise we want
to feel the drop of the bow and find the correct height for whatever tempo number of
notes is being played. The “Bubble” exercise helps students find the natural bounce of the
bow and understand how to stay out of the way to allow the bow to bounce by itself
without interference. The bubble exercise is produced in the middle or upper part of the
bow. The player drops the bow on the string beginning with big “bubbles” or natural
bounces of the bow and then allowing the bubbles to get smaller and smaller while the
bow moves closer to the bridge. This simple exercise is helpful in exploring the bow
stroke used in the cadenza of Tchaikovsky’s Variations on a Rococo Theme:
Figure 3.6 Cadenza from the Tchaikovsky Variations on a Rococo Theme61
3.2.5 String Crossings
Effective string crossings require a sophisticated understanding of how the arm
moves in an ergonomically correct manner. According to Dr. Jesselson:
String-crossings involve some of the most complicated motions in string playing.

As such, they are the hallmarks that separate beginner, intermediate and advanced
players. A beginner often lacks fluidity and has a stiff right arm when attempting
string-crossings; an intermediate player will have a basic understanding of the
mechanics and will make more rounded motions; but advanced players I often
61
Piotr Tchaikovsky, Cadenza from the Variations on a Rococo Theme (New York: E.F. Kalmus,
1965), 3.
56
compare to break-dancers: it’s as though they have no bones in their arms or legs
and everything works smoothly.62
Playing the cello involves movements of the arm on two planes: the horizontal
plane and the vertical plane. Moving the arm horizontally results in our various strokes:
detaché, legato, martelé, etc. Even the off-the-string strokes such as spiccato or sautillé
are produced by mostly horizontal motions of the arm, but the bow responds by bouncing
because of the flexibility of the stick. Moving the arm vertically results in string
crossings.
Dr. Jesselson analyses the various movements of the arm by dividing it into four
parts: the upper arm, the lower arm, the wrist and the fingers. Each part of the arm is
attached to the next part of the arm with a joint, each of which works differently:
● The upper arm: is connected to the shoulder with a ball-and-socket joint; this
joint allows movement in all directions.
● The lower arm: is connected to the upper arm by the elbow, which is a hinge
joint; for cellists this joint only allows movement in a horizontal direction.
● The wrist: is connected to the lower arm with an “articulated” joint, which allows
for movement in all directions.
● The fingers: each have three hinge joints, which move vertically for cellists. The
fingers can move slightly from side to side because the joint of the proximal
phalanx (the part that is connected to the palm of the hand) is rather loose. This
looseness enables extensions in the left hand.
62
Robert Jesselson, “Bowing Figures: An Analysis of String Crossings,” American String Teachers
45, no. 1 (February 1995): 49.
57
As a result of these various joints and the different ways that the arm moves, there are
three parts of the arm that can produce horizontal motions (the basic strokes) and three
parts of the arm that can be used for string crossings. The three parts of the arm that move
horizontally are:
Horizontal Motions:
● The upper arm
● The lower arm
● The wrist
The fingers cannot move horizontally because of the hinge joints. The three parts of the
arm that can move vertically for string crossings are:
Vertical Motions:
● The upper arm
● The wrist
● The fingers.
It is important to note that the lower arm cannot move vertically. Misusing this part of the
arm is one of the major causes of tendonitis in cello players. Many cellists try to play
string crossings by moving the lower arm up and down, which can cause inflammation,
pain and potentially serious injury. Dr. Jesselson spends a lot of time in lessons helping
the students to learn how to use the arm in the most efficient, effective, and
kinesthetically correct manner to prevent injury. He has often stated that he is proud of
the fact that few of his students have suffered from tendonitis or other physical injuries
because of the detailed attention that is paid to the physical way of playing the cello in an
ergonomically correct way.
58
The different joint types combine to enable arm motion in all directions and on all
different planes, giving a player the freedom to use pressure and weight as needed. Dr.
Jesselson explains that:
If you had a ball-and-socket joint as your elbow, you would not be able to press
down in the same way. Understanding how each part works is an important step
towards having control of your movements. The ball-and-socket joint means that
the upper arm can move in any direction; the hinge joint of the lower arm works
horizontally; the wrist can be used horizontally and vertically; the fingers can only
be used vertically. Many cellists develop physical problems and tendinitis because
they try to play string-crossings with an up-and-down movement of the lower
arm, when in fact the lower arm really only moves to the left and right. Forcing
joints to work in the wrong way will cause wear and tear and painful problems
with the elbow.63
All string crossing motions boil down to four basic shapes: the arc, circle, figure 8
and wave. Dr. Jesselson calls these the “Bowing Figures.” He introduces the students to
these basic shapes by asking them to play the open strings and imagine holding a pencil
in the bow hand. If the student cannot imagine the shapes that they are producing, then he
holds a piece of paper while they are playing the open strings and the patterns emerge
while they are bowing and writing the shapes on the paper.
The Arc:
Figure 3.7 Arc64
63
Ibid., 49.
64
Robert Jesselson, “String Crossings,” Strad 127 (September 2016): 91.
59
Figure 3.8 Arc65
The Circle:
Figure 3.9 Circle66
Figure 3.10 Circle67

65
Ibid.
66
67
Ibid.
60
The Figure 8:
Figure 3.11 Figure Eight68
Figure 3.12 Figure Eight69
The Wave:
Figure 3.13 Wave70
68
69
Ibid.
70
Ibid.
61
Figure 3.14 Wave71
Once they have absorbed these four different motions, the students begin to work
through the variations in the Feuillard Daily Exercises No. 34, which deals with string
crossings on two strings. After No. 34 the students plays all the variations in No. 35,
which deals with three strings, and then No. 36 which deals with four strings. Each
variation works on a different combination of string crossings, plus various strokes, parts
of the bow, parts of the arm, etc.
Learning to use the wrist and the fingers requires some special attention. Most
people have never moved these parts of the hand in the ways that we need to do for string
crossings. For the wrist motions Dr. Jesselson has devised a series of exercises that he
calls the “Box Exercises.” For this he asks that the students hold out the arm with no
“kinks” - in other words, the arm should be in a straight line in front of the body. Then he
asks that they do the following:
71
Ibid.
62
1. Describe a box with the wrist, moving the hand to the four corners. The student
should explore the four corners of the box and make as large a box as possible.
Then move between the top corners, the right side, the bottom corners and the left
side. This movement should not be done with the arm - just the wrist.
2. Make a circle with the wrist, so the motions are rounded.
3. Holding a pencil in the hand make the box and then the circle.
4. Hold the bow as normal, with the little finger on the top. Have the left hand hold
the upper part of the bow on the stick so that the bow can slide between the
fingers. Make a box motion with the wrist as before and then a circle.
5. Without the left hand holding the bow, make a box and a circle with the wrist.
Make sure that you feel the little finger balancing the bow and make sure that the
motion is not with the arm, just the wrist.
For training the fingers, Dr. Jesselson uses what he calls the “Puppet Exercise.” Holding
the arm again straight out, have the fingers pointing straight down to the floor. Then lift
the proximal phalanx so it is flush with the metacarpal. Exercise the fingers going up and
down, pretending that a string is attached to the fingers like a marionette puppet. Then:
1. Hold a pencil and exercise the fingers in the same way.
2. Hold the bow as in #4 above (with the left hand holding the stick to help support
it). Move the fingers in the same way, up and down.
3. Without the left hand, exercise the fingers with the little finger supporting the
bow.
As the student becomes more comfortable with using the fingers in this way, it will be
important to train the little finger to move in tandem with the third finger, so that it does
63
not bulge inefficiently out to the right. Most students have that problem at first, but they
discover a muscle in the hand that can straighten out the movement of the finger so that it
aligns with the third finger.
Once the student has absorbed the technical elements of string crossings, Dr.
Jesselson requires them to work on some of the string crossing etudes in the Duport 21
Etudes for Cello. The following is the Duport Etude No.7:
Figure 3.15 Duport Etude No.772
The students work on this etude with a variety of bowings, including two notes to a bow,
four notes to a bow and six notes to a bow.
Difficult and complicated string crossings appear throughout the cello repertoire.
Mastering the technical demands of string crossings is a prerequisite for being able to
play this literature. One example is a passage from the Saint-Saëns’s First Cello
Concerto:
Figure 3.16 Saint-Saëns Cello Concerto No. 173
72
64
This excerpt requires applying both string crossing technique and sautillé. In playing this
passage, it is imperative to understand how and when to use different parts of the arm
simultaneously, making use of both horizontal and vertical motions. Dr. Jesselson
explains:
For spiccato string-crossings, you might choose to use the wrist for articulation
and the upper arm for the string-crossing movement. You could also choose to
play detaché with either your lower arm or your wrist, with the upper arm doing
the string-crossing. There are many different combinations that you can try,
always using a horizontal and a vertical movement together from two different
parts of the arm.74
In the above passage from the Saint-Saëns concerto, the upper arm does the string
crossings, while the wrist produces the sautillé stroke.
Another issue for cellists is playing legato in a passage that includes string
crossings. It is relatively easy to play legato on one string but in playing legato with a
change of strings there is often a bump in the sound. A different string will require a
different amount of weight and possibly even a different contact point or speed. The trick
to connecting two notes on two different strings is to do what pianists do in playing
legato: overlap the notes slightly. But the player must always listen and adjust the weight,
contact point or speed quickly in order to mask the different characteristics of the
different strings.
Dr. Jesselson says that the cello teacher needs to make sure that every student
understands how the mechanics of string-crossings really work. A teacher should be able
73
Camille Saint-Saëns. Cello Concerto No. 1 (Paris: Durand, Schoenewerk et Cie., 1874), 8.
74
45, no. 1 (February 1995): 51.
65
to break the motions down into their separate parts and then build them back up again.
Dr. Jesselson emphasizes:
When I get an intermediate-level student who has not thought about how the arm
works at all, I go through the movements with them very carefully. This helps
them to understand how to practice anything that is not working. Then I monitor
them and watch very carefully when they are doing their exercises, to make sure
that they are moving the correct parts of the arm. Sometimes to break through to
the next level one has to be very determined. The younger the students are when
they understand the need for that determination, the better they will be able to
solve all kinds of problems.75
3.2.6 Bow Changes
After a student has absorbed the basic concepts of tone production (including the
“core” sound, “resonant” sound, the “block of sound” and the “front and back of the
hand”), they will want to focus on producing smooth bow changes. According to Samuel
Applebaum, “Some pupils seem to develop this skill quite naturally, while others have to
practice for a length of time to achieve it. It is, however, essential that all pupils develop a
smooth bow change in all parts of the bow.”76
The main problem with bow changes is that the string stops vibrating for a split
second during the change of direction of the bow. This causes a “bump” in the sound.
The goal is to eliminate the “bump” as much as possible. In order to minimize the sound
of the bow changes, it helps to create a circular motion to change directions. For example,
when driving a car one can change directions by stopping the car and backing up.
However, another option for reversing directions would be to make a U-turn.
75
45, no. 1 (February 1995): 51.
76
Samuel Applebaum, The Art and Science of String Performance (Sherman Oaks, CA: Alfred
Publishing Co., Inc., 1986), 84.
66
According to Jesselson, “in string playing, you can make a U-turn in several
different ways. One way is by rotating the bow hair from one side to another with the
fingers. Another way is to go from one side of the string to another; for this we also use
the fingers.”77 See Chapter 3 page 69 for discussion of the sides of the string.
According to Dr. Jesselson, “It is helpful to make a slight diminuendo on the bow
change in order to help prevent the vibrations from stopping.”78 This can also help with
making a smooth bow change. One can also work with bow speed. By slightly speeding
up the bow before changing directions and then using a slower bow speed after the bow
change, one can sometimes keep the vibrations going, thereby continuing the sound and
preventing a “bump” or “hole” in the sound. Bow changes need to be practiced at the
frog, at the tip and throughout the bow.
3.2.7 Additional Bow Techniques
Many of the basic elements of bow technique have been touched on in this
chapter. However, learning to use the bow efficiently, effectively and creatively is a
lifetime journey for a cellist. Below are some additional technical considerations beyond
the basic elements mentioned before.
3.2.7.1 The “Ring” Exercise
According to Dr. Jesselson, the secret to having a good sound is in the “ring.” If
one can find the “ring” in the sound, even the core sound with its “barbs” can be
77
Robert Jesselson, “100 Cello Warm-ups and Exercises Blog 8: Open String Warm-Ups Part 2,”
cellobello, October 12, 2015, accessed August 14, 2018, https://www.cellobello.com/cello-blog/in-the-
practice-room/100-cello-warm-ups-and-exercises-blog-8-open-string-warm-ups-part-two/.
78
Ibid.
67
beautiful. Dr. Jesselson created the “ring exercise” to help identify and develop this
sound. It consists of several steps:
1) Play a short G on the D string with the second finger, using a fast bow speed
at the frog, listening to the sound of the ring after the bow leaves the string. The
string keeps vibrating, especially when the open G string reacts with sympathetic
vibrations. The key is to listen to the ring.
2) Play four 16th notes and a final 8th note the same way and listen to how this
produces even more ring.
3) Play the four 16th notes and end with a long bow to the tip with a fast speed
but making sure there is no unnecessary pressure on the string preventing the
vibrations of the ring.
4) Play the four 16th notes and a long bow with a fast speed going to the tip and
then do the same going back to the frog, always listening for the beautiful ring.
5) After several repetitions of this, just play the long bows with a fast bow speed,
keeping the ring going. Do not press.
6) Do number 5 again, but this time add vibrato; be careful that when adding the
vibrato not to put additional weight on the bow. That would squash the vibrations
of the ring.
7) Repeat number 6 with vibrato and then again without vibrato alternately. One
should hear a nice ring on the notes without vibrato, but the vibrato then adds
luster and is the “icing on the cake”.
68
3.2.7.2 “Tirez” and “Poussez”
The French words for downbow and upbow are tirez and poussez. Tirez means to
pull. Poussez means to push. It is very useful for string players to consider the real
meaning of these words, rather than our more utilitarian upbow and downbow. The
English words come from the violin world, where the downbow motion is truly
downward, and the upbow motion is truly upwards. For cellists the words have less
meaning, since we move the bow from side to side. The French words probably come
from the Renaissance, and from gamba technique. Since the bows were held with an
underhand grip, when a downbow was truly pulling the bow (tirez); on the upbow the
player was truly pushing the bow (poussez). Using this concept helps to prevent the
natural tendency for cellists to press down on the string, rather than pulling the string to
the right and pushing it to the left. This helps to enhance the vibrations of the string,
rather than squeezing the vibrations down by pressing.
A related concept is to think of the friction that causes the string to vibrate by
pulling and pushing the bow, related to the Helmholtz principle.
3.2.7.3 Sides of the String
Another way of producing more ring in the sound is to pull the bow on the D-
string side of the G-string on the downbow and the C-string side of the G-string on the
upbow.
69
Figure 3.17 Sides of the String79
One can start with just a long downbow on the D-string side, rotating to an upbow
on the C-string side, which is like an elongated figure-eight. That would be one cycle.
Next, do three cycles on the downbow and three on the upbow. Then do five cycles (it
has to be odd numbers, otherwise the bow change will end up on the wrong side of the
string). These cycles are like string crossings - they are produced by the wrist and fingers.
But the motion is smaller than when one makes an actual string crossing.
It is also interesting to do a large number of very quick motions like this with the
wrist and fingers. That produces a “bow vibrato”, which was used in the Baroque period.
Rather than vibrating by changing the string length with the left hand, the “bow vibrato”
changes the volume, like a singer who vibrates by pulsating. This can be very effective
when added to a regular left-hand vibrato.
3.2.7.4 Amount of Bow Hair
In the discussion about changing the sides of the string (above), it was mentioned
that this motion is produced by the wrist and fingers. Another motion that can affect the
sound is the rotation of the bow, with the stick moving towards and away from the player.
This motion changes the amount of hair that is in contact with the string, thus changing
79
Robert Jesselson’s design 1.
70
the sound. The movement is produced by the fingers and controlled by the third finger on
the bow (See Bow Balance, Chapter 3, page 44.)
3.2.7.5 Collé
Collé refers to the use of the fingers in producing a stroke. It is used for marcato
and martelé strokes, for the clear beginnings of notes and also importantly for bow
changes. The use of the fingers can help to soften the bow changes, like the hairs on a
paintbrush. The word collé means “glue.” Collé is a “short stroke that is chipped off the
string. It starts with the hair set well into the string, which means that the bow is not
thrown down onto the string. The hair is already well set into the string prior to the bow
being set into motion.”80 Collé has a great value for every string player because it
improves the control of the right hand. In practicing collé, the cellist should “place the
bow on the string about two inches from the frog, making sure that the thumb and the
little finger are curved and with the elbow as high as the top of the hand. The bow hair
should be set firmly into the string.”81 Dr. Jesselson uses the Duport Etude No.7 for
teaching collé. Instead of using the slurs, the exercise can be played with separate bows
and at a slower tempo.
3.2.7.6 Dynamics
One of the most important facets of bow technique is the ability to control
dynamics as well as tone color. This involves coordinating all the techniques mentioned
earlier to produce the musical intent. Bow coordination exercises are important for the
80
Applebaum, Samuel. The Art and Science of String Performance (Sherman Oaks, CA: Alfred
Publishing Co., Inc., 1986), 95.
81
Ibid.
71
bow technique as well (See Chapter 3, page 122.) The cellist can work on dynamics using
the Galamian son filé exercises, working with bow speed, weight, or contact point, or
some combination of all of these. The Galamian son filé exercises are:
Figure 3.18 Galamian son filé dynamics exercises82
3.2.7.8 Pizzicato
In plucking the string, cellists should usually plant their thumb on the side of the
fingerboard about three or four inches from the end of the fingerboard. The goal is to get
a resonant sound. However, in order for pizzicato to project well in a large hall, cellists
need to play with the right hand very close to the bridge. Dr. Jesselson relates a lesson
that he had with Paul Katz (his teacher at Eastman), in which Katz demonstrated a
pizzicato. Close up, in Katz’s studio the pizzicato sounded harsh - even though it was
played on a Stradivarius. However, a few days later Jesselson heard the Cleveland
Quartet in recital and Katz’s pizzicatos were gorgeous, full-bodied, and boomed through
the hall.
Most cellists usually use just the index finger to pluck the string, but other fingers
can be used for different sounds. Cellists can learn more about pizzicato by watching and
listening to bassists. Bass players use a variety of fingers on their right hand, especially in
fast passages. First, second and third fingers can be experimented with to get the best
82
Robert Jesselson, “100 Cello Warm-Ups and Exercises Blog 8: Open String Warm-Ups, Part 2,”
cellobello, October 12, 2015, accessed September 4, 2018, https://www.cellobello.com/cello-blog/in-the-
practice-room/100-cello-warm-ups-and-exercises-blog-8-open-string-warm-ups-part-two/.
72
sound and articulation. When playing chord pizzicatos, it may help to use three fingers.
Long, ringing, pizzicato notes require a heavy left hand finger weight to help sustain the
sound, otherwise the vibration will stop too quickly. It is also helpful to vibrate with the
left hand after the string has been plucked to help keep the string vibrating.
3.3 Left Hand Technique
3.3.1 Overview
The left hand is essentially responsible only for playing the notes and vibrating.
But years of work are required for a cellist to fully understand the geography of the
fingerboard, the details of intonation and the mechanism for shifting between positions,
as well as articulation, flexibility, speed and the myriad possibilities of vibrato.
The position of the left hand on the cello is divided into two basic approaches. In
the lower part of the cello, the thumb is underneath the fingerboard and the fingers are
spaced in half steps (or, in extensions, a whole step between the first and second fingers).
In thumb position, mostly used in the upper part of the cello, the thumb is on top of the
fingerboard and the fingers can be spaced in either half or whole steps.
In neck positions, the fingers should be round with a “tunnel” underneath. The
thumb should be behind the second finger and kept “round.” Dr. Jesselson says that there
should be no “kinks” in the arm - the arm should be in alignment, with no bends. He uses
the analogy of a water bucket and a well to describe why “kinks” are harmful. He says
that the rope which pulls up a bucket will fray mostly at the point that it goes around the
pulley gears because of friction. The same is true with the tendons going around a “kink”
in the arm. The friction in the joint will ultimately cause tendonitis if there is a bend in
73
the arm. The elbow placement changes for each position and is critical in determining
where the hand is located on the fingerboard.
The 1-2-3-4 relationship of half-steps means the fingers should be equally
separated. Although the anatomy of our hand naturally tends to keep the second and third
fingers close because they are controlled by the same tendons, for good intonation on the
cello it is necessary to have them spread apart for equal half-steps.
For many players the joints of the fingers tend to collapse. However, with
Isometrics (see Chapter 2, under Isometrics, page 24) and a few weeks of exercises, most
people can correct this problem. Very few people are truly double-jointed. For younger
children playing the cello the fourth finger often tends to be flat, since the joints are not
strong enough to keep it round. However, if the cello teacher corrects it and the child is
diligent, in few weeks the child will be able to keep it round. Figure 3.19 shows the left
hand position, as advocated by Dr. Jesselson:
Figure 3.19 Left Hand Position83
83
Robert Jesselson, “100 Cello Warm-Ups and Exercises: Blog 18: Cello Geography: The Fabulous
Thumb,” cellobello, January 18, 2016, accessed September 3, 2018,
cello-geography-the-fabulous-thumb/.
74
The cellist must always pay attention to the relaxation of the left hand, and should not
push up with the thumb, or down with the fingers (See Chapter 2.)
3.3.2 Positions and Geography in Neck Position
Cellists need to understand the geography of all the positions on the instrument,
so that they know what note they are playing and how it relates to other notes across the
fingerboard on the other strings.
Learning to play a string instrument means having to figure out where the left
hand goes on the fingerboard in order to play the notes. Since we don’t have a
GPS system for the cello, most people initially learn where the notes are by
knowing the positions. The positions are like the latitude and longitude of the
cello and knowing them can help organize the grid of the fingerboard.
Unfortunately, many students learn just First and Fourth positions, because then
they can play almost all the notes in the lower part of the cello. However, that
limits the myriad choices of fingerings that can produce different shifts, slides,
string crossings, etc. It reduces the creative possibilities and it can make it almost
impossible to play difficult passages that require the intermediate positions.84
There are several possible systems used by cellists. The following is the one that Dr.
Jesselson teaches because it clearly defines all the notes in the neck position and their
relationship across the strings. The positions are determined by the first finger. The
position numbers are written with Roman numerals (with ½ used in the intermediate
positions). The highest position is VII position, which is where the first finger is on an A
(on the A string). This is the octave above the open string and the harmonic that divides
the string into half.
84
Robert Jesselson, “100 Cello Warm-ups and Exercises Blog 15: Cello Geography – Part One:
Neck Positions,” cellobello, November 29, 2015, accessed September 13, 2018,
cello-geography-part-one-neck-positions/.
75
The chart below shows the positions with the Roman numerals used for the main
diatonic notes and the “½” notation used for the chromatic notes.
Figure 3.20 Position Chart85

Every position has both a normal and an extended variant. Therefore, first extended
position is notated as Ie, or fifth-and-a-half extended is notated as V1/2 e. The thumb
remains behind the neck for all neck positions. So even in VII Position and VII Extended
Position, the thumb should be back behind the fingerboard, as the hand is not yet in
thumb position.
Students must become completely familiar with this system. Dr. Jesselson has
them ingrain the system through the systematic study of two octave scales and arpeggios
(Feuillard No. 10 and No. 11). Below is an example of the 2-octave arpeggios from the
Feuillard book, in which a student has written in all the positions:
85
Ibid.
76
Figure 3.21 Two octave arpeggios86
The students are required to memorize all the scales and arpeggios, writing in the
positions each week before they work on a particular key. Dr. Jesselson checks what they
have written, to make sure that they will learn the correct positions. The geography must
become so internalized that it becomes second-nature. As a result, they greatly improve
their sight-reading, intonation and speed of learning new pieces. In addition, during their
practicing the students need to stop and check the intonation in every position when they
shift. This helps to improve their hearing, their understanding of the keys and the
physicality of each position.
3.3.3 Extensions
In extended position, instead of half steps between all the fingers, there is a whole
step between the first and second fingers. For teaching extensions in the lower neck
positions (1/2 position through IV position), Dr. Jesselson uses a five step process to
explain exactly how the hand should move.
Step 1: release the thumb;
Step 2: pivot on the first finger;
Step 3: extend the first finger;
86
77
Step 4: arm forward;
Step 5: fingers come down and thumb is again behind the second finger.
The very first thing that must happen before an extension can be made is the
release of the thumb. If the thumb is not released, it will end up behind the first finger and
there will be a lot of tension on the hand. Step two is a pivot on the first finger. This is the
hardest step for many students. The important part is that the first finger extends or
straightens in step three, which cannot be accomplished unless the finger makes this
pivot. After this happens, the arm comes forward and finally the other fingers are set back
down. It usually takes a few days or a week, for this process to become organized and
internalized.
Robert Jesselson uses these three simple exercises to work on extensions. The
first exercise is E-G-E-G-sharp, or 1-4 in first position changing to 1-4 in extended
position. Students should also check the intonation of the fourth finger with the open
string before beginning. Then in the extended position, the intonation of the third finger
can be checked with the open string to be sure the extension has been successful.
Figure 3.22 Extension Exercise #187
87
Robert Jesselson, “100 Cello Warm-Ups and Exercises Blog 16: Cello Geography, Part 2:
Extensions,” cellobello, December 6, 2015, accessed September 3, 2018,
78
The second exercise is a good way to again make sure that the extended position is
secure, by checking the Gs. Also, the student should check the intonation of the first
finger by checking the E with the open A string. During the repetitions, the student must
think of each of the five steps.
The third exercise is E-G-Eb-G. Although some teachers call this a “backward”
extension, Dr. Jesselson does not identify it as such. His terminology eliminates the
confusion of “backward” and “forward” extensions. Positions are identified by the
location of the first finger, not by the way the position is reached. For this exercise, the
cellist should check the E with the open A string and the G with the open G string as
well.
cello-geography-part-two-extensions/.
88
Ibid.
79
The interval between the first finger and the fourth finger in extensions is a Minor Third.
It is often helpful to do what Dr. Jesselson calls an “over-extension”, which produces a
Perfect Fourth between those fingers. Sometimes this is necessary for playing octaves
across the strings in neck position. It is also very useful for eliminating the sound of shifts
in scalar passages. In the following example, the “over-extension” happens from G# to A
and also from C# to D#:
Figure 3.25 Over-extensions90
In an over-extension, the fingers “fan out” and the thumb can come away from the
fingerboard, as needed. Cellists should practice opening up the hand with flexibility
exercises to prepare for over-extensions. People often find that the hand will “grow”
through these exercises. It certainly becomes more pliable. When playing over-
extensions, the hand should only be in that position for an instantaneous moment.
Otherwise, it can produce unwanted tension.
3.3.4 Intonation
A discussion about intonation is a huge topic for string players - enough for a
dissertation on just this topic alone. In this section, I will try to present some of the most
important concepts that Dr. Jesselson teaches when working on intonation.
89
Ibid.
90
80
The struggle for good intonation is an ongoing, continual, lifetime occupation for
any string player. We are always working to improve how we listen to ourselves and fine
tune our own intonation. Dr. Jesselson often tells the story of hearing Yo-Yo Ma coming
off the stage after a concerto performance berating himself for his intonation. But, as Dr.
Jesselson tells it, the performance sounded great to him in the audience, showing that
Ma’s own standards for himself are set so high that he was more disturbed by his pitch
than people listening.
When we are working on intonation, we are working on two important things:
training our ears to hear accurately and training our bodies to know where a note lies and
how to adjust quickly if it is not in tune. The first step is for cellists to be aware of the
basic process for checking intonation. The best way of doing this is by using the perfect
intervals: fourths, fifths, octaves and unisons. For example, to check first position, tune
the first finger with the string above (producing a perfect fourth) and the fourth finger
with the string below (producing a perfect octave). It is best to check the notes in this
order because if you check the fourth finger first then you would have to lift the fourth
finger to check the first finger. This way you “add” the fourth finger. Cellists can check
notes in every position on the instrument and one of the first steps in improving
intonation is to stop and check whenever a shift is made. This will help train both the ear
and the body.
The next major concept for intonation is Expressive Intonation, which is the term
used by Pablo Casals for describing how we bend pitch to play expressively. Instead of
using equal tempered half-steps, when playing with melodic Expressive Intonation the
cellist will play close half-steps between the leading tone and the tonic and sometimes
81
between the third and fourth steps of a major scale. Augmented 2nds are bent so that in
the key of D harmonic minor the C# will be high and the B-flat will be low.
Dr. Jesselson studied with Paul Tortelier and subscribes to his refinement of
Casals’ concept of Expressive Intonation. In his book How I Play, How I Teach, Tortelier
identifies three kinds of semitones: two diatonic and one chromatic semitone. The
chromatic semitone is the largest of the three (L). The two diatonic semitones are called
“small” (s) and “very small” (vs). The “very small” semitone is the leading tone. Tortelier
demonstrates these three different semitones in an example from the Haydn Cello
Concerto in D Major:
Figure 3.26 Example of the Three Different Semitones91
Dr. Jesselson has created several exercises and practice techniques to help focus
the cellist’s attention on intonation. One of these ideas is the “How to Play in Tune on the
Cello” concept. Rather than taking a pill to improve intonation (if there were such a
thing!), Dr. Jesselson presents a five-step process which can help a student think through
intonation in a logical and sequential manner. Although the concept of “How To Play in
Tune on the Cello” is somewhat “tongue-in-cheek”, since playing in tune is not that
simple, this process does help with breaking down the various issues of intonation.
91
Paul Tortelier, How I Play, How I Teach (London: Chester Music, 1976), 57.
82
The “How to Play in Tune on the Cello” process:
1) Imagine - the first step is to hear the pitch in your head. If one does not
have perfect pitch, then one must develop good relative pitch and
come from some given pitch (either an open string or a note
played before the note to be imagined).
2) Predict - Using muscle memory, predict where the note will be.
3) Listen - playing the note, listen actively; the difference between

hearing in the first step and listening in the third step is the
difference between passive (hearing) and active (listening).
4) Relax - in order to adjust, one has to relax so that the finger

can make the adjustment; sometimes players do the 3rd step
(listening) and know that they are out of tune, but they are too
tight to actually make the adjustment.
5) Adjust - the important final step is to move the finger.
Students need to experiment with the above system so that they can identify where the
intonation issue is for every note that they play wrong. The more relaxed a player is, the
quicker they can make the adjustment when they are really imagining the pitch,
predicting and listening to themselves. The nervous system must be highly developed to
make this work quickly. Dr. Jesselson points to a video of Jascha Heifetz playing a very
fast passage. The video then slows down his playing and we see an adjustment happening
on virtually every note. That is why Heifetz was known as the violinist with the best
intonation.
Another technique that Dr. Jesselson developed for practicing intonation is the so-
called “Mary System.” This is based on the first three notes of the popular song “Mary
Had a Little Lamb.” Since many cello fingerings consist of groupings of three notes, the
Mary system helps the student listen for the relationship between these notes in a scale
83
system or in pieces. For example, here is “Mary Had a Little Lamb” played starting on
the fourth finger D on the A string (1/2 Extended Position):
Figure 3.27 Mary Had a Little Lamb92
The above example is a “Major Mary”, because the notes are the first three notes of a
Major scale, which starts with two whole steps. There are four basic Marys: “Major
Mary”, “Minor Mary”, “Modal (or Phrygian) Mary” and “Chromatic Mary.” A “Minor
Mary” has a whole step from the bottom and then a half step. It has this name because a
minor scale starts that way. The “Phrygian Mary” has a half step from the bottom and
then a whole step. It is named that way because a scale in the Phrygian mode starts like
that. The “Chromatic Mary” has two half steps. One other Mary is important for
harmonic minor scales: the “Augmented Mary”, which has an augmented second between
92
Robert Jesselson, “100 Cello Warm-Ups and Exercises Blog 17: Cello Geography Part 3: The
“Mary System,” cellobello, December 14, 2015, accessed September 4, 2018,
cello-geography-part-three-the-mary-system/. [Accessed 4 Sep. 2018].
84
the first and third fingers and a half step between the third and fourth fingers. The
following chart, describes the “Marys”:
Figure 3.28 “Mary” Exercises93
Using this system can help students sort out fingering patterns. By abstracting the notes
and taking them out of a particular passage, it is easier to hear the intervals; relating to
them in a different way can clarify the intonation.
The following example shows three of the “Marys” in one passage from the
Duport Etude No.11:
Figure 3.29 “Marys” in the Duport Etude No. 1194
93
Ibid.
85
When the students become aware of these patterns their intonation improves because they
are listening differently and because they are recognizing the groupings of the notes and
the finger spacings.
In another example from the Duport Etude No. 11, each circle denotes the three-
note fingerings. This difficult passage can also be practiced with Marys, including the
tricky fourth measure. In that measure, which involves string crossings, one can either
play the A-string note on the D-string and create a standard Mary pattern, or one can play
the notes as written with the string crossings and come up with “alternate” Marys
consisting of other intervals (thirds and sixths) instead of the standard whole and half
steps described below. As noted in Figure 3.30.
Figure 3.30 “Mary” patterns in the Duport Etude No. 1195
Another way of thinking about intonation and intervals involves what Dr.
Jesselson calls the “Configuration of the Hand.” This is the organization of the hand
when playing double-stops or string crossings. Learning the intervals that are produced
by various combinations of the fingers across the string is an important tool for the
student. For example, if one plays the finger spacing of a whole step, but instead of
94
Ibid.
95
Ibid.
86
playing it on one string one plays it on two strings, this will produce a major 6th. So, a
whole step across the string makes a major 6th. Similarly, a half step across the string
will produce a minor 6th. When you reverse the fingers that made a major 6th (e.g. 1-3)
and play them on the opposite strings (e.g. 3-1), one gets a perfect fourth. Reversing the
fingers of a minor 6th creates a tritone. The following chart shows the intervals on the
cello across strings:
Figure 3.31 Configuration of the Hand96
96
Robert Jesselson, “100 Cello Warm-Ups and Exercises Blog 20: Thumb Position and the Upper
Registers, Part 2, cellobello, February 18, 2016, accessed September 6, 2018,
87
3.3.5 Shifting
Cellists need to shift between positions more often than violinists or violists
because of the larger size of the instrument and the fact that the fingers can play fewer
notes in any given position. Therefore, shifting smoothly and accurately is an important
part of left hand’s cello technique. Dr. Jesselson uses the mantra “Preparation and
Release” to describe the two basic elements of a shift. “Preparation” refers to the
movement of the elbow before the actual shift. “Release” refers to the slight lift of the
finger to prevent squeezing during the actual movement of the shift. The elbow should
initiate the shift by moving into place for the next position. This is an active movement
that happens before the hand leaves the previous note. The hand then follows passively
and in a relaxed manner. Practicing shifts in this way starts with the very small shifts that
a student encounters in the two octave scales and arpeggios. If this “Preparation and
Release” becomes ingrained at that point in the student’s development, then the larger
shifts that are necessary in playing the cello are relatively easy.
Dr. Jesselson teaches two kinds of shifts in the two octave scale system. First the
students encounter the “overextension” which connects notes on the different strings. The
other kind of shift is what Dr. Jesselson refers to as a “ghost shift,” which is used in
coming down scales with a change of string. In ghost shifts, the finger that was last
played moves to the new position on the old string with an audible shift to make sure the
player hears where the finger is going, including the interval and the distance. After
shifting on the old string, the next note is played on the new string. After several
repetitions, the distance of the shift is internalized. Then the player releases the weight of
thumb-position-and-the-upper-registers-part-2/.
88
the bow so that the sound of the shift is only faintly heard, or not at all. The following
example shows the “ghost shift” happening between the Bb (in the tenor clef) going to
the Ab (on the D string), the F (on the bass clef) going to the E-flat (on the G string), and
the C going to the B-flat(on the C string). The following example is in E-flat Major,
starting in the treble clef). In Figure 3.32, the little “g” represents the “ghost shift”.
Figure 3.32 “Ghost Shifts”97
Dr. Jesselson identifies two standard types of shifts, the “romantic shift” and the
“classical shift.” In the “romantic shift” the cellist slides on the arrival finger and the shift
is audible. For the “classical shift” the cellist slides on the “guide” finger which is the old
finger and arrives on the “articulated” finger or new finger.
Figure 3.33 Romantic and Classical Shifts98
97
89
The chart above, in Dr. Jesselson’s handwritten handout, shows the combinations of all
the fingers that a student should practice in the two types of shifts.
One way to practice long shifts is to use a circular motion. Dr. Jesselson
recommends moving the elbow clockwise when shifting up and counter clockwise on the
way down. In doing this, the elbow moves up, thus helping to release the finger from the
string. Releasing the finger from the string is especially important in long shifts: “During
the actual shift lift the finger so the harmonics are sounding and then place the finger
down when the desired note is reached. The only time the finger will be holding down the
string will be at the beginning and end of the shift.”99 Dr. Jesselson also recommends
shifting on the upper side of the finger. When cellists turn the hand and shift on the lower
side of the finger they will push down onto the string and the friction will prevent a
smooth motion.
Shifts can be an expressive tool for the cellist, depending on how much of the
shift is audible and what kind of speed is used between notes. The bow will often control
how much of the slide is audible, depending on how much weight is added or taken away
during the shift. The speed of the shift is also critical. One can play many combinations
of “Fast-Slow” or “Slow-Fast” shifts. “For the “Slow-Fast” shifts, start on the starting
note slowly and then shift quickly to the note you want to end on. For the “Fast-Slow”
shifts, quickly leave the starting note and arrive on the final note slowly.”100
Dr. Jesselson often quotes his former teacher, Paul Katz, with “all shifts are slow
shifts.” In other words, the key to successful shifting is being relaxed and not moving in a
98
Robert Jesselson’s handwriting.
99
Dr. Robert Jesselson, interview by author, Columbia, SC, January, 2018.
100
Ibid.
90
jerky fashion. One should not try to get to the goal note too quickly and instead to “enjoy
the moment.”
3.3.6 Vibrato
Vibrato is essentially a special ornamentation of sound. It is very personal, and
every player has a different kind of sound partly due to their own types of vibrato. It is
somewhat like a fingerprint. Dr. Jesselson points out that, “Leonard Rose had a narrow
and slow vibrato; Jacqueline du Pré had a very wide vibrato; Emanuel Feuermann had a
very fast vibrato; Janos Starker had a fast and narrow vibrato; and Rostropovich had a
wide and medium speed vibrato.”101
There are three possibilities in how to vibrate: up to pitch, down to pitch and
above and below the pitch. and two basic vibrato types: arm rotation and full arm up and
down involvement.
Figure 3.34 Pitch Vibration102
Vibrato can be varied in different ways or not used at all, depending on the color
or emotional feeling. It is therefore is an important interpretational tool, because it can
depict different moods, textures, colors and the entire range of emotions.
101
Dr. Robert Jesselson, interview by author, Columbia, SC, October, 2014.
102
91
There are two parameters of vibrato: speed and width. Combining these two
creates the infinite possibilities of sound and emotion.
Figure 3.35 Vibrato Chart103
A slow vibrato that is wide can transmit craving or sorrow. A narrow vibrato at a slow
speed can convey enigmatic and puzzling character, while a narrow vibrato at a fast
speed can transmit a sensation of worry or tension. Finally, a fast, wide vibrato can
communicate wildness and fierce moods.
There are two basic movements for vibrato on the cello. These are what Dr.
Jesselson calls “Rotational” and “Longitudinal” vibrato. The rotational vibrato is a
movement of the forearm. The longitudinal vibrato is a movement of the lower arm
essentially up and down the fingerboard. Many students have learned one of these
motions - usually the rotational vibrato. They must work on the other type in order to
expand the possibilities for variety in their sound. For developing the longitudinal
vibrato, Dr. Jesselson recommends the “Wow-Wow Exercise” which involves sliding up
and down on the string. Another exercise, which Dr. Jesselson calls the “Chromatic
Vibrato Exercise”, is to move the left arm up an octave chromatically like an up-bow
staccato, using a shaking motion with both the lower and upper arm.
103
92
Dr. Jesselson uses a variety of exercises to teach vibrato. He suggests working on
vibrato through playing different rhythmic patterns with a metronome. For instance, with
the metronome set to sixty beats per minute, practice vibrating eighth notes, triplets,
sixteenth notes and so on.
Dr. Jesselson also emphasizes the importance of developing a continuous vibrato.
He feels that it is sometimes easier to keep the vibrato going from finger to finger while
changing strings, rather than working on one string. The reason for that has to do with the
slight release of the fingers that occurs in changing strings and changing fingers. He
therefore advocates an exercise that works on changing fingers and changing strings
without breaking the vibrato’s oscillation. The following chart depicts different fingering
sequences. (1 = index finger; 2 = middle finger; 3 = ring finger; and 4 = little finger.)
Each finger is played on a different string starting from the A-string and going down to
the C-string, or vice versa.
Figure 3.36 Continuous Vibrato Exercise 104
104
93
Other exercises for vibrato that Dr. Jesselson teaches include:
• “Mime” exercises: in the air and on the arm. It is always useful to
practice the motions away from the cello.
• Vibrato on Top of Cello Exercise: this exercise focuses attention on the
longitudinal movement of vibrato.
• Clean the fingerboard with Kleenex: the up and down movement
involved here helps the student to sensitize the longitudinal movement.
• Matchbox Vibrato Shakers: Dr. Jesselson has several matchboxes in his
studio, filled with different kinds of rice and beans. When the student
shakes the different matchboxes, they can hear the different sounds that
are produced by different motions.
• 6ths vibrato exercise: this is a variant on the “Chromatic Vibrato”
Exercise described above. This exercise involves a double-stop, so it is
slightly more difficult to vibrate freely.
• Open string with vibrato on another string: by vibrating on another
string one can hear how the open string sound is enhanced. This is useful
when playing an open string in Bach; one can get a similar result by
shaking the cello on an open string.
• Pulse bow to enhance vibrato: the “bow vibrato” described earlier is
produced by the pulsing of the bow (See page 70.)
• Ring exercise with and without vibrato: this exercise was described
earlier (See page 67.)
94
The vibrato can be changed by any alteration in the arm or hand. Changing the part
of the fingertip being used, the angle of the hand, the slant of the finger and the angle of
the arm will all change the vibrato. The shape of the playing finger, the direction of the
movement and the weight of the finger will also affect the sound. Moving the thumb back
further than its usual placement behind the second finger will generally widen the vibrato.
Leonard Rose apparently had a vibrato that moved just the very tip of the finger and
sometimes even just the skin at the tip. In general, the more parts of the arm, hand and
finger that move the warmer the sound.
3.3.7 Flexibility and Strength
Cellists always look for an ideal balance between strength and flexibility in the left
hand. Strength is necessary however flexibility gives the cellist more interpretative
options and more control of nuance and pitch. When students begin doing flexibility
exercises, they may not come easily. So, it is important that a cello teacher explains to the
student that perseverance and patience are important issues in this learning process. Many
of the warm-up exercises mentioned in Chapter 2 are for flexibility, including stretches,
“finger flicks”, the “jellyfish” exercise, the “cork” stretches and the cadence exercises.
Another exercise that Dr. Jesselson does is a coordination and flexibility exercise:
holding out the right arm and placing the first and second fingers of the left hand on top
of the right arm; and the third and fourth fingers of the left arm underneath the right arm.
Then quickly reversing those with 1,2 under the arm and 3,4 above the arm. Going back
and forth and increasing the speed.
95
Figure 3.37 Finger Exercise Alternating 1-2 and 3-4105
The second version of that is 1,4 on top and 2,3 underneath; reversing that and increasing
speed.
The third version is the most difficult: 1,3 on top and 2,4 underneath; then reversing and
increasing speed.
105
Robert Jesselson, “100 Cello Warm-ups and Exercises Blog 11: Flexibility and Coordination
one/.
106
Ibid.
96
Dr. Jesselson advocates Isometrics for building strength (discussed in Chapter 2,
page 24) as well as exercises such as the Cossmann and Feuillard trill exercises for both
flexibility and strength (See Chapter 3, page 95.) Other good left hand exercises come
from the cellist and pedagogue Martha Gerschefski in her book “The Language of the
Left Hand: For the Cello.”108
3.3.8 Articulation
If one pays close attention to great string players performing, it is clear that there
is very little pressure by the left hand fingers on the strings. According to Gerhard
Mantel, “A fair distance is needed for the finger to strike the string smartly so that a clear
articulation (“percussion”) is guaranteed.”109 The term “percussive left hand” comes from
Pablo Casals. Mantel says that “percussion therefore is a strong articulation with the
107
Ibid.
108
Gerschefski, Martha. The Language of the Left Hand: For the Cello (Atlanta, GA: Martha
Gerschefski, 2004).
109
Gerhard Mantel, Cello Technique: Principles and Forms of Movement (Bloomington, IN:
Indiana University Press, 1995), 67.
97
finger. In addition to the clear separation of the two pitches, it results in a slight ‘plosive’
noise when fingerboard is hit.”110
While using the left hand, cellists should use the kinetic energy for a better
articulation. Kinetic energy is the energy possessed by a body because of its motion. As
Dr. Jesselson explains,
Articulating with the fingers involves an active motion and a passive motion. The
active motion is the finger coming up and the passive motion is the finger going
down. You can hear the finger coming down on the string. A major cause of
tension on the left hand is the pushing down of the fingers, instead is important to
lift the finger up and then just release it. That release is enough to get the pin
sound of the articulation. Just as with the rubber-band, if you want to shoot a
rubber band, you stretch it and then release it. The stretching, or pulling motion, is
the active motion. The release is passive. In playing the cello, the lifting motion is
active, and the release automatically lets the finger come down on the string.111
Cellists can use the Cossmann exercises to improve their articulation (See Chapter
2, under Left Hand Warm-ups, page 27.) Dr. Jesselson studied for a short time with the
Romanian cellist Radu Aldulescu, who also created exercises for practicing left hand
articulation. In these exercises, the cellist should be aware that the fingers are not pushing
down or squeezing and the thumb is not pushing up and causing tension. The following
chart contains all combinations of fingers. (1 = index finger, 2 = middle finger, 3 = ring
finger and 4 = little finger)
110
Gerhard Mantel, Cello Technique: Principles and Forms of Movement (Bloomington, IN:
Indiana University Press, 1995), 87.
111
Robert Jesselson, “100 Cello Warm-ups and Exercises: Blog 14: Isometrics, Strength and
Articulation Exercises,” cellobello, November 24, 2015, accessed August 8, 2018,
98
Figure 3.40 Aldulescu Finger Exercise112
3.3.9 Speed
String players need work on their agility because they want to be able to play
faster and more accurately. It is helpful to understand the necessary coordination to play
fast. Playing slow and playing fast are two very different activities. It could be compared
to walking and running. Certainly, both movements require the movement of the legs;
however, the actual feeling is quite different. Slow playing is similar to walking in that
when cellists play slowly, they feel a sense of balance as they go from one finger to
another. The cellist may want to enjoy the feeling of settling down on each finger. Fast
playing is very different, because the cellist is not putting as much weight on each finger
112
Ibid.
99
and is keeping the balance more in the hand or arm rather than the finger. When playing
quickly, cellists do not settle in as much on each finger. Exercises are a good way to
establish a faster speed. The following exercises were created by Dr. Jesselson to
improve the cellist’s agility of the left hand. In these exercises, the student should use the
metronome for rhythmic precision and to graph a daily increase in speed. These exercises
work on various combinations of the fingers, shifting and intonation as well as speed and
agility.
100
Figure 3.41 Left Hand Exercises113
113
Robert Jesselson, “100 Cello Warm-Ups and Exercises Blog 12: Flexibility and Coordination,
two/.
101
The Trill Rhythm Exercise below was also designed by Dr. Jesselson. In this
exercise, the cellist can practice the active and passive finger concept that was discussed
in the previous subchapter (See page 99.)
Figure 3.42 Trill Rhythm Exercise114
The advantage of this exercise is that on the upbow repeat, the fingers are reversed with
the trill rhythm. This exercise should be played with all combinations of the fingers. (1-2,
2-3, 3-4, 1-3, 1-4 and also in thumb position with the thumb (T-1, T-2, T-3, T-4, plus the
combinations mentioned above. T=thumb). The exercise should be practiced slowly for
articulation and then once the cellist has internalized this exercise, the tempo should be
increased for agility and speed.
3.3.10 The Thumb
The thumb is often one of the major causes of tension for string players. People
tend to squeeze with the thumb on both the bow (see discussion in Chapter 3 page 74)
and on the fingerboard. One of the main contributing factors to squeezing is when
cellists’ thumbs are not round. When the thumbs are round, they are flexible. When they
are bent in, they become locked and the tendency is to squeeze. Because of its
evolutionary importance, the thumb has lots of nerve connections to the brain.
“Evolutionarily the prehensile, opposable thumb was intended to be used for holding
114
Robert Jesselson’s handwriting 2.
102
things and using tools, while at the same time it can be amazingly sensitive and
dexterous.”115A simple exercise that Dr. Jesselson teaches can demonstrate the difference
in functionality when the thumb is round or bent outward versus when it is straight or
bent inward.
If you hold your right hand with your left hand, with the thumb bent inward, you
can squeeze hard and apply pressure. However, if the thumb is curved, you just
cannot squeeze as hard which is desirable in playing the cello with both the left
hand for fingering and the right hand for bowing. When the thumb is bent inward it
is inflexible, it gives excess tension and a lack of flexibility. When the thumb is
round and bent out, we can access the fine motor skills which are necessary for
subtle nuances in playing.116
Here is the correct usage for the neck positions, with a round thumb opposite the second
finger:
Figure 3.43 Round Thumb117
115
Robert Jesselson, “100 Cello Warm-Ups and Exercises: Blog 18: Cello Geography: The
Fabulous Thumb,” cellobello, January 18, 2016, accessed September 3, 2018,
116
117
103
3.3.11 Thumb Position
Although the thumb should be bent outward on the bow and on the left hand in
neck positions, when it comes to playing in thumb position, it is the opposite. In thumb
position, the thumb should be bent in because we need for the thumb to serve as an
anchor for the hand. It has to be strong and stable. Dr. Jesselson teaches what he calls the
“inny and the outy”, in which the Interphalangeal (IP) Joint of the thumb (the joint of the
finger with the nail) is bent inwards and the Metacarpophalangeal (MP) Joint (or the
knuckle of the thumb) is bent outwards.
Figure 3.44 C Shape in Thumb Position 118
118
Ibid.
104
It is also important for the cellist to keep a “C shape” between the thumb and the other
fingers, as seen in the above picture. This “structure” enables the fingers to articulate by
lifting and dropping.
Dr. Jesselson introduces thumb position right after the student is familiar with the
neck positions and the two octave scales and arpeggios. His students study all of the
thumb position scales in Feuillard (No. 26 and No. 27) in order to get comfortable with
using the thumb all the way up the fingerboard. For many students, this is a matter of
strengthening the thumb (using Isometrics) and figuring out the spacing and contact point
issues as one plays higher on the instrument (See Chapter 4 section 4.2, under A
Sequential Approach to Teaching Scales and Arpeggios, page 152.)
Understanding tetrachords in thumb position is also important for the developing
cellist. A tetrachord is a group of four notes separated by three intervals. The following
are the main tetrachords in thumb position (W=whole step; h=half-step; A=Augmented
2nd):
Major: W W h
Minor: W h W
Modal: h W W
(Phrygian)
Chromatic: h h h
Lydian: W W W
(whole tone)
Octatonic: h W h
Gypsy: W h A
Harmonic Minor: h A h
W h h
h h W
105
Dr. Jesselson teaches many of the different scale possibilities by combining the
tetrachords on two strings in thumb position, with the thumb on the first note in the scale.
He developed the following chart for students to understand the symmetrical and non-
symmetrical tetrachords in a variety of scales in order to work on efficient thumb position
and intonation. It contains 15 types of scales using the basic tetrachords. (The Roman
numeral I is the A string and the Roman numeral II is the D string).
106
Figure 3.45 Thumb Position Scales using Tetrachords 1119
Once students are familiar with these tetrachords, they can apply them to the
repertoire.
Analyzing passages in the cello repertoire using Tetrachords can be very useful.
For example, in this passage from the 3rd movement of the Saint-Saens Concerto
we can see that there are groupings of Major Tetrachords, Minor Tetrachords,
Octatonic Tetrachords and Modal (Phrygian) Tetrachords. The numbers in this
example show the fingering patterns; the colored lines show the tetrachords (not
the bowings):”120
119
Robert Jesselson, “100 Cello Warm-Ups and Exercises Blog 20: Thumb Position and the
Upper Registers, Part 2, cellobello, February 18, 2016, accessed September 6, 2018,
thumb-position-and-the-upper-registers-part-2/.
120
Robert Jesselson, “100 Cello Warm-ups and Exercises Blog 19: Cello Geography - Part 5:
Thumb Position and the Upper Registers,” cellobello, February 8, 2016, accessed September 1, 2017,
cello-geography-part-5-thumb-position-and-the-upper-registers/.
107
Figure 3.46 Tetrachords in the Saint-Saëns Concerto121
Another way that Dr. Jesselson teaches security in thumb position comes from
one of his former teachers. In 1972, Dr. Jesselson’s teacher Marçel Cervera gave him
Diran Alexanian’s thumb position exercises. These exercises are unfortunately not
included in Alexanian’s seminal book, Traite Theorique et Pratique du Violoncelle
(Theoretical and Practical Treatise of the Violoncello). These 12 exercises have never
been published. Dr. Jesselson hand-copied them from Maestro Cervera’s notebook. Diran
Alexanian was born in 1881 in Armenia. At the École Normale de Musique in Paris, he
was Pablo Casals’ assistant. Alexanian’s treatise was endorsed by Pablo Casals,
when Alexanian submitted to me a well elaborated plan for the analysis of the
theory of violoncello playing, based on principals that I myself accept, I
recognized that I had before me a serious effort towards the casting off of the
shackles of the superannuated prejudices with which the above mentioned works
were replete… I would therefore recommend to all those who play or who wish to
play the violoncello to imbue themselves thoroughly with the contents of this
treatise... I also venture to predict that this book will be of the greatest
documentary value, being as it is the only work of its kind concerning our
instrument and that even experienced virtuosos will find in it food for instructive
meditation.122
121
Ibid.
122
Diran Alexanian, Complete Cello Technique: the Classic Treatise on Cello Theory and
Practice (Milenoa, NY: Courier Corporation, 2003), 4.
108
The following are Alexanian’s twelve exercises that deal with thumb position,
opening up the hand in the basic thumb position.
109
110
111
Figure 3.47 Alexanian Exercises123
According to Dr. Jesselson, “a good way to strengthen the thumb is to just move it
up and down on the string, building the calluses and also building the thumb’s
123
Robert Jesselson, “100 Cello Warm-Ups and Exercises Blog 21: Alexanian Exercises,”
cellobello, February 29, 2016, accessed September 16, 2018, https://www.cellobello.com/cello-blog/in-the-
practice-room/100-cello-warm-ups-and-exercises-blog-21-alexanian-exercises/.
112
strength.”124 Another good exercise for strengthening the thumb is from Tortelier’s book
“How I Play, How I Teach”:
Figure 3.48 Strengthening the Thumb125
3.3.12 Geography in the Upper Registers
Exploring the upper register of the cello requires a different understanding of
geography from the lower part of the cello. Instead of using positions, cellists navigate
the “High Sierras”126 by a different set of principles.
1) using the basic thumb position - meaning the spacing between the thumb and 3rd
finger is generally a perfect fourth on the same string and an octave across the
string.
2) using harmonic nodes as markers for different regions of the upper registers. For
example, on the A string, the second harmonic A (dividing the string into two
parts, the third harmonic E (dividing the string into three parts) and the fourth
harmonic A (dividing the string into four parts) are the most useful of these nodes
(See chart below.)

124
125
Ibid.
126
113
3) measuring distances from a given note, which means using intervals and
predicting the distance to the next note. The “given” note that one measures from
is either a note that has been played, or one of the harmonic nodes.
The following chart shows the main harmonics that can help cellists to find positions in
upper registers:
Figure 3.49 Harmonic Nodes127
Security in the upper registers comes with intense work on scales, arpeggios and
especially etudes. The Popper etudes are particularly useful for studying and solidifying
one’s understanding of this part of the cello. Another useful tool is to work with
127
114
tetrachords in thumb position. Dr. Jesselson’s concept of teaching the different types of
tetrachords and applying them to the repertory is an efficient pedagogical strategy. This
tool helps the student to connect new information in the thumb position with pieces in the
repertoire (see Figure 3.46, on page 108).
Sometimes when the cellist is working on a difficult passage in the upper register
of the cello, Robert Jesselson recommends doing what he calls “live there.” This is a
practice technique that means staying in a position on all four strings, thinking about the
finger patterns, the finger spacing, the placement of the arm and the elbow in order to
become comfortable in that position. For example, in the Saint-Säens Concerto there is a
passage that starts on the seventh extended position going to sixth position:
Figure 3.50 Saint-Saëns Concerto No. 1128
In this passage, the cellist would start with the sixth-and-a-half-extended (VI ½ e)
position and find the finger pattern there, playing on all four strings to process what notes
are available. Playing a short improvisation would also be helpful in making the player
feel comfortable in this particular position, using the same finger spacing on all four
strings. This method of working means that the student is not only practicing for the
Saint-Saëns Concerto, but preparing for many other passages that are in VI ½ e position
in other pieces.
128
Camille Saint-Saëns, Cello Concerto No. 1 (Paris: Durand, Schoenewerk et Cie., 1874), 1.
115
3.3.13 Double Stops and Chords
Working on double stops can be very helpful for improving intonation. The
standard procedure is to work from the bottom up in chords and double stops. Just as in a
string quartet or in an orchestra the chord is tuned from the bass note up, the same is
often true on the cello itself. It is important that when working on double stops that one
does not try to move both notes at once. One of the notes must stay steady and the other
note must be tuned to that one. If a cellist tries to move both notes, the intonation
becomes a moving target.
Dr. Jesselson has students work on sixths before working on thirds. The student
must first understand the sequence of major and minor sixths and the physical
relationship of sixths on the cello: major sixths are configured like a whole step across
the string and minor sixths are like a half-step across the string. There are two basic
fingering options for scales in sixths. Dr. Jesselson likes to introduce scales in sixths with
two octave scales using Gordon Epperson’s A Manual of Essential Cello Techniques129
because he uses one fingering system going up the scale and the other system going
down. Then students can use the Anatoli Krastev’s book Basic Principles in Studying
Cello Scales for the complete system in four octaves. One of the main things to work on
in sixths is finding the connecting string in order to make the string crossings as smooth
as possible.
For practicing thirds, Dr. Jesselson advocates using the concept of a “hidden
fourth” to stabilize the intonation. The hidden fourth is produced by the fourth and
129
Gordon Epperson, A Manual of Essential Cello Techniques (Miami, FL: Alfred Music, 1963),
20.
116
second fingers across the string when the hand is playing a major third in neck position.
In minor thirds, there are two hidden fourths: between the fourth and second fingers and
between the second and first fingers in extended position. Dr. Jesselson suggests daily
practice of octaves using scales, arpeggios and various etudes such as Popper Etude #38.
Figure 3.51 Popper Etude #38130
One of the earliest uses of double stops for a developing cellist is in passages
where there are string crossings. By creating double stops and identifying the intervals
the student begins to relate the configuration of the hand with the intonation (See page
86.) For example, when working on the following passing in the Dotzauer Etude #27,
double-stops can be created to work on intonation and the security of the left hand:
Figure 3.52 Dotzauer Etude #27131
130
David Popper, High School of Cello Playing (Van Nuys, CA: Alfred Publishing Co., Inc.,
1901), 47.
131
Friedrich Dotzauer, Exercises for Violoncello Book 1 (New York, NY: G. Schirmer, 1987), 32.
117
Similarly, Dr. Jesselson recommends playing the entire Duport Etude #7 as
chords in “block position” as the foundation of this etude. In this example, cellists should
practice by making every beat a three-note chord:
Figure 3.53 Duport Etude #7132
Dr. Jesselson also recommends using the following exercises to practice double
stops. In these pairs, the superior line represents the A string and the second line the D
string.
Robert Jesselson Double-stop exercises
2-3 2-4 3-4 1--------------------

1-------------------- 2-3 2-4 3-4
1-3 1-4 3-4 2--------------------

2-------------------- 1-3 1-4 3-4
1-2 1-4 2-4 3---------------------

3--------------------- 1-2 1-4 2-4
1-2 1-3 2-3 4---------------------

4--------------------- 1-2 1-3 2-3
132
118
Scales in sixths, thirds and octaves are also excellent ways to work on double-
stops. The student can practice first the major and minor scales in sixths, using different
fingerings going up and down, then practice major and minor scales in thirds and
eventually major and minor scales in octaves. Dr. Jesselson also recommends practicing
broken thirds, using the Feuillard No.12.
Figure 3.54 Feuillard Daily Exercises No. 12133
3.4 Other Issues
In one of his articles on the Sequential Method, Dr. Jesselson lists what he
considers a “Global Syllabus for a Musician.” This involves the “big picture” of all the
various issues that one needs to address in order to become a competent musician. He
divides the requirements into four categories: Technical, Musical, Organizational and
General Musicianship:
133
119
Figure 3.55 Global Syllabus for a Musician 134
This subchapter will deal with some of these important issues related to playing
the cello. They include coordination, concentration, sight-reading, basic musicality and
musicianship and various organizational issues.
3.4.1 Coordination
Coordination is involved in almost every aspect of playing the cello. Dr. Jesselson
often demonstrates this by patting his stomach and rubbing his head. And just like that
exercise, the first time someone tries doing some of the coordination exercises they may
find them to be difficult. But with repeated attempts, they can be improved.
134
Robert Jesselson, “Part One: Overview (for Cellists and Other String Players!),” American
String Teacher 63, no. 2 (May 2013), 33.
120
Exercises for coordination involve moving different parts of the body while
playing. For example, coordinating the bow with movements of the head or shoulders is
very useful. The concept here is the general principle that if a body part can be moved, it
is less likely to get tight. In one such exercise, the cellist might play a scale and move
his/her head up and down like nodding. It may be helpful to keep the eyes closed to
prevent dizziness. Next, the cellist can play the same scale moving the head to the left
and right. Eventually, the student can move the head in rhythms or play the scale making
circles with the head in both directions. In another exercise, cellists can play scales while
moving the shoulders up and down. It is important that when doing this, the student keeps
the head and shoulders loose, so the muscles are relaxed. In these coordination exercises
the cellist should also include “Left/Right” motion. Even when working on the left hand,
adding this motion is another kind of coordination that the cellist should ingrain. Even
when doing all the complicated things that cellists do (such as bowing, listening, working
on intonation, vibrating, etc.) the muscles should be relaxed.
Dr. Jesselson particularly likes a Tortelier exercise that works on varying the
speed of the bow. In this exercise, the cellist plays a scale and counts eight beats for the
first note, seven for the second note, six for the third note and so forth until one comes to
the tonic. The process is reversed coming down the scale. Dr. Jesselson recommends that
students count aloud while doing this because it adds another thing to coordinate. When
teaching this, the teacher should make sure that the student uses a full bow and uses
“Left/Right Motion.” When changing the speed, the cellist also needs to change the
contact point in order to use the full bow. After doing this exercise, one can vary the
speed of each note, while still using the full bow for every note.
121
Figure 3.56 Tortelier Bow Speed Exercise135
Dr. Jesselson created the following bow coordination exercise to explore the
student's coordination. This sequence of bowings should be played with scales, using
Left/Right Motion:
Figure 3.57 Bow Coordination Exercises136
135
Paul Tortelier, How I Play, How I Teach, (London: Chester Music, 1976), 45.
122
Other coordination exercises involve various combinations of dynamics, bow speed, arm
weight, vibrato, shifting, string crossings and many other cello techniques.
3.4.2 Concentration
Concentration is a skill must be developed and deepened. Especially in the
modern world, in which many young people have short attention-spans and many people
suffer from ADHD, this is a critical skill which must be addressed. Dr. Jesselson believes
that working on improving concentration and self-discipline happens on a daily basis in
various ways. Playing open strings as a warm-up every day is a good way to bring the
cellist out of the busy outside world into the disciplined world of the cello. By
concentrating on specific tasks while playing the open strings, a player can learn to focus
the mind. The short Feuillard bowing variations are also good daily concentration
exercises for the mind, as well as good technical exercises for the right hand. Even
though these variations each last only about one minute, many students have a difficult
time keeping their focus at first. With practice, they are able to concentrate for longer and
longer periods of time and complete more variations per lesson. As the students improve
their concentration, they are able to play longer exercises, etudes, and pieces more
accurately. Musicians need to have a high level of focus in order to be able to play pieces
such as the Dvorák Cello Concerto, which takes 45 minutes of high concentration.
Persistence is essential for every musician. Dr. Jesselson likes to quote Albert Einstein,
who said, “It’s not that I’m so smart, it’s just that I stay with problems longer.”137
136
137
Ian Parberry, Introduction to Game Physics with Box2D (Boca Raton, FL: CRC Press, 2013),
236.
123
Memorization is another aspect strongly related to concentration. Dr. Jesselson
requires scales, arpeggios, unaccompanied pieces and concertos to be played by memory.
Every lesson with Dr. Jesselson includes some “performance” by memory. This may be
as simple as the weekly scale and arpeggio, or it may involve a memorized etude or part
of a piece that the student is working on. By getting used to playing from memory in
front of him, the students become more and more comfortable with their own ability to
perform from memory. The next step is playing from memory in class and then on stage.
Most people want to improve their concentration and mental focus.
Outside of cello playing, practicing yoga can be a way to improve these skills. To
allow the body to relax, it is essential that the mind be emptied for some minutes a day.
“Alternate-nostril breathing” is a yoga technique which can help musicians to achieve a
better concentration. Miranda Wilson explains how it works: “Block off your left nostril
with your left thumb and inhale through your right nostril. Then block your right nostril
with your right ring finger and exhale through your left nostril. Repeat for fifteen
seconds.”138 Meditation is a higher level of concentration and can help a person focus for
particular events or tasks. Meditation can be developed by means of concentration,
according to Pandit Rajmani Tigunait: “Meditation begins with a simple process of
concentration.”139 By means of breath relaxation, the musician can calm the nervous
system. Meditation can also connect the musician’s subconsciousness for positive
suggestions.
138
Miranda Wilson, Cello Practice, Cello Performance (Lanham, MD: Rowman & Littlefield
Publishing Group, Inc., 2015), 12.
139
Pandit Rajmani Tigunait, Inner Quest: Yoga’s Answers to Life’s Questions (Honesdale, PA:
Himalayan Institute Press, 2002), 143.
124
3.4.3 Sight Reading
Becoming adept at sight reading is very important for musicians. It is another skill
that requires training and experience. Perhaps the most important thing in sight reading is
paying attention to the rhythm. Without accurate rhythm, the ensemble will fall apart. It
is better to play a wrong note than a wrong rhythm. Knowing a variety of rhythmic
patterns helps musicians decode a musical score faster. In addition, scales are an
automatic system that enable the student to choose fingerings in an efficient way, thus
being able to read music better. Students should practice sight reading every day. Like
any other skill to be developed, it needs practice.
There are plenty of materials which can be used to practice sight reading. Leonard
Rose’s Orchestral Excerpts from the Symphonic Repertoire for Cello140 (Volumes I, II
and III) are great for sight reading. Another option for practicing sight reading is the
Orchestral Repertoire: Complete Parts for Cello from the Classic Masterpieces141 by the
Classic Kalmus Edition. Also, cellists can use an etude book with which they are not
familiar. The cello teacher can help choose these books for the student to make sure that
they are using something that is at their level. In the beginning, the student may not be
able to sight read difficult etudes, but as the sight reading skills grow, this should become
possible. Eventually the student could sight read one of these per day. It is important to
remember that the student should not feel overwhelmed by doing this, because these
etudes primarily were developed to solve technical issues.
140
Leonard Rose, Orchestral Excerpts from the Symphonic Repertoire for Cello (New York, NY:
International Music Company, 1953), 21.
141
Edwin F. Kalmus, Orchestral Repertoire Complete Parts for Cello from the Classic
Masterpieces Vol. 1 (New York: Kalmus Edition, 2002), 31.
125
Orchestral music is also good for sight reading. The musician should practice
orchestral repertoire before rehearsals; however, sometimes one has just a few minutes to
see the music before the beginning of the rehearsal. If the cellist did not have time to
practice beforehand, he/she should first scan the music, pick out the hard parts and study
these parts first. In this situation, the cellist should not pay attention to easy notes or easy
keys, but instead go to the difficult parts such as sixteenth notes in an uncommon key,
parts in tenor clef or treble clef, or passages requiring thumb position. The student does
not necessarily have to play through the difficult part to be able to sight read it; mental
practice can help greatly. In this situation the cellist can use mentalization (see Chapter 5,
under Mentalization, page 189.) The teacher should explain that the student should not
get frustrated if there are some mistakes while sight reading; instead we let go of the little
mistakes and get the big picture.
3.4.4 Musicality
Musicality requires the cellist to use the right brain, exploring creativity,
expression and intuition. The right brain can coordinate many things at the same time,
which is a perfect approach to the musician’s musicality (See Chapter 5, under Left/Right
Brain, page 179.) It is difficult to “teach” musicality. This is one of the most inborn parts
of being a musician and is dependent on a musician’s ability to feel emotions strongly
and express them audibly.
Playing “musically” also requires an understanding of styles, national
characteristics in music, traditions and even language. A sensitive musician must have an
appreciation of phrasing and color in sound. A large part of playing “musically” is also
dependent on listening to recordings and live performances and knowing “performance
126
practices” for different periods. At the University of South Carolina, Dr. Jesselson
teaches a Cello Literature Class. In this course, students are required to listen extensively
to cello music from all periods, from historic recordings, from famous cellists of the past,
and from cellists of different nationalities. This activity helps the students better
understand sound, color, phrasing and interpretive possibilities. Listening is a good diet
for the development of right brain.
One aspect of musicality is knowing stylistic elements of different periods in
music. For example, in Baroque pieces, Dr. Jesselson recommends using a ringing sound
and applying the concept of messa di voce. According to Richard Miller, the messa di
voce “trains the singer to begin at a piano or pianissimo level, crescendo to a forte or
fortissimo level and then return to pianissimo without detriment to the vocal timbre.”142
In this period, vibrato is used as an ornament, so the cellist does not need to vibrate all the
notes. For the expressiveness of Baroque pieces, Dr. Jesselson recommends using only a
small amount of vibrato. He also finds using a Baroque bow to play Baroque music
desirable. In the Baroque style, the cellist will often apply diminuendos at the end of the
phrases. The enchantment of Baroque music derives from little nuances colored by the
bow. In Baroque style, the grace notes are often played on the down beat. Dr. Jesselson
works with concepts of rhetoric and dance styles in exploring Baroque music. In general
Dr. Jesselson advocates using the Urtext versions for repertoire of all periods. In studying
the Bach Cello Suites, he prefers using the Bärenreiter edition, which sticks closely to the
various manuscripts that are available since the original Bach manuscript has been lost.
142
Richard Miller, Training Soprano Voices (New York, NY: Oxford University Press, 2000),
153.
127
Classical style expression requires a different set of mannerisms. According to
Clive Brown, “performance in the Classical period was characterized by a more rigid
observance of hierarchical metrical accentuation than in either the Baroque or the
Romantic.”143 Interpreting the Classical style requires a strong metrical sense. Also, the
music of the Classical period is strongly related to form and balance. For this reason,
while playing Beethoven or Mozart on the cello, the student must use expressiveness with
care. This music does not require a wide vibrato or too much sound. The beauty of the
Classical period is the focus on simplicity and harmony. Classical cello playing must
have shorter phrases played with a ringing tone and refined endings of phrases. Dr.
Jesselson explores phrase groupings and the concept of the “Golden Section” in searching
for shapes in Classical period music. He uses the Lee etudes to teach these concepts. Dr.
Jesselson recommends generally playing music from the Classical period with a higher
contact point in order to present an elegant, ringing sound.
The musicality of the Romantic style is identified by the warmth of sound, range
of dynamics and expression and often long phrases. According to Bruce Haynes, “The
Romantic long-line or ‘climax phrase’ is traditionally the length of a singer’s or wind
player’s breath. Also called ‘the overarching phrase,’ the ‘sweeping melodic line,’ the
‘sostenuto,’ the ‘grande ligne,’ the long-line phrase is essentially a dynamic shape,
starting softly and building to one or more notes, often high and usually somewhere in the
middle of the phrase (these ‘goals’ or ‘climaxes’), then diminishing to the end.”144 To
143
Clive Brown, Classical and Romantic Performing Practice 1750-1900 (New York, NY:
Oxford University Press, 2004), 7.
144
Bruce Haynes, The End of Early Music: A Period Performer’s History of Music for the
Twenty-First Century (New York, NY: Oxford University Press, 2007), 184.
128
develop long lines, Dr. Jesselson recommends thinking at the largest possible level of
pulse, allowing the cellist to sing within long arcs. In Romantic interpretation, a wide
vibrato is welcomed along with significant dynamics contrasts and rubatos that may or
may not be written. Compared to the Baroque or Classical eras, the Romantic Era offers
the biggest variety of tempos. If one listens to multiple recordings of the any major
Romantic period concerto, a huge variety of tempos, types of vibrato and ritardandos will
be heard.
In the 20th and 21st centuries, special effects become a major part of the musical
language. Expanded techniques are required and students must learn to decipher a large
variety of musical notation. Harmonics are used as an essential tool, for example, rather
than as just a color. Harsh sounds, unvalued in previous eras, are now used to translate
feelings such as rage or anger. In this period, texture stops being environment and
becomes the musicality in itself. In addition, the player can experiment with and adopt
rhythm, phrasing and colors derived from popular music such as jazz and bossa nova.
3.4.5 General Musicianship
Music theory knowledge is essential for the student to become a great musician.
The first thing the cellist needs to understand is the Circle of Fifths. Musicians must
know instantly the order of sharps (F#, C#, G#, D#, A#, E#, B#) and flats (Bb, Eb, Ab,
Db, Gb, Cb, Fb). Students must become familiar with intervals, the building of triads and
seventh chords, chord construction, mode to chord relationship, scales in major, melodic
minor and harmonic minor and scales in modes. Also, the student must learn to analyze
form. Form analysis helps musicians understand the structure of the pieces they are
working on and is a strong support for memorization. Learning “movable do” solfege will
129
also help the musician to hear music more accurately and understand how each note
functions. In other words, the student learns to hear tonally. In “movable do” solfege, any
tonic is “do.” Since most pieces emphasize certain pitches over others, using this system
can help the musician recognize intervals faster.
Learning to play the piano along with the cello is a great combination as it helps
the cellist to become a complete musician. Children who practice both piano and cello
tend to have better intonation. Because the piano has an equal temperament, it gives
intonation guidance to the student. Mstislav Rostropovich came from a family of pianists
and used the piano along with the cello during his whole life. For memorization,
Rostropovich would study and learn cello repertoire first on the piano. Once a concerto
was completely memorized, then he learned it on the cello. This also helped him avoid
using muscle memory to memorize, which is a less reliable type of memorization.
Music History helps the musician to have an understanding of how music has
changed throughout time and in what situations composers created the masterpieces that
are played today. It provides the student with the composer’s background, culture, style
period and even how his language has influenced his or her music. At the University of
South Carolina, Dr. Jesselson teaches a Cello Literature Class, which could also be called
a Cello Music History Class. Cello literature and cello history are explored, including
important cellists and their contributions to the cello world. Recordings, compositions
and works written for specific cellists are studied. Dr. Jesselson requires weekly
presentations on cello literature from all periods in music history and he makes listening
assignments of recordings of cellists and cello literature from all periods, thus helping
students to understand the “evolution” of the cello.
130
3.4.6 Organizational Issues
Organization and preparation are vital tools for achieving success. Many
musicians tend to be “right-brained” and spontaneous. This is a great quality for actual
performances. But most of a musician’s work is done before the performance and many
students fail to prepare adequately. This has to do with time management, self-discipline
and forward planning. It has to do with goal-setting and constructive practicing.
Dr. Jesselson spends a lot of time with students in helping them to organize their
practicing, and sometimes even their lives. He feels that learning self-discipline on the
cello can often have beneficial by-products in the rest of our lives. He cites the example
of one student who was very frustrating to teach because he was so disorganized. This
student had a difficult time memorizing music and made rather slow practice because he
did not understand his own learning process. After several months, the student came in
for a lesson one day with everything beautifully memorized and with major steps forward
in his technique and performances in that lesson. When Dr. Jesselson pointed out what a
difference there was, he asked the student whether anything had changed in his
practicing. The student responded that suddenly his grades were better in school as well.
Something had clearly changed in this student’s brain - and Dr. Jesselson attributes it to
the self-discipline and focus that the cello brought to his life. He often says that one of his
missions is to help “build” a left brain in right brained musicians.
When Dr. Jesselson helps his students organize their recitals, he establishes the
repertoire long in advance. The students are expected to prepare during the break between
terms. A cello masterclass is held every Monday. Dr. Jesselson requires his students to
play their pieces in the cello masterclasses, giving students the opportunity for a real
131
performance with accompanist prior to recital performances. Students receive comments
from their colleagues and also from Dr. Jesselson. Every masterclass is recorded and sent
to the students on the same day that it happens.
When putting together a recital program, the teacher must pay attention to
important issues. First, a piece should never be harder than the etudes that the student is
currently practicing. Otherwise the student will not be able to approach the musical
aspects of the performance and will be focused on coping with the technical aspects of
the piece. During recital preparation, the pianist must attend lessons with the cello
student, so the teacher can evaluate how the piece is improving. If the pianist is not
practicing enough for the recital, the cello teacher can talk to the accompanist to solve the
situation. Dr. Jesselson has a great talent in teaching his students with their accompanists,
as he gives precise and efficient comments.
The dress rehearsal is a special moment for the cello students because this is the
last lesson before the student’s recital. In this lesson, the student plays through the entire
recital in the order that it will be performed. Dr. Jesselson even insists on the students
practicing the entrances, bows and exits. This is also an opportunity to check the sound
balance between the cello and the piano in the hall and to fix any remaining problems.
The dress rehearsals are recorded, and he provides written feedback to the student.
Dr. Jesselson hopes that students leave his studio with the ability to become not
only their own teacher, but also that they are able to organize their lives on a higher level
in order to be more productive and successful as performers, teachers and human beings.
132
CHAPTER 4
A SEQUENTIAL APPROACH TO TEACHING BOW TECHNIQUE, SCALES,
ETUDES AND REPERTOIRE
As discussed in the Introduction to this document, Dr. Jesselson’s philosophy of
teaching technique, etudes and repertoire entails what he calls the Sequential Method.
This implies having an organized system for presenting technical information to an
intermediate level cellist:
I believe that it is important for an applied cello teacher to have an organized and
logical pedagogical system in order to ensure that intermediate level students are
exposed to all the technical and musical information that they need. Just as a math
teacher or an English teacher uses a syllabus to create a logical succession of tasks
for a young student, the applied studio string teacher should have a clear
methodology to insure that all the requisite material is covered and that the
student builds a secure technique based on a solid foundation...There is so much
material for a young musician to learn and if the intermediate level teacher is not
well organized then some important material may be left out or forgotten. Far too
often string teachers neglect to cover important topics, thus leaving their students
with major holes in their cello understanding and development. The teacher needs
to have a “grand design” in taking the students through what they need in an
organized sequential manner. If not, then the student may be missing the solid
foundation required to continue building technique, repertoire, understanding of
style, endurance, memorization, concentration, performance experiences and a
career. These teachers fail their students with what I call “random teaching.” They
just teach a piece and work on whatever technical issues happen to appear at the
moment.145
145
133
4.1 A Sequential Approach to Teaching Bow Technique Through the Feuillard Daily
Exercises
Dr. Jesselson believes that exercises are the basic building blocks for teaching
and learning technique.
Exercises help focus attention on one specific aspect of technique. It is work on

the molecular level of the technical and musical universe. The teacher of the
intermediate level student needs to have a large variety of exercises that address
both fundamental and sophisticated issues of shifting, vibrato, articulation, trills,
etc. We need multiple approaches to addressing these issues because not every
solution will work for every student. When I first started teaching, I kept a card
file with little exercises that I collected from teachers, master classes, articles in
journals and from conversations with other string players and teachers. I now
encourage my own students who are starting to teach to keep their own collection
of exercises so that later they will be able to draw on them as necessary.146
Dr. Jesselson’s approach to teaching bow technique is through exercises and the
Sequential Method, using the Feuillard Daily Exercises as the “syllabus.” Dr. Jesselson
calls this book his “cello bible”.147
It is set up in an organized manner as a kind of syllabus for the bow. Feuillard #32
is all in first position and it deals with basic bow control issues. #33 adds some
complexity by going up to fourth position and it requires an understanding of
contact point issues and son filé, in addition to building on various techniques
from #32. The next three pages (Feuillard #34-36) all deal with string crossings as
the main topic, with #34 using 2 strings, #35 using 3 strings and #36 using 4
146
Robert Jesselson, “Part Two: A Sequential Approach to Exercises (for Cellists and Other
String Players!),” American String Teacher 63 (May 2013): 34.
147
134
strings.148
After working through the basic fundamentals of bow technique in the first two
lessons, including the “core” sound, “block of sound”, etc. (see description of “The First
Lesson: Getting it Right from the Start” on page 35), Dr. Jesselson starts working through
the Feuillard bowing exercises (Nos. 32-36) with the students.
It usually takes about 2-3 years to get through all five pages, depending on the
student. But by the time they finish, they have a good understanding of the bow
and how the arm works. All along, they are using these techniques in etudes and
repertoire.149
The Feuillard exercises No. 32 offer to the cellist the opportunity to explore many
different right hand techniques, including a variety of strokes (staccato, spiccato, sautillé,
detaché, legato), bow distribution, different rhythms and how to use the “Front and Back
of the Hand.” These exercises help the student master the basic elements of bow
technique.
The Feuillard No. 32 theme is in first position and should be played by memory
with a “core sound” (See Chapter 3, section 3.1.)
Theme:
Figure 4.1 Feuillard Theme of No. 32150
148
Ibid.
149
Ibid.
150
135
Dr. Jesselson uses this theme as an opportunity to discuss basic intonation issues,
including how to check notes (using perfect intervals), how specifically to check first
position (first finger with the string above to produce a perfect 4th; fourth finger with the
string below to produce an octave), as well as Casals’ concept of “Expressive Intonation”
(See Chapter 3, section 3.1 page 81.)
Each variation should be played following the instructions for articulation (given
above the notes), and which part of the bow to use (given below the notes). The student
should play each variation in its entirety because the elements of contact point, speed and
weight will change on every string and with every note. On the cello, every note has
different acoustical properties and cellists must train their bodies and their ears so that
they can make all the notes sound the same. The goal is to use the same type of sound for
every note - the same articulation, the same dynamics, the same part of the bow, etc. for
the entire variation. Dr. Jesselson also listens to every variation all the way through
because he feels that a student is training his/her ability to concentrate, focus and
“perform” through these variations. There are no shortcuts in this. In order to “pass off” a
variation, students must be able to play it accurately, and they also must be able to
verbalize what the technical issues are with each variation. If these goals are not met in
the lesson, then the student will have to repeat the variation in the next lesson. Since Dr.
Jesselson does not want to spend more than about 10 minutes on these exercises in each
lesson, the student must come to the lesson well prepared. If there are too many
repetitions of each variation in the lesson, that means that the student has not prepared
well enough. Most students can get through about 5-6 variations per lesson.
136
In the next section of this chapter I will discuss the goals for each variation, as
taught by Dr. Jesselson:
Variation #1: (Eighth note = 72)
Figure 4.2 Feuillard No. 32 - Variation #1151
This variation should be played using the full bow, with left/right motion, a “core
sound”, proper use of the elbow and the arm and with the bow always parallel to
the bridge. The contact point will vary depending on the string. On the higher
strings (A and D), the contact point should be a little bit lower in comparison to
the lower strings (G and C). Students will usually play this variation too fast at
first, not realizing that they have to choose a tempo that will work on the low
strings. If the tempo is too fast, then they will not be able to use the full bow on
the low strings. Most students pick a tempo in the quarter note; however, after
rethinking the variation, they realize that the tempo needs to be in the eighth note
pulse.
Variation #2: (Eighth note = 72-84)
151
Ibid.
137
Again, the tempo should be in the eighth note to make this variation work. This
variation should be played in two different ways. Both ways should be staccato,
but the sound will be slightly different. First, play with the whole bow on the
string, but with a very high contact point. The second way is to play the downbow
with a short amount of bow at the frog and then the upbow with a short amount of
bow at the tip. All these variations should be played with a core sound, with the
bow parallel to the bridge. The teacher should make sure that all the basic
elements of tone production are working properly: the elbow arc, the correct parts
of the arm, the front and back of the hand, etc.
Variation #3: (Quarter note = 84 or a bit faster)
The important issue in this variation is to use a low contact point and a full bow,
understanding the rule: “the more notes in a bow, the lower the contact point.”154
The contact point will be slightly higher on each string going down to the C-string
in order to produce the same sounds and then slightly lower going back up to the
A string in playing through the variation. Dr. Jesselson emphasizes that it must be
played with a core sound.
152
Ibid.
153
Ibid.
154
Dr. Robert Jesselson, interview by author, Columbia, SC, September, 2014.
138
Variation #4: (Quarter note = 84)
The main issue in this variation is bow distribution: how much bow to use and
which part of the bow. This variation is a good tool with which to check if the
student is using the upper and lower parts of the arm correctly. For the separate
quarter notes in the first measure, the student must use the upper part of the arm
and for the separate quarter notes in the second measure, they use the lower part
of the arm. The instructor should ask the student what part of the arm is being
used, checking to see if the student is using it consciously. In this variation,
relaxation is essential. The teacher should check if the student is relaxing the
shoulder and the arm, especially when playing at the frog. For the left/right
motion, one should stay on the left side when playing at the tip, instead of
moving back and forth; the same at the frog, staying on the right side.
Variation #5: (Quarter note = 58 is a good tempo)
155
156
Ibid.
139
This variation should be played staccato, even though at first it may seem to be
ambiguous as to whether it could be spiccato. The directions indicate that it
should be played in the middle of the bow and since the focus is on a core sound,
staccato is implied. At this point, the student is trying to figure out how to play
with a big, projecting sound. The lighter spiccato strokes will be explored later,
at the bottom of this page of variations. This variation must be played at the
middle of the bow and with the same attack in both the down bow and up bow.
The student should explore the “Catch and Float” concept here, so that there is a
good initial attack of the note and a nice ring to the float part of the stroke. With
this variation, Dr. Jesselson usually asks the students to start using vibrato
throughout the Feuillard. He wants them to begin to experience the coordination
issue involved with doing two very different motions in the left hand and in the
right hand. Also, these short notes require some help to sound more resonant.
Variation #6:
This variation deals with the same aspects as the previous one in a slightly
different rhythm. The student should be aware of the rests, listening to the space
between the notes and not rushing.
Variation #7: (quarter note = 54)
157
Ibid.
140
This variation involves a combination of concepts from the previous variations:
bow distribution and the staccato stroke. Additionally, this variation is further
“proof” that variations #5 and #6 must be intended to be played staccato: this
could not be played spiccato at the tip! By combining these two concepts, the
student is working on coordination. This is a good example of how the Feuillard
builds technique in a logical and sequential manner. The choreography for left-
right motion should be similar to variation #4: the player should stay on the left
side when playing at the tip, and on the right side when playing at the frog. The
contact point must be low when playing the eighth notes and higher when playing
the quarter notes, because the fast bow needed for the quarter notes requires
adherence to the rule “the faster the bow speed, the higher the contact point.”
158
Ibid.
159
Ibid.
141
Dotted rhythms are difficult for string players to execute precisely. The student
should be aware of dividing the rhythm into two or four parts, but not three parts,
as that would produce triplets. The other main issue will be giving the short note
enough sound by using slightly more bow proportionally to the dotted quarter
note. The long note needs to have a release in the sound and the first finger on the
bow will be required to produce the staccato articulation. This variation is the first
of several dotted rhythms to be explored later on this page. The student must
understand these basic concepts for dotted rhythms before taking them to the next
step in variations #18-21.
Here the cellist should apply the similar concepts to Variation #5, with triplets,
using the middle of the bow with the lower arm and first finger.
Variation #10: (Quarter note = 60 is a good tempo)
160
Ibid.
161
Ibid.
142
Again staccato, but here the duple eighth note must be slightly longer than the
triplets.
The student must pay attention to bow distribution and left-right motion. In the
first measure on the third and fourth beats, the bow must stay at the tip. After that,
the student must use the quarter notes to come back to the frog. The contact point
should be low for both the quarter notes (“the more notes in the bow, the lower
contact point”) and the staccato notes. However, it is likely that the quarter notes
will be even lower than the staccato for a good sound. The student must
understand that all of the “rules” are dependent on their listening to the sound and
making instantaneous decisions about what kind of contact point, weight and
speed they need to use. The faster they can adjust when they get a bad sound, the
better the sound will become.
162
Ibid.
163
Ibid.
143
This variation introduces the detaché stroke, which is perhaps our most basic and
important separate bow stroke. The student should first play this with no accents,
making sure that there is a clear and clean detaché produced in the middle of the
bow with the lower arm. This is sometimes called a “scrub stroke.” The student
should be made aware of not “pumping” the stroke. Afterwards, add the accents,
first with bow speed and then with first finger articulation. These two ways of
accenting the notes will produce slightly different types of sound. Some students
may not hear the difference at first, but that is something for them to work on to
develop awareness.
This variation combines bow distribution with the detaché stroke. The student
should be aware that the detaché at the frog is produced by the upper arm whereas
the detaché at the tip is with the lower arm. The contact point will be slightly
higher for the detaché and lower for the quarter notes, because the detaché stroke
uses a faster bow speed and the long bow has more notes in the bow.
164
Ibid.
144
In this variation, the cellist is dealing with three different strokes: detaché,
staccato and full bow. The contact point will change, as the quarter note requires a
faster bow speed plus a higher contact point than the staccato. The detaché will be
in between in length and contact point. Note that there is an editorial error in this
variation: the eighth notes on the third beat are missing the dots. Dr. Jesselson
finds it is interesting to see if the student notices this discrepancy. The student
must pay attention to the consistency of the sound in this variation, getting the
same sound at the frog and tip and not getting louder on the quarter note. By this
time, the student should not need to be reminded to use left-right motion, to have
the bow parallel to the bridge and to use vibrato.
The challenge here is playing the sixteenth notes detaché and emphasizing the
staccato on the eighth note. It is important not to accent the staccato note.
165
Ibid.
166
Ibid.
145
The player should use a lower contact point for the two slurred notes and a higher
contact point for the faster notes, paying attention to the contact point through the
whole variation. The student should use the full bow with the same sound at the
frog and tip.
This variation should be played in the middle of the bow, with the whole
variation using the detaché bow stroke.
Variations #18-21:
Figure 4.19 Feuillard No. 32 - Variations #18-21169
167
Ibid.
168
Ibid.
169
Ibid.
146
These variations are all dealing with dotted rhythms and they are building on
the concepts discussed earlier with variation #8. In variation #18, the cellist
should explore how to relax after playing the first dotted-eighth note (See Chapter
2, “Relaxation and Releasing Tension” on page 16.) The other concept that should
be introduced in variation #18 and similar variations is “double-dotting”, in which
the eighth note is given a second dot and the 16th note turns into a 32nd note. Dr.
Jesselson usually demonstrates how to do this and then asks the students to listen
to pieces by Lully, Rameau or Couperin so that they hear how this double-dotting
is used in the French Baroque. The student can execute this stroke in two ways:
either lifting the bow after the dotted-eighth notes and bringing the arm back in
the air, or by releasing the sound on the dotted-eighth note but keeping the bow on
the string and then using a fast bow stroke to come back to the frog. In playing
this stroke the first way, the cellist must be careful to make sure that the bow is on
the string before playing the sixteenth note. This stroke is usually played close to
the frog and the upper arm is active. The cellist should use a relatively short
amount of bow for the longer notes so that they can get back to the frog. Tempos
will vary on these:
Variation #18, eighth note = 108.
Variation #19, quarter note = 63.
Variation #20, eighth note = 94.
Variation #21, eighth note = 100. This variation is the most
complicated, in that the cellist must play with the same sound on a down-bow
using the whole bow and then at the tip and then with an up-bow using the whole
147
bow and then at the frog. Bow distribution, left-right motion and overall
coordination are the major issues.
Variations #22-24:
Variations #22-24 all involve the up-bow staccato stroke, which is also sometimes
called “hooked staccato” or “slurred staccato.” When Dr. Jesselson teaches these
three variations, he usually says something like “these variations involve a
specialty stroke. It is really not very important. But it is VERY important”171 and
he gets the attention of the student. He asks the student to figure out why it is not
important (it is a virtuosic stroke, that is not important at this point in the student’s
development). But then he asks the student to figure out why it is VERY
important (it deals with dividing the bow into four parts, each of which is further
divided. Also, it requires that the cellist be able to control the bow and produce
the same staccato sound in all different parts of the bow). He also talks about the
Hora Staccato by Grigoraș Dinicu and asks the students to listen to the Heifetz
recording on Youtube. The tempo for all three of these variations should be the
same, around quarter note = 60+, so that the student feels the pulse relationship.
Variations #25-26:
170
Ibid.
171
Dr. Robert Jesselson, interview by author, Columbia, SC, September, 2014.
148
These two variations both deal with the sautillé stroke. Sautillé is a fast,
uncontrolled spiccato. By the time the student has reached this point in the
bowing exercises, he/she will have been playing scales using the Jesselson scale
system (described in Chapter 4, page 155) which includes playing scales with off-
the-string strokes (duplets, triplets, 16th notes, sextuplets and octuplets at 60 =
pulse). So, they will already have been playing sautillé without even knowing it.
Therefore, for some students, variations #25 and #26 are relatively easy to play.
They will have discovered how the upper arm is active in this stroke and the wrist
is passive. They will have figured out where on the bow to play this stroke, how
high to let it bounce, how the little finger works for balancing and what kind of
sound to use. Other students will need more detailed work to make the sautillé
stroke work. They often need to learn how to let the bounce just “happen” rather
than working hard to make it bounce. For that Dr. Jesselson shows them the
Bubble Exercise (described above, on page 55). If they need more work on how to
produce the sautillé stroke, the “Bouncy Bow Exercise” usually solves the
problem (See page 55.) The tempo for variations #25 and #26 should start around
172
149
quarter note = 60. Dr. Jesselson asks the students to work up the sautillé to about
quarter note = 80, since that is the tempo for the second movement of the Elgar
Concerto. Most students can get close to that tempo, even if it takes a few weeks
to build up the tempo click by click on the metronome. For others, they will get it
as fast as they can and then have another opportunity to revisit the stroke several
months later when they work on the variations at the end of Feuillard No. 33.
Variation #27:
For this variation, Dr. Jesselson asks the students to play not at the frog, as
indicated, but using the entire bow. The point of this is to check whether the bow
angle is correct by using the full bow with a very fast bow speed. This is similar
to the very first variation, except that now it is all down bows. If the bow angle is
not perpendicular to the string, the bow will skate up the string. If it is correct, the
contact point will remain in place. The student should use left-right motion and
ballistics (See Chapter 2, page 23.) The tempo for this variation should be fairly
fast: quarter note = 42.
Variations #28-30:
173
Ibid.
150
These three variations all involve using both the upper arm and the wrist to make
circular motions, as well as ballistic motions to let the arm rebound. The cellist must
make sure that the eighth notes start from the string, with good articulation. Tempos
should be about quarter note = 66 for variation #28; quarter note = 100 for variation #29;
and quarter note = 100 for variation #30.
After the students complete the page of variations in Feuillard No. 32, they
continue with Feuillard Nos. 33-36. Feuillard No. 33 deals with a scalar theme which
uses positions up through fourth. This page includes thirty-three variations that cover
coordination, ease of playing, different rhythms and a variety of strokes.
The Feuillard No. 34 deals with string crossings on two strings. This page
includes forty variations that build on the bowing figures described earlier (See Chapter
3, section 3.2, under String Crossings, page 56.) A complete description of the goals for
each of these variations is found in Appendix A.
The Feuillard Daily Exercises No. 35 deals with string crossings over three
strings. This page includes fifty-nine variations. The main topic will be using the “twist”
motion to involve the large muscles of the back in order to help relieve the smaller
muscles of the arm and hand. Using the large muscles in this way can help with releasing
174
Ibid.
151
tension. The other goal is to balance on the left hand playing finger and release the other
fingers, which helps greatly with continuous vibrato.
Finally, the Feuillard Daily Exercises No. 36 deals with string crossings over four
strings. This exercise includes forty-two variations and solidifies all of the technical
information from the previous four pages of variations.
As this paper is being written, Dr. Jesselson is creating a new series of blogs on
the CelloBello website. The blog, titled “The Joy of Feuillard” goes into detail about all
of the Feuillard bowing exercises, with video examples from lessons with five of his pre-
college students as they go through the book. The website is http://cellobello.com. See
also Dr. Jesselson’s article: “Part Two: A Sequential Approach to Exercises (for Cellists
and Other String Players!).”175
4.2 A Sequential Approach to Teaching Scales and Arpeggios
Scales and arpeggios form the basis for most of Western music. Cellists need to
be familiar with multiple systems of both scales and arpeggios, as these function as the
basic operating system for playing the cello. Knowing scales and arpeggios in all keys
and with different fingering systems means cellists will sight-read better, learn pieces
more quickly, and have the ability to choose from several possible fingerings in a given
passage.
Dr. Jesselson has a clear methodology for teaching scales and arpeggios. It is a
logical process that advances from one type of scale system to another, building on
concepts and techniques as the cellist moves to the next system. This is a further example
of his Sequential Method.
175
Robert Jesselson, “Part Two: A Sequential Approach to Exercises (for Cellists and Other
String Players!),” American String Teacher 63 (May 2013): 33.
152
The following is the general plan for learning the first few systems:
1. Two octave scales and arpeggios - Feuillard No. 10 and 11 - for learning the basic
concepts of positions, intonation, shifting, over-extensions, checking intonation,
memory, off-the-string strokes, patterns and weekly performance goals. 1, 2 and 4
to-a-bow system of bowings.
2. Thumb position scales - Feuillard No. 26 and 27 - one octave scale and arpeggios
in thumb position to develop understanding of finger spacing, intonation, contact
point issues in the upper register, vibrato in thumb position. This system should
be played with two notes to a bow at a faster speed than the first system because
of the shorter string length in thumb position.
3. Three octave scales and Four octave arpeggios - Feuillard No. 20 and 21 - playing
the whole range of the cello, with major intonation issues in shifting, contact point
issues, placement of the thumb; 1, 2 and 4 to a bow system of bowings.
4. Two and three finger system - Jesselson handout - 2 octaves on 1 string; training
the upper octaves; placement of the thumb either a whole or half step behind first
finger; 2 notes to a bow; all strings; 2 octave arpeggios on one string (See
Appendices B and C.)
5. “Around and Around” system - Jesselson handout - 2 octaves on one string; for
working up speed of scales, fixing intonation during the multiple repetitions up
and down; 2, 3, 4, 5, 6, 7, 8, 9, 12, and 16 notes to a bow; two octave arpeggios on
one string (See Appendices D and E.)
6. Galamian system of bowings - 2, 3, 4, 6, 8, 12, 16, 24 notes to a bow.
153
After these basic scale systems Dr. Jesselson chooses what is most appropriate for a
particular student from the huge list of possibilities (See Appendix E “Compilation of
Scale and Arpeggio Systems”, page 224.) Some of the most important include chromatic
scales, octaves, sixths, thirds, universal systems (Feuillard No. 19), octatonic scales,
whole tone scales and the Krastev system, etc.
Below is a chart of Dr. Jesselson’s recommended sequence to scales and
arpeggios:
Figure 4.24 Sequential Approach to Scales and Arpeggios176
For intermediate level students, Dr. Jesselson begins the process of studying
scales with the two octave scale system in Feuillard (No. 10 and No. 11). He asks the
176
154
students first to play one note per bow, then two notes per bow and then four notes per
bow, using a full bow at quarter note equal to 72. He calls this system the “1, 2 and 4
notes to a bow” system. Then the students play an off-the-string stroke system with
duplets, triplets, 16th notes, sextuplets and octuplets at about 60 to the pulse. The strokes
are brushy-off-the-string for the slower rhythms, spiccato for the faster rhythms and
sautillé for the sextuplets and octuplets. Dr. Jesselson asks his students to practice the two
octave arpeggios from Feuillard No.11 at eighth note equal to 68.
177
155
Jesselson expects that the students bring their scales and arpeggios to lessons
memorized, at the rate of one key per week, paying attention to left/right motion (see
Chapter 2, under Balance page 20), intonation (see Chapter 3, section 3.3 under
Intonation, page 80) and all the left hand issues (See Chapter 3, section 3.3 page 73.)
The students are expected to write in the positions for the next week’s key so that they
are learning the positions, not the fingerings (as noted in Figure 4.25, page 155). This
helps them understand the groupings of notes, rather than just the individual fingerings. It
also helps them to see patterns in the music and in the technique.
While practicing scales and arpeggios, the cellist is working on multiple skills.
Memorizing them each week builds memory. Scales help the cellist become familiar with
the positions (see Chapter 3, section 3.3 under Positions and Geography in Neck Position,
page 75) and work with block position (See Chapter 3, section 3.3 under Double Stops
and Chords, page 116.) The off-the-string strokes should be played with vibrato in order
to give the notes more resonance and work on coordination issues between the two hands
(See Chapter 3, section 3.3 under Vibrato, page 91.) Working on scales using drones can
help students learn to hear Pablo Casals’ “expressive intonation.” According to Miranda
Wilson, “this flexible system distinguishes between diatonic and chromatic half-steps in
melody: Casals believed that although the tonic, fourth and fifth degrees of the major
scale must be played as strict perfect consonances against each other, the third degree of
the scale is “attracted” to the fourth, as is the leading tone to the tonic. In this system, the
third degree and leading tone are therefore played slightly sharp.”178 The student should
178
Miranda Wilson, Cello Practice, Cello Performance (Lanham, MD: Rowman & Littlefield
Publishing Group, Inc., 2015), 16.
156
use over-extensions (see Chapter 3, section 3.3 under Extensions, page 77) and ghost
shifts (See Chapter 3, section 3.3, page 80.)
The second system that Dr. Jesselson uses with students is the Feuillard thumb
position scales and arpeggios (Feuillard No. 26 and 27). This scale system includes the
major, harmonic minor and the melodic minor scales, to which Dr. Jesselson also adds
the natural minor. In the harmonic minor, Dr. Jesselson makes sure that his students
clearly understand the augmented second between the sixth and seventh steps. In this
system the student should check that the thumb is correctly shaped (see Chapter 3,
section 3.3 under The Thumb, page 102) with no kinks. These scales should be played
with vibrato as soon as the intonation is stabilized in order to improve the resonance of
the sound in the upper positions. Fingers should be round, although for some people the
first phalange of the first finger might be bent in if the first finger is too long. The thumb
should be on both strings.
The following example is from the Feuillard Daily Exercises No. 26:
These scales are played with two notes to a bow at about 80 to the pulse (not using the
rhythms in the Feuillard). The thumb position arpeggio system consists of the major,
minor, dominant seventh, subdominant, relative minor, diminished seventh and the
dominant seventh to the next chromatic key. The following example is the Feuillard No.
27 arpeggio system:
179
157
These arpeggios are played with two notes to the bow for the eighth notes (not triplets as
in the Feuillard) and four notes to a bow for the 16th notes, at about 80 to the eighth note
pulse.
As the cellist plays each scale in ascending chromatic order, the distances
between the fingers become smaller. Players should practice at a tempo that allows the
use of the full bow in order to work on appropriate bow speed, which is critical for a
good sound in this range of the cello. This helps reinforce the concept that the contact
point should be lower as the notes go higher up the string. In addition, students need to
use the full bow to develop an understanding of the necessary bow weight in the upper
part of the cello. Because the string length is so short in this register, the rule about using
more weight with a lower contact point does not always apply. Experimentation may be
necessary to find the appropriate amount of weight, but often one actually needs less
weight as we get closer to the bridge in this part of the cello.
The next scale and arpeggio system is the three octave scale system using the
Feuillard No. 20 with the fingerings indicated below the notes (the fingerings on top are
used for the fourth octave):
180
Ibid., 36.
158
Concurrent to this, the students should practice four octave arpeggios using Feuillard No.
21:
These are played with all the repetitions, two eighth notes per bow and four sixteenth
notes per bow. These arpeggios involve longer shifts and the relation of thumb to first
finger must be either a half step or a whole step. Going to the upper registers, the cellist
needs to lower the contact point as the string length gets shorter.
181
Ibid., 26.
182
Ibid., 29.
159
In the next scale system, the cellist works on two octave scales going up one
string with a system involving two fingers and then one involving three fingers: 1-3, 1-
2...1-2-3, or 1-2-3, 1-2-3... These scales should be played with two notes per bow for a
better tone quality. Along with that, Jesselson’s students learn the two octave arpeggios
going up one string. While shifting in the arpeggios, his students use the Romantic shifts
for the downward shifts to help connect to the next note. This helps with the intonation at
this point in a cellist’s development (See Chapter 3, section 3.3 under Shifting, page 88.)
This system should be played on all strings in all keys (See Appendix C, page 219.)
Building on the two and three finger system, Dr. Jesselson developed the so-
called “Around and Around” System. The point of this scale system is to go up and down
a two octave scale on one string, using the three finger system, playing 2, 3, 4, 5, 6, 7, 8,
9, 12 and 16 notes per bow. We continue going up and down until we play the initial
tonic with a downbow. Keeping the pulse the same, the speed of the scale increases as the
number of notes played increases. The metronome should be set to about 40 to the pulse.
One of the goals of this system is not to stop and correct intonation problems when they
happen, but rather to correct them during the next repetition. This is similar to the reality
of playing a piece and correcting intonation rather than stopping. Another goal is to play
through the entire system without stopping for endurance. This system should be played
in all keys on the A string, starting with B-flat and going up chromatically (See the
“Around and Around” System, Appendix D, page 220.)
The Ivan Galamian system in three octaves is well known and used extensively by
violinists and other string players. This system deals with speed and coordination on all
strings. It should be played with two notes per bow, then three, four, six, eight, twelve,
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sixteen and finally 24 notes per bow. The following figure shows the Galamian scale
pattern at the bottom and the rhythmic variations created by Jerri C. Lucktenburg and
adapted by Robert Jesselson. It can be played with slurs using the whole bow, with the
detaché bow stroke using the upper part of the bow and with the spiccato bow stroke
using the lower part of the bow, as noted in Figure 4.30.
Figure 4.30 Lucktenburg/Jesselson Rhythmic Variations183
183
Robert Jesselson’s handwriting.
161
Besides the two and three finger scale system on one string already described
above, there are many other possibilities for various combinations of fingerings for scales
on one string. All of these possibilities should be explored and practiced by cellists. (See
the “Scale Systems on One String” on the Appendix C.)
Other scale systems advocated by Dr. Jesselson include the study of octatonic
scales and whole tone scales.
Figure 4.31 Octatonic and Whole Tone Scales184
184
162
Dr. Jesselson created a scale system called the “Two Octave Scale System Using
Marys.” This system uses the “Mary” finger patterns which were discussed in Chapter 3,
page 84. It includes: Major scales, melodic minor scales and harmonic minor scales. For
details please see Appendices F, G and H.
A basic fingering principle for efficiency in playing scales is to play as many
notes as possible in one position. Basic cello scale systems organize the notes in groups
of threes, played by three different fingers. A one octave scale played on one string can
theoretically be played by one finger, but it would require seven shifts. It also could be
played by two fingers; however, it would require four shifts. Most people cannot play
scales with four fingers because the distances are too big, and it would cause excessive
tension and the intonation would suffer. So, it is most sensible to playing a scale using
three fingers in each position, which results in three shifts. This groups notes together in
threes, which becomes a basic principle in cello fingering, whether in scales or in more
complicated pieces from the repertory.
4. 3 A Sequential Approach to the Cello Etudes
Etudes are vital for building a student’s solid technical foundation. Etudes differ
from exercises in that etudes must be approached musically as well as technically.
Exercises, along with the ubiquitous scales and arpeggios that musicians need to
master, are the basic building blocks of technique. Etudes then expand on the
micro-technique of the exercises. They begin to put the technical pieces together
into musical shapes and should be approached both technically and musically.185
185
163
Dr. Jesselson believes that etudes must be approached in an organized, sequential
manner. They should be challenging, but within the scope of a student’s ability level.
They should reinforce technical concepts that the student is learning through the
exercises, scales and arpeggios, building on these concepts by addressing issues of
rhythm, meter, style, tone color and expression that are on the path towards real
repertoire.
Dr. Jesselson requires that the students work on two etudes per week. One etude is
new, and one is to be prepared for what he calls a “playthrough.” A “playthrough” is
treated as a performance. The students are expected to have absorbed the technical
information that is dealt with in the etude, and in the playthrough they should not stop or
talk during the performance. If there are too many technical problems that have not been
solved, then they will be asked to continue working on the etude for the following lesson.
Sometimes Dr. Jesselson will ask the student to send a video performance of the etude
during the week. In that case, he expects an even higher level of accuracy in the
performance than might be expected in a live session in his studio. He is interested in
seeing what the student thinks is acceptable or desirable. The students will often record
the etudes multiple times in preparation, thus helping them focus their practicing and
raising their own level of playing.
In “sketching” the etude for the first week, Dr. Jesselson asks the students to write
in the tempos, bowings, positions or fingerings, translations of any words, and dynamics.
For the tempos, he asks them to put a box at the top of the page indicating the “goal”
tempo. At the left side of the page the student should write the tempo at which they
actually can play it. The idea is that for the following week they should have reached the
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goal tempo for the playthrough performance. If the above items are not written in the
music Dr. Jesselson will often not even hear the etude in the first week. When he listens
to the etude for the first time, he wants to see if the students have understood the
technical issues involved. He asks them to verbalize what the etude is “about” and may
spend some time discussing the main concepts, or he may just demonstrate a portion of
the etude.
As a result of this system of rotating etudes every second week, the students get
through a lot of material each semester. The USC Cello Syllabus indicates the required
number of etudes for each semester (see Appendix I). If students have worked hard
during the semester, but are unable to complete the required number, then Dr. Jesselson
will often give them an Incomplete as a grade and ask them to work on the etudes over
the break. Occasionally if the etudes are especially challenging and the students are
behind in completing the required number, then Dr. Jesselson will give them one or two
“baby” etudes at the end of the semester. These “babies” are much easier etudes, but they
are still dealing with issues that need attention. They may include string crossing, double
stop, or intonation etudes that are beneficial for the student to know for their own
teaching, or for them to use to address a particularly sticky issue for themselves.
The 15 Easy Studies by David Popper are excellent for young students because
they can all be played in first position and they have a second cello part that can be
played by the teacher. They are fun pieces using a variety of meters and rhythms that are
accessible by a young student.
Below is the sequence of etudes that Dr. Jesselson recommends:
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Figure 4.32 A Syllabus for Intermediate Cello Studies186
Book I of the 113 Etudes of Friedrich Dotzauer applies the basic technique that
students study when they are dealing with core sound, bow distribution, the Three
Principles of Tone Production, etc. These etudes pull together ideas previously developed
in scales, arpeggios and the exercises of Feuillard. Many of the later etudes in the book
are longer than one page, requiring the student to work on concentration and endurance
as well. Dr. Jesselson asks students to focus on specific points in each study. He generally
does not use the first 15 etudes, with the exception of #4 and #13, because many of them
deal with issues that are unnecessary for students at this level. He usually starts with #16
because that etude offers several challenges with sound and bow distribution that would
186
Syllabus for Intermediate Cello Studies created by Robert Jesselson, 1996.
166
have been covered in the first or second lesson. See detailed information about the
Dotzauer etudes in Appendix J.
After the Dotzauer etudes are completed, Dr. Jesselson recommends the 40
Melodic and Progressive Etudes by Sebastian Lee.187 These etudes are very different
from the technical work of the Dotzauer. They deal more with musical issues, such as
phrasing, shaping of lines and tone color. The Lee etudes work with concepts from the
Classical Era, such as 4-4-8 phrase groupings, the “Golden Section” and forms such as
Theme and Variations, scherzos, overtures, etc. These etudes should be played using the
Classical style of sound and shaping.
After the Lee, Dr. Jesselson suggests using the Duport 21 Etudes. He usually
teaches them in the following order: Nos. 11, 2, 3, 4, 5, 6, then Nos. 10, 13 and 19.
Because of their difficulty for the advanced intermediate level player, Dr. Jesselson uses
only about half of the Duport Etudes. Etude #11 is particularly important because it is the
first etude that deals with the entire length of the cello fingerboard, along with all the
associated issues such as contact point, intonation and tone production throughout the
whole cello. Dr. Jesselson uses his “Practice Flow Chart” along with this etude to help
students break down the difficult spots into sections that they can work on (See Practice
Flow Chart page 236, Appendix K.)
Following the Duport Etudes, Dr. Jesselson teaches the Popper Studies
Preparatory to the High School of Cello Playing, Op. 76. These etudes focus largely on
left hand issues. Most are quite technical, but there are two or three that focus on musical
issues of phrasing, dynamics and shapes.
187
167
The Franchomme 12 Caprices focus on playing with a French sound. These
caprices are quite beautiful and can be played as concert etudes, especially with a second
cello. Dr. Jesselson uses these pieces as an opportunity to work on gestures that may
appear in cadenzas or improvisatory styles of playing.
The Popper High School of Cello Playing, Op. 73 include some of the most
difficult etudes for the cello. The title is misleading, as the term in German “Hohe
Schule” means in essence the “expert” level of etudes. These 40 etudes are essential for
any advanced cellist. They mostly deal with left-hand issues, often in thumb position, but
also involving all aspects of cello technique. Popper was highly influenced by Richard
Wagner’s music and the style is late 19th century German Romantic. There are many
other etudes to keep cellists busy after Popper, including works by Servais, Piatti,
Grutzmacher and modern etudes by cellists who are dealing with contemporary and
expanded cello technique.
4.4 A Sequential Approach to the Cello Repertoire
Effective teachers need to develop a meaningful succession of pieces for their
students to work on during their educational development. This repertoire should be
appropriate for the level of the student and should balance a variety of styles, periods and
genres. Learning to play a bowed instrument requires patience and persistence, because it
is a long journey. As Dr. Jesselson has written, “just as a baby will usually crawl before
walking and walk before running, developing musicians need to be gradually introduced
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to concepts and music which they can successfully absorb and play before moving on to
more complicated materials.”188
Dr. Jesselson believes strongly that the repertoire chosen should be easier than the
technical level a student has reached. For instance, if a cellist has not mastered and
understand all the string crossings in the Feuillard, then this student would become
frustrated if assigned to learn the Prelude to the Bach Third Suite.
Another one of Dr. Jesselson’s core principles is that when a student starts a
piece, he should be able to finish playing the entire piece, not just one or two movements.
Learning just part of a piece is not really learning the piece. Often the fact that a student
does not finish learning a complete piece is a sign that they are “bored” with the piece
and just want to move on. The teacher is responsible for setting standards that prevent
this. This is part of the “self-discipline” that students need to learn: when they start a
project, they need to finish it. For example, before students learn to play the popular first
movement of the Haydn C-major concerto, they need to have the technique to be able to
play the third movement. Although the first movement is relatively easy to play, many
teachers let their students play this piece before they are truly ready. They should also
have an understanding of Classical style and phrasing and the appropriate kind of sound.
There are many other pieces that would be more appropriate if the student is not ready. If
the music is too difficult, then students will be totally focused on the technique and
cannot think of the musical issues of phrasing, sound, or style.
188
Robert Jesselson, “Part One: Overview (for Cellists and Other String Players!),” American
String Teacher 63, no. 2 (May 2013): 32.
169
There are several lists of cello repertoires available that indicate the different
levels of difficulty. For example, the ASTA syllabus gives appropriate guidance to the
sequence of cello pieces. The cellist John Michel189 has compiled four lists as a guidance
for cello students: Unaccompanied Cello Solos with 38 works, Cello Sonatas with 87
works, Concertos and Solos with Orchestra with 67 works, and Show Pieces & Shorter
Compositions with 167 works. In the ASTA list of concertos it is interesting to note that
the Haydn C-major concerto is listed after the Popper Hungarian Rhapsody, Saint-Saëns
Concerto and Boccherini Concertos - all of which should be played before approaching
the Haydn. The list includes about 35 other concertos that could be played before
attempting the difficulties of the Haydn.
Bach seems to have written his Cello Suites in a sequential way; as the suites
progress, they get longer and more difficult as well. When assigning the Bach Suites, the
cello teacher should essentially teach them in order, although there may be a time lapse
between the third and fourth suites since the fourth is much more difficult. The last three
Bach Suites are significantly harder than the first three suites.
Dr. Jesselson has created a flowchart that indicates a succession of materials for
the intermediate student (See Appendix K.) He also gives an indication of sample pieces
for the different semesters of study at USC. These pieces are essentially the minimal
expectations for students at the university and are not intended to be inclusive (See
Appendix I.)
189
John Michel, “ASTA String Syllabus,” Internet Cello Society, 1995, accessed September 13,
2018, http://www.cello.org/Libraries/references/syllabus.html.
170
Sometimes in specific situations a teacher will want to choose a challenge piece,
even if the student has not encountered all the technique involved. A good example is the
Saint-Saëns Cello Concerto in A minor. This piece has numerous challenges (such as
double stops, fast sautillé strokes and artificial harmonics) that a student has probably not
encountered yet. For example, the student will probably not have played artificial
harmonics before encountering them in the third movement. However, this might be a
reachable goal for an advanced intermediate level student.
Another basic principle for teachers is to choose pieces from a variety of style
periods. Students must be exposed to the differences in playing pieces from the Baroque,
Classical, Romantic and Modern periods. Dr. Jesselson often starts new students with a
Baroque piece, such as those of Vivaldi or Marcello. Many of the basic technical
concepts that he works on with them in scales, arpeggios and bowings are directly
applicable to this literature. In this way the concepts that they are learning can be applied
immediately to repertoire that is not too difficult. After that he usually picks a contrasting
piece from the Romantic period that works with a big, sustained sound, such as the Bruch
Kol Nidre or the Faure Elegie.
Dr. Jesselson believes students should memorize a lot of music while they are
young, including etudes, scales and arpeggios and repertoire. He believes that teachers
should not allow their students to perform Bach or concertos using music. If they do it
once they will want to do it again. It is important to start training the brain when people
are young. Learning the tricks of memorization and getting comfortable playing for
people from memory is best started at a young age. In the music field, memorization is a
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powerful tool which students must use (See discussion on Memorization in Chapter 5,
page 181.)
Dr. Jesselson does not generally give his own music for students to copy. He
believes that the learning experience is enhanced when the students make a first attempt
at their own bowings and fingerings. He calls this “sketching” an etude or piece. He then
works with them to come up with different or better solutions. He believes it is more
important to go through the process of students experimenting before he explains the
advantage or disadvantage of particular bowings or fingering. Dr. Jesselson recommends
that his students try several different fingerings, bowings and phrasings while they are
discovering what they are trying to say in a particular piece.
The knowledgeable teacher must be familiar with a large amount of repertoire in
order to pick the right pieces for the students to play. They also should be able to
demonstrate adequately in lessons. If the cello teacher cannot play the passages, the
student will probably not respect him/her as a cellist and consequently the student's
development will be slower.
Concertos, sonatas and pieces with piano accompaniment should be performed
with piano in recitals. This often takes considerable planning on the part of the teacher, as
well as the student. But the teacher should not lower standards for the sake of
convenience. If the repertoire is at the right level for a student and if they have enough
time to prepare, recitals should not be “scary” for the students. Proper preparation for
recitals should include asking the student to video-tape themselves, play for other people,
and play in master classes. Dr. Jesselson insists that they go through the routine of
bowing in dress rehearsals in preparation for recitals. He has found that even if they are
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somewhat experienced performers, they will often forget to bow if they do not practice it
on stage in rehearsal.
Great teachers challenge their students. They will often put them out of their
comfort zone. No one likes to move beyond their comfort zone, but that is often when the
magic happens. It is where we can grow, learn, and develop in a way that expands our
horizons beyond what we thought was possible.”190 If the teacher believes this, his
students can grow weekly and consistently.
Dr. Jesselson likes to quote Aristotle (or more accurately Will Durant) who wrote
that “Excellence is a habit.” The idea is that performing at a high level is not a one-time
experience, but the result of an expectation and a personal standard of excellence on a
regular basis, starting with small details and building to entire pieces and an entire
program. Donald Sheffield adds, “excellence has its roots in the manner in which tasks
are accomplished, above and beyond the outcome or end result. High Performance, or the
proper (maximum) use of resources (ability), becomes an important component in
determining the efficacy of the task.”191
190
Andy Molinsky, Reach: A New Strategy to Help You Step Outside Your Comfort Zone, Rise to
the Challenge, and Build Confidence (New York, NY: Penguim Random House LLC, 2017), 2.
191
Donald Sheffield, Practice Makes Perfect - Not! Understanding High Performance:
Excellence Is a Habit (Pittsburgh, PA: Dorrance Publishing Co., Inc., 2009), 1.
173
CHAPTER 5
CELLO PEDAGOGY
During his more than forty-five years of teaching, Robert Jesselson has developed a
comprehensive philosophy of cello pedagogy. In this chapter the author will focus on
some of the underlying themes of his teaching methods. These include his use of the
theory of brain lateralization, the “left brain/right brain” metaphor, his focus on structured
practicing, and his emphasis on memorization and “mentalization.”
5.1 The Beginning, Intermediate and Advanced Cello Student
Dr. Jesselson works largely with intermediate and advanced level students. Much of
his pedagogical ideas are geared towards these levels, rather than beginning students.
According to the philosopher Alfred North Whitehead, “the rhythms of education

are in three stages: romance, precision and generalization.” Studies of successful
performers have shown that many of them have been taught by a succession of
teachers who embody these three stages. The beginning teacher nurtures the
romance of the instrument and the joy of music; the second teacher is the technician
who helps to build technique and instill discipline; and the third teacher is the artist-
teacher who is able to inspire the student to artistic heights and may be more of a
coach.
This country has wonderful teachers in the first category, including in public school
and Suzuki programs, who help to nurture young musicians. These teachers spread
the joy of playing a string instrument and provide the basic technical information
that these young musicians need. We also have fantastic artist-teachers who fit into
the third category. These are teachers at major conservatories, as well as performers
in orchestras, chamber groups and orchestras who serve as inspirational teachers
and coaches. However, I feel that we are lacking teachers who serve in the second
category mentioned above. These are the teachers who can delve deeply into the
details of playing an instrument, helping to build the craft of playing an instrument,
while instilling self-discipline and technical competence on a high level. These are
the teachers who guide a student through a healthy diet of scales, arpeggios, etudes
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and appropriate repertoire. Their role includes building good work habits,
demanding high standards, expecting consistency and providing a thorough
understanding of left-hand and right-hand techniques.192
The intermediate student can be defined as a cellist who can play in the neck
positions, who already has some years of experience playing the cello and one who is
beginning to learn thumb position. This type of student should be taught in a methodical
way. The cello teacher should explore all the technical aspects of playing with students of
this level, emphasizing self-discipline, consistency, and accuracy. The teacher should
cover the technical issues that were discussed in Chapter 3, explaining right hand
technique including basic tone production, bow distribution, bow strokes, string-crossings
and bow changes. There are also important issues related to the left hand to be addressed,
including scales and arpeggios, speed, intonation, shifting, thumb position, double stops,
articulation and vibrato. Furthermore, the intermediate cellist must learn cello
“geography,” coordination, strength, concentration and relaxation. All of these skills must
be integrated with the musical aspects of playing, such as the character of the piece, use
of rhythm, shaping phrases, tone color, performance practice issues, style, making
appropriate choices and having a musical voice or “something to say.” Additionally, there
are issues related to the organizational side of playing which the cello teacher must cover,
including how to practice, how the brain “works,” memorization, preparing for
performance, how to put together a recital program, working with an accompanist and
stage deportment. General musicianship skills such as theory, history, solfege/ear
192
Blog 2: The Sequential Method,” September 24, 2018, accessed September 25, 2018,
https://feuillard.blog/2018/08/20/blog-2-the-sequential-method/.
175
training, piano and form analysis must also be taught in order to a improve young
musician’s level.
The following chart (which was presented in Chapter 4 as part of the topic on
etudes) is intended as a general guideline for the intermediate cello teacher, showing the
relationship between the technique, etudes and repertoire:
Figure 5.1 A Syllabus for Intermediate Cello Studies193
5.2 On Practicing
One of the most important topics for teachers to cover with intermediate level
cellists is “how to practice.” Teachers should address this issue with students on a
193
Robert Jesselson’s Syllabus for Intermediate Cello Studies.
176
continual basis, with new ideas to improve the efficiency and effectiveness of their
practicing. Since students are with the teacher for only an hour a week but they are with
themselves for 20-30 hours a week of practicing, they need to know that they are using
their time well.
Dr. Jesselson uses a variety of techniques to help students improve their practicing.
Here are a few ways to approach practicing:
● Using practice charts - Dr. Jesselson often asks his students to keep a practice chart
in order to observe the way they are practicing. He has several different types of
practice charts, but one of the most basic and effective charts is what he calls the
“What and When” chart, in which the students write down in list form what they
practiced and when they practiced. Another practice chart that he uses divides the
practice time into 5 or 10 minute slots. The students write what they hope to
accomplish in a short period of time and at the end of that time they indicate
whether they accomplished the task.
● “Practically Perfect Practicing”194 is an article that Dr. Jesselson wrote and gives to
his students. It is also the basis of a seminar session that he often gives in master
classes or Pre-College class. This article goes into detail about effective practice
techniques.
● In lessons Dr. Jesselson often talks about specific techniques for improving
practice. These include:
● Using video or audio recordings to become more aware of what
students are doing.
194
Robert Jesselson, “Practically Perfect Practicing!,” Glaesel String Notes (2000): 2.
177
● Using metronome and tuner to check on tempos and intonation.
● Demonstrating in the lesson how to work on hard spots, which is the
key to improving the difficult parts of an etude or piece.
● Understanding the difference between “workout” sessions and
“playthrough” sessions in practicing. In the “workout” sessions the
student practices the details of a passage or spot. In the “playthrough”
sessions the students are practicing for performance, which includes a
performance of the scale or etude in a lesson.
● Making sure that they are using their practice time in the best way -
dividing the practicing so that they cover all the assignments from the
lesson: scales, arpeggios, exercises, etudes and pieces - plus possible
sight-reading, chamber music, orchestra music, etc.
● Using the so-called “Jesselson Doll.” Very often students are more
focused and seem to have the ability to solve problems more quickly
and effectively in a lesson when Dr. Jesselson is present. If so, he
sometimes will give them the “Jesselson Doll” which is a puppet that
looks somewhat like Dr. Jesselson (with round glasses!) and asks them
to position the doll to stare at them when they practice. The idea is for
them to imagine that Dr. Jesselson is present and that they have to
focus and problem-solve as if he were there.
● Using the “How to Practice Flow Chart.” Dr. Jesselson created “The
How-to-Practice Flow Chart” to help his students improve their
practicing techniques. This chart is a step-by-step process, based on a
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computer flow-chart. In this chart, the student does not go to the next
step until the previous step is accomplished. The most important part
of the chart is the section on the right side, which deals with working
on difficult spots in an etude or piece. The centerpiece of the chart is
the “Bag of Tricks” box, which means playing a short passage using
various bowings and rhythms. The idea is to put the attention on the
right hand to check. By taking attention off of the left hand, the cellist
can determine if the left hand is secure and the intonation is accurate.
This chart is very helpful because it separates the problems, thus the
student can focus on particular problems one at a time. It can be used
with etudes or with pieces and can be used by all musicians, not just
cellists (see Appendix K.)
5.3 Left Brain/Right Brain
According to Joseph Hellige, the brain’s “left hemisphere controls symbolic
processing and rational thinking whereas the right hemisphere is more artistic, intuitive
and creative.”195 In general, musicians tend to be more right-brained, so they need to
work to use their left brains more efficiently and effectively. Although recent
neuroscience research has cast some doubt on the popular conception of the left
brain/right brain dichotomy, Dr. Jesselson uses it as a metaphor for different ways of
learning, teaching and performing. He describes a critical episode in his understanding of
this dichotomy. When he was living in Bozeman, Montana, he was driving during a
195
Joseph B. Hellige, Hemispheric Asymmetry: What’s Right and What’s Left (Cambridge, MA:
Harvard University Press, 1993), 1.
179
snowstorm on a road that was high above a gorge. A truck was in front of him and a car
behind him. The truck slowed down very quickly and Dr. Jesselson slowed down as well,
but he could see in the rear-view mirror that the car behind him was not slowing down
enough. As the car approached closer and was about to hit him, everything seemed to
slow down in his brain and when the car hit him from the rear, he was able to react
slowly in a way that prevented him from going over the edge of the gorge. In retrospect,
that incident clarified for Dr. Jesselson that his conscious left-brain cut out at the moment
of crisis and the right brain took over in slow motion. That is a similar feeling to being
onstage for a performance and feeling like the entire recital was over in “no time.” It is
good for things to slow down in a performance and yet feel like there was no sense of
regular time. One of the characteristics of the left brain is that it perceives time in regular
seconds, minutes and hours. The right brain has a feeling of timelessness.
Another important characteristic of the left brain is that it can only learn one new
piece of information at a time. So, when working on a new etude or piece, cellists should
be careful about learning a complicated new fingering and bowing at the same time. They
should first learn one and then the other, building one concept at a time and then adding
another.
The left brain deals with the analytical part of our brain. In an article about
practicing, Dr. Jesselson asks:
Are you using your left-brain to think about what you are doing and to learn a
new task, or are you just relying on your creative right-brain? Remember that the
left-brain can only handle one new piece of information at a time. Are you giving
yourself time to absorb that one piece of new information before going on to the
next, or are you overloading yourself and getting frustrated? Are you moving
sequentially through the new tasks as you learn a passage of music? Are you
analyzing the technical difficulties in a passage and breaking them down into bite-
sized chunks that you are able to solve? Just as a successful military strategy, a
180
useful musical strategy is to work on small sections of a difficult passage by
tearing them apart before putting them back together. Are you questioning your
own solutions to the problems – your fingerings, bowings, phrasings, intonation,
etc.? Are you thinking, or just playing?196
The right brain is the artistic part of the brain. Dr. Jesselson asks rhetorically:
Are you using your right-brain to solve musical problems? Are you thinking
metaphorically and using images to elicit a variety of tonal colors? Do you have a
story, philosophy or other extra-musical concept for your piece that will help you
connect it to something larger? Are you thinking of color, pulse, motion,
architecture, energy and/or expressivity in your playing? Are you practicing
mechanically – if so, you will probably play mechanically. Superachievers can
switch from the left-brain to the right-brain as needed. This is called “integrative”
brain usage, in which the intuitive and imaginative right-brain can work together
with the analytical left-brain to maximize the outcome.197
5.4 Memorization
The human brain is like a muscle that needs to be exercised and strengthened. It
should be trained slowly, building up endurance and strength in a healthy way. With
constant work, its capabilities and possibilities will be considerably enhanced. Dr.
Jesselson asserts that, “our brains are wired in slightly different ways and some students
will have no problem with memorizing music. However, others will need help in figuring
out how best to memorize and how to use memorization to their advantage in
performance.”198
Some people are blessed with an amazing ability to memorize a variety of
different things, including what they see, music they hear, words, or numbers. As Dr.
Jesselson suggests, “the point is that we can train our brains to improve our abilities from
196
Robert Jesselson, “Practically Perfect Practicing!,” Glaesel String Notes (2000): 2.
197
Ibid.
198
Robert Jesselson, “Tips for Memorizing Music, Part One.” American String Teachers 59,
(2009): 94.
181
whatever starting point we have. One thing is clear: developing a good memory is
possible for everyone.”199 In some cases this seems to be a natural talent, however it
really involves training and persistence. Dr. Jesselson talks about the memorization
system in American schools:
Things may be changing now, but students in the recent past were rarely expected
to memorize poetry, famous quotations, or paragraphs from novels. On the other
hand my father, who grew up in Germany in the 1920’s, had memorized so much
literature as a child, that 40 years later he could still quote huge passages of
Goethe’s Faust or entire poems by Heine at the dinner table. This was not just a
nice party trick – it was a wonderful training of his mind that added dimension to
his abilities for critical and analytical thinking, provided depth and color to his
opinions and helped keep his brain active throughout his life.200
Dr. Jesselson never memorized any music until he entered the conservatory in
Freiburg, where his teacher regularly expected him to memorize etudes and repertoire. In
the beginning, he found it difficult, but eventually he discovered techniques which
enabled him to bring in memorized etudes weekly, along with the traditional cello
repertory.
According to John R. Anderson, “no special abilities are necessary for the
development of memory skill. Practice, in conjunction with an appropriate mnemonic
system and retrieval structure, is all that is necessary for the development of memory skill
and there is apparently no limit to improvements in memory skill with practice.”201
Memorization has no boundaries, it just depends on how you exercise your brain. The
famous chess player Bobby Fischer studied a book containing 353 chess games.
199
Robert Jesselson, “Tips for Memorizing Music, Part One,” American String Teachers 59,
(2009): 94.
200
Ibid.
201
John R. Anderson, Cognitive Skills and Their Acquisition (Hillsdale, NJ: Psychology Press,
2013), 186.
182
According to Benjamin Hale, “you could give Bobby any number between 1 and 353 and
he could tell you all the moves to that game, the analysis of the game given in the book
and Fischer’s own improved analysis.”202 In part, technology may have hurt our ability to
memorize. Lex Hixon says:
Before cell phones, we memorized the phone numbers and addresses of family
and friends. Before the internet, we remembered what book or magazine we had
read something in. Today, we are more likely to skim-read whatever we are
interested in and expect that if we need that information later, we can Google it
with a few search words. Though we have nearly infinite access to all kinds of
information on the web, turning it into knowledge requires effort. Information
becomes knowledge when we ‘know’ it, which means that we have it at our
disposal via memory.203
However, teachers make the choice whether memorization is important in their
pedagogical system. It clearly is a very important part of Dr. Jesselson’s teaching
strategies.
Here are some tips from Robert Jesselson:
● Students must memorize new music daily; it can be a phrase or a page, but the
brain needs to exercise every day.
● Students should start the memorization habit with simple structures like arpeggios
and scales, rather than with big pieces.
● Students should play something by memory in every lesson. The cello teacher can
use the memorization assignment as a way to check about the level of practicing
that is happening during the week. It is impossible to “fake” memorization.
202
Benjamin Hale, Philosophy Looks at Chess (Chicago, IL: Open Court, 2012), 216.
203
Lex Hixon, Offering a Garland of Universal Religions (Honokaa, HI: Sarada Ramakrishna
Vivekananda Associations, 2016), 22.
183
● One memorization assignment can be a short theme that will be repeated with
variations, as for example, the Feuillard No. 32. Students will get into the habit of
starting to memorize more exercises and eventually etudes.
● The student must consciously memorize every detail, using a “left brain”
approach. The teacher should do not just let the memorization “seep in” by the
student having played a piece for a long time, as this type of memorization does
not usually work well under pressure.
● All the details in the score must be memorized in accurately. This should be done
note by note and phrase by phrase, including fingerings and bowings, along with
the composer's expressive indications. Sometimes the teacher can “test” the
student to see if he or she is aware of a particular accent or articulation, or if the
student knows the tempo marking in the score. The students should not memorize
their pieces until all the fingerings and bowings have been set. It can be time-
consuming and frustrating to re-memorize a piece if changes are made in these
areas during the learning process.
● Some students think they cannot play from memory. To convince them that they
can memorize easily, the cello teacher might ask students to play a few notes from
their current piece, using the music, then tell them that they can use the music one
more time before playing the passage by memory. When the teacher takes the
music away, the student may or may not get it right away. The teacher can give
them another chance to just look at the music (mental practice), then have them to
play it with the music one more time. Finally, the teacher takes the music away
184
and lets them try it again by memory. These steps may need to be repeated once
more, but the student should be able to play the passage by memory.
● Children who start memorizing music aurally while very young will often have
developed great abilities to memorize music this way. They can listen to
something and copy it easily.
According to Dr. Jesselson, “One of the recent discoveries about memory is called
‘chunk theory.’ This involves grouping information together in order to retain more
information. Research has shown that the average person can hold about five to seven
bits of information in their short-term memory.”204 Chunk theory teaches us that learning
information by groupings is fundamental to memorization. Dr. Jesselson believes that
superior memorization in great players does not just happen. It is acquired through many
years of practicing, also known as “expert working memory.” Milton Dehn explains that,
“Extended working memory seems to depend mainly on grouping items into chunks and
then associating the chunks with familiar patterns, such as schemas, already stored in
long-term memory. Encoding information into long-term memory needs to happen
rapidly. Encoding also requires a large body of relevant and chunks for the particular type
of information involved, which is why experts appear to have a greater working
memory.”205
Using the “chunk theory” can be very helpful for performers at all levels. The
brain works more efficiently when it associates something new with some old retained
204
Robert Jesselson, “Tips for Memorizing Music, Part One,” American String Teachers 59, no. 4
(2009): 94.
205
Milton J. Dehn, Working Memory and Academic Learning: Assessment and Intervention,
(Hoboken, NJ: John Wiley & Sons, 2011), 34.
185
information. For instance, if students are learning and memorizing the first page of the
Haydn Cello Concerto in C Major, they can connect many C major scale patterns with
scales systems that they have done in the past. This system is better than memorizing note
by note without any previous connection. Dr. Jesselson writes:
that is one of the main reasons we emphasize that our students should study, learn
and memorize scales and arpeggios in all keys and in various systems. They are
the “building blocks” of music. We must know a variety of scale and arpeggio
systems, so we can quickly pick the best one for a particular passage of music.
This will help with sight-reading, the ability to learn new music easier, playing
faster and memorization of music. Instead of “reinventing the wheel” for every
new piece, we can build on the foundations that we have already studied and
learned. The more easily we can recognize patterns that are deeply embedded in
our memory, the easier we can learn new music.206
Dr. Jesselson recommends using “our left brain to learn fingerings and bowings,
then after that we can use our right brain to put all together and make music. Our right
brain can do many things at one time.”207 Chris Lewis writes about our brain: “The left
hemisphere specializes in picking out the sounds that form words and working out the
syntax of the phrase, for example, but it does not have a monopoly on language
processing. The right hemisphere is more sensitive to the emotional features of language,
tuning in to the slow rhythms of speech that carry intonation and stress.”208
When students come in to a lesson with part of a piece memorized Dr. Jesselson
usually asks them to point on the music exactly which section was memorized and up to
which place. If the student says “I have the whole piece, kind of” that is likely not solid
memorization. If they cannot show exactly what was memorized, it is likely that the
206
(2009): 95.
207
Ibid.
208
Chris Lewis, Too Fast to Think: How to Reclaim Your Creativity in a Hyper-connected Work
Culture (New York, NY: Kogan Page Publishers, 2016), 87.
186
memorization is not rock-solid. He would rather hear a smaller section that is well
memorized, rather than a longer part that is shaky.
According to Dr. Jesselson, memory techniques can be approached in different
ways. There are several different types of memories that can be accessed in learning
music. These include: kinesthetic, aural, visual, rote, and analytical memory. With
kinesthetic memory, a cellist can imagine the music by relating it to the physical motions,
thinking about the string-crossings, the left-hand position he is using, identifying the
shifts. Kinesthetic memory is also known as “muscle memory” or physical memory.
Aural memory is used when the cellist tries to sing the piece, or plays it on another
instrument, such as the piano. The visual memory is also known as photographic
memory. Dr. Jesselson takes the idea further, asking, “See if you can visualize your latest
piece of music. Can you see whether it is on the left side of the page? Can you visualize
the typeface of the title? What is the dynamic marking at the beginning? From there, look
closer at the music and see the outline of the phrase. Conductors often use photographic
memory to see the score and the instrumentation.”209 Rote memory is perhaps the most
basic kind of memory. It is less secure and often takes more time than the other
techniques. It uses constant repetition and has the issue that if the player becomes lost in
the middle, it is possible not to know where he was in the piece. According to Rebecca
Shockley, “many have also recommended reinforcing them with “analytical memory” —
analysis of harmony, form, or other features — for greater security and efficiency in
209
(2009): 95.
187
learning. Simple techniques, such as having students locate and label chords, scales, or
other patterns in a score, can improve analytical skill and help in memorizing.”210
Dr. Jesselson recommends not to “rely on just one of these memorization
techniques: the more different parts of the brain that are engaged in the memory process,
the more secure the memory. Try writing out the music to check on how well it is stored
in this particular area of the brain; I am often amused when I ask students to write out the
first phrase and find out that they do not even know what meter of their piece is, or how
the rhythm is actually notated.”211 Bonnie Blanchard says, “Write out the part you are
trying to memorize...write a story for your piece.”212
Memorizing music at a very slow tempo is another strategy to build a solid result.
Robert Jesselson suggests that when the students are playing by memory, the teacher
should move the music stand away from them, so they do not have the psychological
feeling of hiding behind the stand. There is a big difference when students play their
repertory by memory. According to Dr. Jesselson,
One great advantage of playing from memory is that you are forced to listen to
yourself. When we play with the music, we often look at a note on the page,
recognize that we are playing that note and then move on, satisfied. By playing
from memory, we listen to ourselves in a different way. Memorization requires a
deeper understanding of the ‘meaning’ of a particular note and how it relates to
the surrounding notes in a phrase. Memorization takes constant work and review;
I take a cue from Casals and play an entire Bach suite every day, in part for the
mental and physical exercise involved and in part for solidifying my memory. Do
not be surprised if something new that you memorized yesterday has slipped; you
210
Rebecca Payne Shockley, Mapping Music: For Faster Learning and Secure Memory
(Middleton, WI: A-R Editions Inc., 2001), 4.
211
(2009): 95.
212
Bonnie Blanchard, Making Music and Having a Blast!: A Guide for All Music Students
(Bloomington, IN: Indiana University Press, 2009), 117.
188
will find that if you review it today, it will take less time than when you first
started memorizing it yesterday.213
Memorization requires patience and discipline. Robert Jesselson says, “The
learning curve in memorization ebbs and flows, but there is clearly an improvement from
day to day if you are consistently working at it.”214 According to Rebecca Shockley, “As
music teachers, we must find ways to help more students acquire effective learning skills,
including skill at sight-reading, playing by ear and memorizing.”215 Dealing with the
same challenges that one’s students face is the best way to find the solutions for the
teacher and the students simultaneously. Jesselson asserts, “You will learn a lot about
how your brain works by putting yourself through this daily routine and in the process
you will learn a lot about how to teach this to your students.”216
5.5 Mentalization
Mentalization is Dr. Jesselson’s term for the mental process of memorizing and
visualizing music, as well as imagining the physical gestures involved without actually
playing. Renee Timmers writes that:
The imagery tends to be multi-modal and dependent on individual preferences.

Some performers’ mental image is reflective of their physical movements
developed during repeated practice, or an image of the score; some may focus on
their inner hearing, “picturing” the sound ahead of producing it while others prefer
213
(2009): 95.
214
Ibid.
215
Rebecca Payne Shockley, Mapping Music: For Faster Learning and Secure Memory
(Middleton, WI: A-R Editions Inc., 2001), 1.
216
Robert Jesselson, “Tips for Memorizing Music, Part One.” American String Teachers 59, no. 4
(2009): 95.
189
metaphorical or emotional images. Such extra-musical analogies can aid the
processing of the memory-intensive task of performance.217
Mentalization can help cellists to prepare and memorize their music. Dr. Jesselson
discusses this technique:
you go through the music in your mind, imagining every step of the way. Your
fingers do not actually move, and your arms do not actually bow, but you can feel
these physical motions. You go through the process in real time, or perhaps even
under tempo. If you can do this accurately, you will feel confidence in knowing the
piece deeply and securely. Feel the shape of the first phrase and what you need to
do with the bow to achieve the musical line that you are imagining. You may find
that you can only do a few measures this way, even in a piece that you “know” very
well. That’s fine - just take a look at the music and then try it again. After a few
days of this kind of work you will find that you have built up the concentration and
endurance that you need to get through larger and larger sections of the piece.218
Dr. Jesselson thinks that mentalization is a critically important process in learning a
piece so that it becomes deeply ingrained. It also saves time in practicing, because instead
of playing something with bad intonation, when one mentalizes one is not actually
playing out of tune. One has to go very slowly through a passage, making sure everything
is correct.
Dr. Jesselson tells about his first experience with this way of practicing. He had to
take a train from Freiburg to Basel every Wednesday to teach in Weil am Rhein. At first,
he was concerned about losing valuable practice time while on the train. But then he
decided to take along his music and work on his etudes and pieces mentally. Soon he
realized that he was learning much more efficiently by not playing. Just thinking through
217
Renee Timmers, The Routledge Companion to Music Cognition (New York, NY: Routledge,
2017), 283.
218
Robert Jesselson, “Part Two: Enhancing Your Music Memory by Using the Chunk Theory and
the Think Method!,” American String Teachers 60, (February 2010): 82.
190
the music seemed to produce better results. Off course one still needs to play the
instrument, but only after one has learned and absorbed the music mentally.
In another experience some years later, Jesselson was at the Aspen Music Festival
studying with Alan Harris. Mr. Harris assigned the Bach Suite No. 5 in c-minor, to be
played scordatura. And he required that Jesselson learn each movement of the Suite away
from the cello, putting in fingerings and bowings, and memorizing the piece before
playing a note. As a result of the slow conscious learning process, the Suite was deeply
ingrained and very solid. Apparently, Pablo Casals and Mstislav Rostropovich learned
music this way, playing it at the piano and studying it mentally before playing it on the
cello.
5.6 About Talent
The concept of talent in music is very misunderstood. There are clearly some
musicians with skills that are simply much greater than the average. Listening and
watching musicians like Rostropovich and Yo-Yo Ma can lead one to believe in their
superhuman abilities. Obviously, a natural gift is involved but there are so many other
factors as well. Some of these factors are genetic and some are the result of life situations.
These may include: having parents who are musicians or musically inclined; having
parents who can afford an instrument and lessons; starting music at a very young age;
having the physical properties appropriate for a given instrument; having perfect pitch;
having the right succession of the “three teacher rule” discussed earlier (page 174); going
to the right school; meeting the right people; having a sponsor; winning a competition;
having a genial personality; having the self-discipline required for this art form; having a
good balance of left and right brain thinking; having a great instrument, etc. There are
191
also many different types of “talent.” Some people are gifted with a good sense of pitch,
some with an expressive ability, some with a high intellect and some with great
communication skills. Dr. Jesselson believes that hard work is as important as many of
these factors. In his experience, having started studying the cello at a relatively late age,
he noticed that many of his “talented” colleagues from conservatory ended up not going
very far in the profession. In his case, hard work and self-discipline surmounted a special
gift and an early start.
Dr. Jesselson has also noticed that many so-called “child prodigies” later have
issues that prevent them from fulfilling their potential. Dr. Jesselson has noticed that
often these prodigies have some sort of life crisis in their late teens and their abilities
seem to wane. Perhaps it is the discovery of life outside of music, or perhaps they fall in
love. Sometimes the security of being able to depend on the accuracy of a shift that they
had been doing all their lives is undermined and they don’t play on as high a level as they
had when they were younger. This happened, for example, in the cases of both Janos
Starker and Yehudi Menuhin. Starker’s response was to analyze his technique and figure
out how “learn” how to play the cello again. As a result, his playing became even better
and more secure. Starker was known as the cellist who played more in tune than anyone
else of his generation or before. Menuhin never seemed to regain the level of playing that
he had achieved when he was young. According to Dr. Jesselson, “There is in fact a path
leading from the state of our own abilities to that of the greats. The path is extremely long
and demanding and only a few will follow it all the way to its end. No matter how far one
192
goes, however, the journey is always beneficial and begins by applying the elements of
the process.”219
One factor that seems to determine success, related both to an early start and self-
discipline, is the “10,000 hours” of “deliberate practice” that Malcolm Gladwell discusses
in his book “Outliers: The Story of Success”220. Zhongxiong Fang mentions it also,
writing that “in any field that has been studied so far, it takes at least ten years for an
individual to progress from being a beginner to becoming a proficient individual who has
independent innovative abilities. Similarly, it will take another ten years for him or her to
achieve a second significant innovation.”221 Dr. Jesselson likes to quote Albert Einstein,
who said: “It’s not that I’m so smart, it’s just that I stay with problems longer.” Needless
to say, Albert Einstein was brilliant, but in his own estimation it was his determination to
stick with the issues that led to his discoveries and his success. As Dr. Jesselson says,
“the price of top-level achievement is extraordinarily high. Maybe it’s inevitable that not
many people will choose to pay it. But the evidence shows also that by understanding
how a few become great, all can become better.”222
5.7 Cello Teacher’s Self-Examination Checklist
In some ways Dr. Jesselson’s philosophy of cello pedagogy can be summarized by the
series of questions that he developed called the Cello Teacher’s Self-Examination
219
Robert Jesselson, interview by author, Columbia, SC, January, 2018.
220
Malcolm Gladwell, Outliers: The Story of Success (Penguin UK, 2008).
221
Fang Zhongxiong. Beijing Model of Gifted Education and Talent Development (Lange Geer,
Netherlands: River Publishers, 2016), 17.
222
Robert Jesselson, interview by author, Columbia, SC, January, 2018.
193
Checklist. Published in Strings magazine in 2009, this list of 86 questions is based on a
pedagogical protocol by former University of South Carolina professors Georgia Cowart
and Jerry Curry called “Teaching Mania.” Jesselson’s list of questions is intended for
studio teachers. The idea is for applied instrumental teachers to think about various
aspects of their teaching, asking themselves questions about their teaching styles and
effectiveness. The Checklist is divided into three broad categories: Preparation before a
lesson, what happens During the Lesson, and aspects of one’s Teaching Personality. The
Checklist addresses issues such as planning for lessons, establishing goals for a student,
thinking about technical problems and solutions, finding a rhythm in a lesson, dealing
with different learning styles, creating a healthy learning atmosphere in the lessons,
thinking about the chemistry between teacher and student and many more.
CELLO TEACHER’S SELF-EXAMINATION CHECKLIST

I. PLANNING THE LESSON
1. Do you have a clear idea of your short-term, middle-term and long-
term goals for the student?
2. Do you think about these goals and revise them from week to week?
3. Do you spend some time thinking about your lessons and the
students, visualizing yourself in action, imagining your students’
possible responses, etc.?
4. Do you have a clear idea of your priorities from lesson to lesson?
5. Do you make these priorities clear to your students?
6. Are you aware of the balance of aural, visual and sensory-motor
approaches in planning your lesson?
7. Do you experiment with new approaches to old problems (even if
they don’t always work)?
8. Do you have three or four solutions for the same problem in case the
first one does not help the student.
9. Are you planning ahead with several exercises or tricks to help solve
a musical problem?
10. Are you coming up with new exercises to solve problems? New
metaphors for addressing technical and musical issues?
11. Are you always aware of the technical concepts you are working
with?
194
12. Are you thinking carefully about how to analyze the technical
problems you are encountering in your student’s playing?
13. Do you practice the music that your students are playing so that you
can demonstrate adequately to them?
14. Have you planned clear, step-by-step directions as to how the
students should work and practice at home?
15. Do you plan for the lesson ahead of time, or are you winging it?
II. IN THE LESSON

16. Do you have a “plan” for a lesson, which might include:
Scale / arpeggios
Exercises
etudes
Pieces
17. Are you aware of the “rhythm” of the lesson; are you pacing the
lesson correctly?
18. Are you requiring that the student memorize something every week?
19. Are you always working on a variety of things with your students?
Left hand technique and right hand technique?
20. Are you letting the student play rather than dominating the lesson
with talk?
21. Are you having the student checking notes for intonation?
22. Are you asking the student questions, using the “Socratic method”?
23. Do you check the student’s knowledge of key signatures, musical
terms, periods of history, etc?
24. Are you only having the student do “playthroughs” of pieces, or are
you working on the details?
25. Are you only working on the details, or are you letting the student do
“playthroughs” of pieces?
26. Are you praising your student when he/she has done something well,
even if it is only a little thing?
27. Are you aware of the different learning styles that people have?
28. Are you aware of accessing the student’s Left and Right brains for
technical and musical issues?
29. Are you giving the student too many Left Brain things to think of at
one time – overloading him/her?
30. Are you just teaching through the Right Brain and not giving the
student the technical information, he/she needs?
31. Does the student know his assignment?
32. Has the student practiced? Is he/she prepared?
33. Is the student getting through an adequate amount of material?
34. Is the student progressing from week to week?
35. Is the student keeping a notebook?
36. Are the lessons being held on a regular basis?
37. Are you making up or rescheduling lessons that you had to miss?
195
38. Is there someone who can take your student if you cannot make up
the lesson, so he/she does not lose a week’s worth of material?
39. Are you communicating with the parents if there is a problem?
40. Does the student feel good about him/herself?
41. Are you clear in your language and your directions?
42. Do you have long-term goals for your students, such as recitals,
master classes, performances?
43. Does your student have a clear idea of what is expected from
him/her?
44. Do your lessons begin and end on time?
45. How musically are your students playing?
46. Do you cover a lot of material at a comfortable level, or do you get
“bogged down” and spend too much time on something?
47. Does your student have enough material to practice – or maybe even
too much to do well?
48. If you spent lots of time in the lesson on one detail, will the student
“spin his wheels” during the week with material that came into the
lesson already prepared but not heard?
49. Do you demonstrate occasionally so the student hears a model of
sound, tempo, etc?
50. Do you sometimes throw out all of the above ideas and do something
spontaneous?
51. Do you spend time in the lesson discussing practicing, sometimes
even “pretending” that they are practicing seeing how they work on a
problem?
52. In other words, do you make them independent of you rather than
dependent on you as their teacher?
53. Are you prepared to “pass them on” to the next teacher when you
feel that you have nothing more to teach them at this level?
III. YOUR TEACHING PERSONALITY

54. Are you creative in your teaching?
55. Do the students feel free to talk to you about their problems?
56. As a teacher, are you yourself? Is your teaching a comfortable
reflection of your personality?
57. Does the student have a sense of having accomplished something
after the lesson?
58. Do you have a sense of having accomplished something after the
lesson?
59. Do you feel totally involved in your teaching?
60. Are you enthusiastic? Do you think you have a real spark in every
lesson?
61. Are you flexible as a person and as a teacher?
62. Do you communicate to the students accurately what you mean to
say?
196
63. Do you admit when you are in the wrong, or do you project a false
image of being perfect?
64. Would you teach the same way if you were being observed by
someone?
65. Is your relationship with your student a good one?
66. Are you reaching your students?
67. If not, what can you do to get through to them?
68. Are you able to deal with occasional frustration?
69. Have you thought about the student as a person, not just a cello-
machine that you see once a week?
70. Are you varying your style and approach to conform with the
student, or do you treat your pupils as if they come to you in one
mold?
71. Are you “getting inside the student’s head”, trying to understand
what makes him/her “tick”?
72. Are you being too harsh?
73. Are you being too lenient?
74. Is there a rich sense of enjoyment in the lesson?
75. Do you use humor in the lesson?
76. Is the atmosphere of the lesson a positive one, or is it consistently
negative?
77. How musical are you in your teaching?
78. Do you speak with a pleasing voice quality?
79. Does your teaching have energy? Are you dynamic?
80. Do you leave your problems at home when you step into a lesson?
81. Do your students trust you implicitly? Have you established the kind
of relationship in which they feel safe about following you into the
unknown?
82. Are you working to improve your communication skills?
83. Do you keep a balance between holding their hand and pushing them
off the diving board?
84. Do you really care about your teaching, or are you just doing it for
the money?
85. Are you learning from your students?
86. Do you realize that if you are not changing for the better as a person,
you are not changing for the better as a teacher?
Great teachers are constantly learning. During his years teaching cello at the
University of South Carolina, Dr. Jesselson feels that he is constantly learning from his
colleagues and from his students as well.
197
CHAPTER 6
JESSELSON’S OTHER CONTRIBUTIONS
Dr. Jesselson has been an advocate of music education throughout his career. He
has profoundly impacted his students with his cello teaching. His investment in string
education in South Carolina has had a significant impact on the lives of local school
children. His presence in South Carolina has created the opportunity for numerous local
cello students to have access to high level musical training. His work in creating the USC
String Project and the National String Project Consortium (NSPC) has impacted the
training of string teachers nationally. As President of ASTA (American String Teachers
Association) he helped move the association from a “mom and pop” organization to a
professional organization with a national stand-alone conference. On the local level he
has influenced the direction of the USC School of Music by helping to create several new
string positions, by writing the grant that started the Parker Quartet residency, by
supporting the Suzuki Program, by creating the Pre-College Cello Class, and by starting
the SC Cello Choir. Most recently he set the stage for future progress in Columbia with
the creation of MAC (Midlands Arts Conservatory).
Robert Jesselson started playing the cello seriously at age 21, which is considered
late for a professional musician. Ultimately when he was in college, his decision to try to
become a musician was in large part the result of serendipity and the influence of several
important mentors who helped change the direction of his life. Dr. Jesselson wrote:
198
Why did I become a musician? It’s largely because of the influence of great
teachers, mentors, role models and friends. I have been fortunate to have had
several important mentors in my life. People like other inspirational cello
teachers: Paul Tortelier, Paul Katz and Bernard Greenhouse and mentors like
Marcia Goldsmith, Pam Gearhart. With the kind of one-on-one studio teaching
that I do, I get to know my students very well. I often get to see them growing and
changing almost before my eyes. Musicians often tend to be very right-brained
type people. In some cases, my job is almost literally having to help them build a
left brain: helping them organize themselves, planning ahead, figuring out
strategies for practicing and being productive. It is very rewarding to have former
students come back and tell me how much they were influenced by our work
together.223
My first contact with Dr. Jesselson was in 2008 on the occasion of my audition at
the University of South Carolina. After the audition Dr. Jesselson asked me to play some
Bach for him and I was immediately impressed by Jesselson’s inherent willingness to
help improve my cello playing. I began at the University of South Carolina in 2014,
pursuing a doctorate in cello performance. During this time, I experienced Dr. Jesselson’s
teaching through my own lessons, observation of his teaching of other students and
occasionally working with some of Dr. Jesselson’s students when he was away.
Dr. Jesselson’s teaching impact can be noted in the comments from his colleagues
and former students. Dr. Theodore Buchholz224 explained the impact of Dr. Jesselson’s
teaching:
Perhaps the brilliance of Robert Jesselson’s teaching is the combination of a

master musician’s knowledge of musicality and technique, a psychologist’s
understanding of the mind, a master pedagogue’s effective teaching strategies and
a life coach’s ability to motivate students to fully dedicate themselves to not just
music, but to becoming the best version of themselves. I began lessons with Dr.
Jesselson when I was fifteen years old. I began playing cello four years before
that in public school music programs and while I did have a decent ear, there was
a tremendous amount of work to do if I was to pursue music in college. Through
several years of systematic work, Dr. Jesselson built up my technique, musicality
223
224
Dr. Theodore Buchholz teaches cello at the University of Arizona.
199
and performance confidence using concepts, resources and repertoire. He believed
in his method and had a celebrated track record of using it with a generation of
students before me. We worked systematically through technical resources
including Feuillard’s Daily Exercises for Violoncello, Dotzauer’s etudes, Lee’s
Melodic etudes and Duport’s etudes and Popper’s etudes. The materials were, of
course, well-chosen and sequenced, but it was Dr. Jesselson’s ability to extract
and highlight essential concepts that enabled getting the absolute most out of the
experience. Dr. Jesselson set high and clear expectation. The criticism he offered
was specific, helpful and framed in an enabling manner. When I was commended
for something, the praise was often pointed towards the effort put into a task. Dr.
Jesselson set up many ways for me to succeed and nurtured an atmosphere where
going above and beyond. Regardless of whether or not I was going to become a
professional musician, the experience set me on path towards understanding who I
am, how I learn and how to motivate myself to giving everything I had to offer.
While I have been successful as a professional musician and educator, I am
confident that had I become anything else, from a salesman to a medical doctor, it
would still be Jesselson who guided me the most in any profession. Dr. Jesselson
achieved success teaching all student levels, from beginner to post-professional,
because of his mastery of music, pedagogy, psychology and motivation. Now that
I’ve entered my professional career on faculty at a large university, Robert
Jesselson still serves as my mentor and professional model.”225
Each semester, members of the University of South Carolina cello studio have the
opportunity to listen to and play for prestigious guest cellists who visit the campus. The
university students also have the opportunity to hear performances by the Grammy
Award-winning Parker Quartet, the Quartet-in-Residence at USC and to play in their
masterclasses. Dr. Jesselson was instrumental in creating this residency at the university.
Mr. Kee Kim226 discusses Jesselson’s work:
I have had the great fortune of working with Dr. Jesselson, both as a musical
collaborator, as well as observing him teach his large cello studio. I am always
struck by how methodical Dr. Jesselson is in his pedagogical approach. He seems
to have a clear structure and objective for his teaching, complimented by his
choice of repertoire, that brings up particular aspects of cello playing, whether it
be your physical approach to the cello; hand positions; vibrato; different bow
strokes etc. Having a visiting residency that brings us to USC twice a year, I can
really see how much progress the students have made on their technique and
musical maturity each time we visit. In my opinion, perhaps Dr. Jesselson’s
225
Theodore Buchholz, private email message to Kalim Campos (19 July 2017).
226
Kee Kim is a founding member of the Grammy Award winning Parker Quartet.
200
greatest strength is having the ability to make the act of learning how to play the
cello approachable, by breaking down its various components piece by piece,
improving on those techniques and then assembling it all together, so that even a
student with no musical talent at all can learn how to play the cello in a
convincing and communicative way. By working on the same repertoire, I believe
the students get a real sense of community, by learning from their peers as well as
passing on that knowledge to the next class of students.”227
Dr. Jesselson has the determination to deal with difficulties and challenges, the
self-discipline to address problems and issues and a desire for high standards in cello
playing. Robert Jesselson came to USC in 1981. Mary Lee Taylor Kinosian,
concertmaster of the South Carolina Philharmonic Orchestra and a native of Columbia,
South Carolina remembers:
Dr. Jesselson joined the faculty when I was a senior at the University of South
Carolina. Right away, his dedication was obvious and though it took some
adjustments for us to raise our standards, we had a great experience in this first
year of his tenure at USC.228
Until beginning at USC, Dr. Jesselson had thought of himself primarily as a
professional cellist. As he had been trained in the traditional one-on-one European
method, he never thought that he would be involved in the training of string teachers for
the public schools. In fact, at that time he did not realize that strings could be taught in
large heterogeneous groups – violins, violas, cellos and basses together, or that by
teaching in this way teachers could train young string teachers who would teach in the
public schools and build string and orchestra programs which would affect the lives of
thousands and thousands of young people in Columbia and nationwide.
When Jesselson came to USC in 1981, there were no string programs in the
Columbia public schools. In 1982 Dr. Jesselson took over as director of the USC String
227
Kee Kim, private email message to Kalim Campos (7 September 2017).
228
Mary Lee Taylor Kinosian, private email message to Kalim Campos (18 September 2018).
201
Project, a program that provided about 25 students with private lessons and small classes.
Gradually, he built this into a program which served about 300 children and 30 teachers,
with homogeneous and heterogeneous classes, orchestras, chamber music and private
lessons. All of the teachers were undergraduate students. The idea was that by having
undergraduate students lead these classes under the supervision of a master teacher, they
would gain valuable teaching experience and be better prepared to teach in the public
schools. Dr. Jesselson felt that more people could be attracted to the teaching profession
if they were given hands-on, supervised, practical training during their college years. The
student teachers actively participated in all the activities of a professional teacher:
recruiting students, planning lessons, conducting orchestras, leading beginning classes,
teaching private lessons and organizing recitals. By the time they graduated, these
students had four or five years of practical training and experience and would be ready to
be independent teachers.
As a result of the success of the USC String Project, all five local school districts in
Columbia had created their own string and orchestra programs by 1987. The program was
able to interest students in string playing and also to produce teachers to teach in them.
The teachers were well prepared to succeed in a public school setting.
Dr. Jesselson was the director of the String Project for 15 years. The USC String
Project became nationally recognized as a model for how to successfully train string
teachers. This South Carolina program has trained hundreds of teachers, and thousands of
young children have had the opportunity to study a string instrument. Dr. Jesselson feels
like he has many string “grandchildren” (and by now “great-grandchildren”) all over the
country. Jesselson says that is very proud of the USC String Project – probably prouder
202
of that then anything he has done in his career. Dr. Jesselson says, “if ones compare the
current USC with the USC from 1981, it is really amazing to see how this university and
this community have grown and changed.”229 As a result of the growth of the program,
USC was able to create a new tenure-track position for a string music education
professor.
Dr. Jesselson became the national president-elect of ASTA (American String
Teachers Association) in 1998. He brought with him the idea of using the USC String
Project as a model for addressing the acute national shortage of string teachers by
creating similar programs at universities all over the United States. Dr. Jesselson wrote a
FIPSE grant from the US Department of Education. This $514,302 grant, awarded to
ASTA, funded the first 10 sites. The grant created the National String Project Consortium
(NSPC). According to the current NSPC Director, Elizabeth Reed230,
Dr. Jesselson’s countless hours of contacting funders for donations and writing
grants warranted the start of providing String Projects across the United States. The
initial grants Dr. Jesselson wrote, between 2000-2001, funded 16 sites and
contributed over a million dollars in the course of five years to establish the
emerging String Project sites. Since that time, funding of approximately four
million dollars has helped to build a total of 44 National String Project sites across
the country.231
Dr. Tayloe Harding232, Dean of the School of Music at the University of South
Carolina says that Dr. Jesselson’s:
dynamic and visionary leadership with the creation of the National String Project
Consortium when he served as president of the American String Teachers’
Association in the 1990s and his tireless and deeply committed efforts to
229
230
Elizabeth Reed is the current Director of the NSPC (National String Project Consortium).
231
Elizabeth Reed, private email message to Kalim Campos (16 September 2018).
232
Dr. Tayloe Harding is the Dean of the School of Music at the University of South Carolina.
203
permanently establish the National String Project Consortium as a private enterprise
in the 2000s, one would be hard-pressed to identify anyone who has meant more to
the education of string teachers in America than Bob. We are all truly advantaged
and enriched by his work and his example.233
Dr. Jesselson’s work in the String Project was recognized in an article in the New
York Times in December of 2003.
In addition to his String Project legacy, Dr. Jesselson also created the South
Carolina Cello Choir in 1981. This annual event includes cello masterclasses, rehearsals
and performances of a mass cello choir. It culminates in a concert with more than 200
cellos playing together on the stage. Dr. Richard Thomas,234 a former Jesselson student
says:
I believe I was the first DMA graduate in cello at USC – that was in 1999. There
have been many more since then. From my time at USC I always participated in
the South Carolina Cello Choir, which Dr. Jesselson started nearly 40 years ago. It
has always been an important cello event in the region and now I have the pleasure
to give Master Classes regularly at the SC Cello Choir. The South Carolina Cello
Choir has been successful and popular for decades. It is interesting to see the same
kind of event created in the last few years as annual events in South Carolina and
nearby states with workshops and choirs for Violin/Viola and for Bass.235
Joanne Mosquera,236 a public school teacher who graduated from USC, talks about her
experience at the South Carolina Cello Choir, saying:
I cannot say that I have had any other experiences in my life like the SC Cello
Choir. It is such an amazing feeling to be on stage with 200 cellists. This event
alone demonstrates Dr. Jesselson’s passion for the cello and how he shares his love
for the instrument to all those cellists on the stage.237
233
Dr. Tayloe Harding, private email message to Kalim Campos (16 September 2018).
234
Dr. Richard Thomas is Associate Professor of Music at Presbyterian College.
235
Dr. Richard Thomas, private email message to Kalim Campos (16 September 2018).
236
Joanne Mosquera conducts the Dutch Fork Middle School Capriccio Orchestra, Concert
Orchestra and Honors Orchestra.
204
In 1981 the University of South Carolina music department was known primarily as
a band school. When Dr. Jesselson first joined the faculty, he had one cello student - and
she left after one semester and went into the army. But the cello studio grew to include
about 20 students regularly. Each year Dr. Jesselson felt he could look back and see some
positive change at USC and in Columbia including the building of the Koger Center, a
new School of Music building and eventually a dedicated String Project building. He
oversaw the growth of the cello studio, the creation of the USC Graduate Quartets, the
hiring of an orchestra conductor and a full-time faculty bass teacher. Eventually there was
need for second violin faculty member in violin pedagogy and the creation of a Suzuki
Program. Dr. Jesselson238 is grateful to have had the opportunity to help shape the
program at USC through all these changes. He has been involved in the hiring of all of
the current string faculty.
Currently Dr. Jesselson writes two blogs for the CelloBello website: one called
“100 Warmups” and a second named “The Joy of Feuillard – A Sequential Approach to
Teaching Bow Technique.” In this way, Dr. Jesselson passes his knowledge to the cellists
around the world.
Throughout this intensive teaching career, Dr. Jesselson remained an outstanding
performing musician in his own right, as a much sought-after recitalist, chamber musician
and soloist and thus his teaching was informed by his own performing life. His
meaningful achievement as the father of the String Project “movement,” has brought the
powerful academic, cultural and psychological benefits of classical music instrument
237
Joanne Mosquera, private email message to Kalim Campos (23 September 2018).
238
205
teaching to American public schools. Due primarily to his vision, leadership and tireless
dedication. Dr. Jesselson is making another impact in South Carolina now as a board
member for the Midlands Arts Conservatory in Columbia, which was inaugurated in
August 2018. This new institution offers a free public school education to middle and
high school students interested in the arts, ranging from music, theater, dance to the
visual arts.
As a musician, teacher, innovator and humanitarian, Robert Jesselson’s
contribution to music education in the United States has been significant, varied and far-
reaching. His effect on the field would be substantial if it merely comprised his long and
influential tenure as the cello professor at the University of South Carolina. A masterful
teacher, with a clear pedagogical system, he is able to present his ideas with both insight
and clarity. He is an astute and inspiring mentor and his training has produced scores of
accomplished cellists who perform and teach at the highest levels.
206
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APPENDIX A: FEUILLARD DAILY EXERCISES No. 34
The following are the main points of Feuillard No. 34, which deals with string crossings,
including the four Bowing Figures (Arc, Circle, Figure 8 and Wave) as described in
Chapter 3.
Variation #1 - Figure 8, full bow, left/right motion, upper arm, bow parallel to bridge,
tempo quarter note=60.
Variation #2 - Arc figure, full bow, left/right motion, upper arm, bow parallel to the
bridge, tempo quarter note=60.
Variation #3 - Arc figure, full bow, left/right motion, upper arm, bow parallel to the
Variation #4 - Reverse Arc figure, full bow, left/right motion, upper arm, bow parallel to
the bridge, tempo quarter note=60.
Variation #5 - Figure 8, full bow, left/right motion, upper arm, bow parallel to the bridge,
Variation #6 - Figure 8, full bow in the first and second beats + upper part of the bow in
the third and fourth beats + full bow in the next two beats + lower part of the bow in the
following two beats, bow parallel to the bridge, tempo quarter note=60.
213
Variation #7 - Figure 8, full bow in the first and second beats + upper part of the bow in
the third and fourth beats + full bow in the next two beats + lower part of the bow in the
following two beats, bow parallel to the bridge, make sure string crossing with upper part
of arm; tempo quarter note=60.
Variation #8 - Wave figure, full bow, upper arm, left/right motion, bow parallel to the
Variation #9 - Circle figure created by string crossing, middle of the bow, lower arm for
detaché, bow parallel to the bridge, tempo quarter note=60.
214
Variation #10 - Circle figure, first two beats in the frog+full bow in the third and second
beats+next two beats on the tip+full bow in the following two beats, left/right motion,
bow parallel to the bridge, bow out to next string; tempo quarter note=60.
Variation #11 - Circle figure, middle of the bow detaché, lower arm, bow parallel to the
Variation #12 - Arc figure, left/right motion, first two beats in the frog+full bow in the
third and second beats+next two beats on the tip+full bow in the following two beats,
bow parallel to the bridge, tempo quarter note=60.
Variation #13 - Arc figure, middle of the bow, lower arm, bow parallel to the bridge,
Variation #14 - Arc figures, first two beats in the frog+full bow in the third and second
Variation #15 - Arc figures, middle of the bow, lower arm, bow parallel to the bridge,
Variation #16 - Arc figure, first two beats in the frog+full bow in the third and second
Variation #17 - Circle figure, upper part of the bow, upper arm string crossing, lower arm
Variation #18 - Circle figure, middle of the bow, upper arm string crossing, lower arm
Variation #19 - Wave figure, full bow, left right motion, upper arm, wrist and fingers do
string crossings; wait to do this one until student has done wrist and finger exercises; bow
parallel to the bridge, tempo quarter note=60.
215
Variation #20 - Circle figure, middle of the bow, upper arm, bow parallel to the bridge,
Variation #22 - Circle figure, middle of the bow, upper arm string crossing; bow parallel
to the bridge, tempo quarter note=60.
Variation #23 - Circle figures, middle of the bow, upper arm, bow parallel to the bridge,
Variation #24 - Arc figure, middle of the bow, upper arm, bow parallel to the bridge,
Variation #25 - Wave figure, full bow, left right motion, upper arm, wrist and fingers do
the string crossings; wait until student has completed wrist and finger exercises (box
exercises, etc.), bow parallel to the bridge, tempo quarter note=60.
Variation #30 - Circle figure, the first three beats on the frog+full bow in the following
beat+three beats on the tip+full bow in the following beat, left/right motion, bow parallel
216
Variation #31 - Arc figure, the first three beats on the frog+full bow in the following
Variation #33 - Circle figure, the first three beats on the frog+full bow in the following
Variation #34 – Arc figure, middle of the bow, bow parallel to the bridge, tempo quarter
note=60, upper arm.
Variation #35 – Figure 8, middle of the bow, bow parallel to the bridge, tempo quarter
note=60, upper arm.
Variation #36 - Figure 8, middle of the bow, bow parallel to the bridge, tempo quarter
note=60, upper arm.
Variation #37 – Arc figure, middle of the bow, bow parallel to the bridge, tempo quarter
note=60, upper arm; up-bow staccato (first finger important, low contact point).
Variation #39 - Wave figure, full bow, left/right motion, wrist and fingers, bow parallel to
Variation #40 - Wave figure, full bow, left/right motion, wrist and fingers, bow parallel to
217
APPENDIX B: TWO AND THREE FINGER SCALE SYSTEMS
218
APPENDIX C: SCALE SYSTEMS ON ONE STRING
219
APPENDIX D: THE AROUND & AROUND SYSTEM
220
221
APPENDIX E: COMPILATION OF SCALE AND ARPEGGIO SYSTEMS
Compilation of Scale and Arpeggio Systems

Robert Jesselson
I. Basic Scales
1) 1 octave scales / 1 octave arpeggios (selectively by ability level)

2) 2 octave scales / 2 octave arpeggios - (Feuillard 10 and 11)
II. Bowings
1) Basic Four - Bow Distribution Bowings - with I-1 and I-2

2) Off-the-string Bowings - with I-3 and I-4
3) Lucktenburg-Jesselson Bowings - for 3 octave scales - (Galamian
system)
4) Jensen compilation of bowings
5) additional bowings
III. Alternate Systems
1) 2 octaves on 1 string with alternate fingerings - (Feuillard 17)

2) on one string with all 1-2 or 1-3 - (RJ-1)
1-2-3, 1-2-3, 1-2
1-2-3, 1-2, 1-2-3
1-2, 1-2-3, 1-2-3
3) on one string with all first finger; second finger; third finger - (RJ-2)
4) on one string 1-2 in all keys
5) on one string 1-2-3 in all keys
5a) on one string 1-2-3 in all keys – “around and around” – 2, 3, 4, 5, 6, 7, 8,
9, 12, 16
6) 2 octaves with same fingerings for all major and minor keys -
(Feuillard 19)
(Feuillard page 34)
222
(Feuillard page 34)
9) Scales in modern music - (Feuillard 23)

10) Thumb position scales - (Feuillard 26)
11) Scales alternating 1/2 and whole steps on one string
12) Scale pattern 1-2-3, up major and down minor (Freiburg pattern)
13) Modal scales (Forbes)
14) Whole step shift (Gerschefski)
15) Three finger system with no open strings (Krastev)
16) Scales in harmonics
17) 3 octaves “speed fingering” ( top octave up 12, 12, 123,
down 3321, 321) (provenance ?)
18) Geber system (end second octave on 2, then three finger system, with
3-3 at top in fourth octave) (David Geber)
19) Whole tone scales on one string (12,12,123) (RJ)
20) Richard Aaron System
IV. Scales in 6ths, 3rds, Octaves
1) Major Scales in 6ths - different fingerings up and down (Epperson

system)
2) Major, Minor Scales in 6ths - (Krastev)
3) Major, Minor Scales in 3rds - (Krastev)
3) Major, Minor Scales in 8vas - (Krastev)
4) Major, Minor Scales in 6ths - (m6=2-1, M6=3-1) (system with numbers
written out- provenance ?)
5) Major, Minor Scales in 3rds -(system with numbers written out-
provenance ?)
6) Broken Thirds (Feuillard 12)
V) Arpeggios
1) 2 Octaves - (Minor, Major, Dominant 7, Subdominant, Relative Minor,

Diminished 7, Dominant 7 to new key) (Feuillard 11)
2) 4 Octaves - (Major, Minor, Diminished 7, Dominant 7 to new key)
(Feuillard 21)
3) 2 Octaves on 1 string (same sequence as 4 Octaves) (Feuillard 18)
4) Arpeggio exercises (Feuillard 22)
5) Major 3rd arpeggios (Feuillard 23)
6) Thumb position arpeggios (same sequence as 2 Octaves) (Feuillard 27)
7) Forbes sequence (Major, Minor, Major 7, Dominant 7, Minor 7, half
Diminished, Diminished 7)
8) Epperson - (page 1, 33)
223
9) Gerschefski sequence- 4 octaves - (Major, Minor, Major 1st inversion,
Minor 1st inversion, Major 2nd inversion, Minor 2nd inversion, Augmented,
Diminished 7, Dominant 7)
10) Cossman arpeggio study - (continuous in all keys: Major,
Subdominant, Minor Subdominant, Minor, Dominant 7 to new key (2
fingerings).
224
APPENDIX F: TWO OCTAVE MAJOR SCALE SYSTEM USING MARYS
225
226
APPENDIX G: TWO OCTAVE HARMONIC MINOR SCALE SYSTEM USING
MARYS
227
APPENDIX H: TWO OCTAVE MELODIC SCALE SYSTEM USING MARYS
228
APPENDIX I: USC CELLO SYLLABUS
229
230
231
APPENDIX J: TABLE OF THE PEDAGOGICAL INTENT OF THE ETUDES IN
THE DOTZAUER 113 ETUDES, BOOK 1
Etude 1: In this etude, Dotzauer explores bow distribution along with a variety of
dynamics nuances.
Etude 2: This etude focuses on the staccato bow stroke as used in the middle and
upper half of bow, although Dr. Jesselson suggests doing it spiccato near the frog
in order to practice a light stroke with the little finger on the top.
Etude 3: In this etude, Dotzauer challenges the student with difficult slurs which
can be solved using the left/right (contrary) motion.
Etude 4: This etude helps the student differentiate bow strokes and work on bow
distribution. The rhythm is the same during the whole etude, which helps develop
endurance.
Etude 5: This etude has this indication of “marcato” but can also be used at a
faster tempo to work with the spiccato bow stroke.
Etude 6: This etude helps the student master the upper half of bow, as it is played
entirely at the tip. At the bottom of the page, Dotzauer shows another possibility
of bowing for this etude. If Dr. Jesselson uses this etude, he asks for the stroke in
the lower part of the bow and the upper part of the arm.
Etude 7: This etude helps the student work on the best contact point while using a
staccato bow stroke.
Etude 8: In this etude, the student can begin by working with one bow per
measure. When this bow distribution is achieved, it can be learned with one bow
every two measures. This etude uses first and fourth positions.
Etude 9: This etude is also played almost entirely in the upper half of the bow. It
is a good exercise to develop the understanding of how to use the lower arm. If
Dr. Jesselson uses this etude, he asks for the stroke in the lower part of the bow
using the upper part of the arm.
Etude 10: This etude stimulates the student’s understanding of using a whole bow
232
stroke in an efficient way practicing using the lower/higher contact point. Dr.
Jesselson rarely uses this etude because of the double stops and other intonation
issues which are too complicated for an intermediate student who needs to focus
on more basic issues.
Etude 11: This etude should be played in the upper half of bow, again teaching the
student to recognize the importance of using the lower arm in an effective way. If
Dr. Jesselson does use this etude, he asks for the stroke in the lower part of the
bow and the upper part of the arm.
Etude 12: Dotzauer created this etude to help cellists develop a good staccato bow
stroke. Attention should be given to the different contact points necessary. If the
student is playing on the lower strings, the contact point must be higher, whereas
on the higher strings, the contact point should be lower.
Etude 13: This Allegro should be played in the lower part of the bow. This etude
works to develop an efficient spiccato or “brushy off the string” stroke. The lines
above the notes indicate that they should be played in position, starting with IIe
position.
Etude 14: This etude deals with bow distribution. Careful planning is required to
have full control of the right hand. Once again, Dr. Jesselson feels that this etude
is dealing with issues that are not important for an intermediate student who is
working on more important issues as they start with him.
Etude 15: This etude deals with the legato bow stroke. The slurs should be played
as evenly as possible. As this etude is the longest one thus far, endurance may
also be an issue.
Etude 16: Dr. Jesselson uses this etude as the first one he teaches from this book
with an intermediate student who is starting to study with him. In that situation
the student is mostly focused on core sound, left/right motion and how to sketch
an etude. The dotted rhythm is the main feature and needs to be observed
carefully. String crossings, staccato dotted rhythm and legato dotted rhythm are
all elements of this etude.
Etude 17: This Andante sostenuto has a melancholy tune in which the student can
work on coherent phrasing. The bow distribution must be carefully planned for
good tone quality. The student should focus on the crescendos to the tip and
decrescendos to the frog, which requires use of bow speed. Also, full bow and
left/right motion.
Etude 18: Dr. Jesselson asks for this etude to be played with the spiccato bow
stroke close to the frog, with different contact points related to each string, as
discussed for etude No. 12.
233
Etude 19: This is an important and rather difficult etude for an intermediate level
student. In this Allegro, attention should be given to bow distribution and the
many dynamic markings. The problem for most students is with the accuracy of
the rhythm in the beginning, since notes are tied over the bar with either quarter
notes, dotted quarter notes, or eighth notes. The next major problem is figuring
out how to play lots of notes in a bow with crescendos to the tip and decrescendos
to the frog. Important to use left/right motion and change contact point during the
crescendos. Issues with bow speed for the dynamics.
Etude 20: This etude should be played with a detaché bow stroke in the middle of
the bow. Although it is marked piano in the beginning, it is better if the student
plays it mezzo-forte because the detaché bow stroke should be heard clearly. Since
this is a moto perpetuo type etude, finding a good tempo is important. The student
should start slowly and work up the tempo with the markings on the left side of
the page.
Etude 21: This Allegro moderato uses the same rhythmic patterns as the previous
one. In the beginning Dotzauer wrote: WB, Pt, WB, N, WB, Pt, WB, N. All these
notations refer to different parts of the bow at a slow tempo; however, for
pedagogical reasons the professor can ignore these suggestions and require it be
played entirely in the middle of the bow at a faster tempo.
Etude 22: The main goal in this etude is to develop an efficient spiccato bow
stroke. The sempre staccato marking in measure 11 can be ignored. This etude
involves many string crossings. Even though the student will likely not have
studied string crossings in depth at this point (Feuillard No. 34) they should be
told how to do the string crossings with the right part of the arm.
Etude 23: This etude focuses on bow distribution, using the rhythm pattern of
three slurred eighth notes against a single eighth note. The student should aim to
remain in the lower part of the bow and not keep moving to the tip on the eighth
note passages. The other rhythmical passages should use a lot of bow, especially
the quarter note triplets. The measures with 16 notes in a bow require very low
contact point and attention to the dynamics.
Etude 24: A good metronome marking for this etude is quarter note = 112. In this
Allegro, the student should play with a brushy off-the-string spiccato. Placing the
right little finger on the top of the bow will improve the stroke considerably.
Etude 25: This etude contains many string crossings and the sound can become
dry. It should be played at the frog to highlight the accents, with vibrato to
improve the sound.
Etude 26: This arpeggio-based etude must emphasize the dynamics. At the bottom
of the page, Dotzauer shows nine variations that can be used, changing slurs,
rhythmic patterns and bowings. Dr. Jesselson rarely uses this etude, since the
234
issues can be dealt with in other ways and the student will not have had the
Feuillard No. 34 string crossing information yet.
Etude 27: This etude can be played with a flying spiccato bow stroke. The many
string crossings should be practiced as chords, so the cellist is aware of the
sequence of intervals.
Etude 28: This Allegro has important notations in the beginning - “LH” (lower
half) and “M” (middle)—which should be followed for a good result. The sound
should be kept even, avoiding any kind of undesirable accent.
Etude 29: Dotted half note = 50 is a good metronome marking for this etude,
which is played with the brushy, off-the-string spiccato bow stroke. This etude is
also good for endurance.
Etude 30: This Allegro non troppo has the same rhythmic pattern from the
beginning until the end; the main issue is the bow distribution and a staccato
stroke with the same sound close to the frog and further out.
Etude 31: Dotted half note = 40 is a good tempo for this etude. The whole
exercise is written with the same rhythm. Playing the dynamic markings on the
bowings as marked will help the student master the right hand. Dr. Jesselson uses
this etude to discuss keys and how to figure out what key the arpeggio is in, even
if it is in an inversion. He asks the students to write in as many keys as they can
throughout. He can then check it quickly.
Etude 32: This Allegro non troppo, also marked energico, requires an energetic
mood. It is the first time in this book of etudes that tenor clef appears. The square
hand position should be used for playing the double stops. The short notes should
be played brushy-off-the-string close to the frog.
Etude 33: This etude starts with an appoggiatura, which is tricky for students to
figure out how not to play it sounding like a downbeat. The stroke is brushy-off-
the-string, with the bow going further out for the upbow slurred 16th notes.
Etude 34: This is the most challenging etude in the book. It has mordents, some
complex rhythms and slurs. Students should first practice it thinking six beats per
measure. When the rhythm is clearly understood, it can be played thinking two
beats per bar. Many of the Dotzauer etudes are in compound meter. The should
first be played slowly with the eighth note as the beat and then sped up. Once the
student reaches 120=eighth note, they can convert it to 60=dotted quarter note.
Doing the math and understanding the compound meter, is often tricky for
students. The other issue in this etude is making a cresc/decrescendo in each
measure, with the loudest part in the 6th eighth note.
235
APPENDIX K: THE “HOW TO PRACTICE” FLOW CHART
236

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University of South Carolina

The Sequential Method: An Analysis of Robert

Follow this and additional works at: https://scholarcommons.sc.edu/etd

Kalim D. Alvarez Campos

Submitted in Partial Fulfillment of the Requirements

For the Degree of Doctor of Musical Arts in

University of South Carolina

Robert Jesselson, Major Professor

Kunio Hara, Committee Member

Craig Butterfield, Committee Member

William Terwilliger, Committee Member

Cheryl L. Addy, Vice Provost and Dean of the Graduate School

This dissertation is dedicated to my father, Nelson Campos, who was my first

me and a constant source of encouragement during the challenges of my life.

during my cello studies in Brazil and in the United States.

I would also like to thank my University of South Carolina professors, Dr.

musically during my years at USC.

My thanks to Dr. Brenda Leonard for helping me innumerable times with my

English in this dissertation.

I would like to express my special gratitude to my cello professor Dr. Robert

Dr. Robert Jesselson has made significant professional contributions as a cello

discipline, addressing kinesthetic issues, and improving practice techniques. His

Sequential Method involves a systematic and logical progression of technical exercises,

meaningful manner that is appropriate to the playing level of the student.

This dissertation explores Dr. Jesselson’s approach to cello pedagogy, technique,

warm-ups and exercises. It also addresses issues such as memorization, coordination,

concentration, sight reading and musicality. Finally, Dr. Jesselson’s contributions to

music education in the United States are reviewed.

students seeking to improve their understanding of cello technique. Additionally, it

the level of cello playing in South Carolina and in the region.

LIST OF FIGURES ......................................................................................................... ix

CHAPTER 1. INTRODUCTION .................................................................................... 1

1.1 Jesselson’s Pedagogical Methodology and his Approach to Teaching Cello

1.2 Overview of Jesselson’s Approach to Teaching and Learning ......................... 3

1.3 Professional Biography of Robert Jesselson ..................................................... 6

2.1 The Importance of Warming Up ....................................................................... 9

2.2 General Warm-ups .......................................................................................... 10

2.3 Right Hand Warm-ups .................................................................................... 25

2.4 Left Hand Warm-ups ...................................................................................... 27

2.5 Melodic Improvisations .................................................................................. 32

CHAPTER 3. CELLO TECHNIQUE........................................................................... 35

3.3 Left Hand Technique ...................................................................................... 73

3.4 Other Issues ................................................................................................... 119

CHAPTER 4. A SEQUENTIAL APPROACH TO TEACHING BOW TECHNIQUE,

4.1 A Sequential Approach to Teaching Bow Technique Through the Feuillard

4.2 A Sequential Approach to Teaching Scales and Arpeggios ......................... 152

4.3 A Sequential Approach to the Cello Etudes ................................................. 163

4.4 A Sequential Approach to the Cello Repertoire ........................................... 168

CHAPTER 5. CELLO PEDAGOGY .......................................................................... 174

5.1 The Beginning, Intermediate and Advanced Cello Student.......................... 174

5.2 On Practicing ................................................................................................ 176

5.3 Left Brain/Right Brain .................................................................................. 179

5.4 Memorization ................................................................................................ 181

5.5 Mentalization ................................................................................................ 189

5.6 About Talent ................................................................................................. 191

5.7 Cello Teacher’s Self-Examination Checklist ................................................ 193

CHAPTER 6 JESSELSON’S OTHER CONTRIBUTIONS .................................... 198

BIBLIOGRAPHY ......................................................................................................... 207

APPENDIX A: FEUILLARD DAILY EXERCISES No. 34 ...................................... 213