Fundamental Position 2D Fatty position ‘The heightof the chair should be chosen according to the length of the player's legs so that when the feet rest flat on the floor the thighs are parallel to it. As to the seat, it should be flat, frameless and firm rather than soft. Placing of the Cello The spike should be as long as the comfort of the player allows. It must be placed slightly left of centre (see photo 1). In doing so the cello should rest against the leftknee facing straight ahead instead of slightly diagonally as is bound to happen if the spike is put down in the centre. Head and shoulders should be either straight or slightly inclined forwards, even if using the Tortelier spike. When playing in high positions the forward inclination should be accentuated.D4 sot portion 25 soe rete ern et The action of the 3rd finger in the curve of the frog contributes to the impulse of the up- bow. Finally, the ideal and precise command of the bow stems from the subtle performance of the little finger combined with that of the others, for its action has the greatest influence on the course of the bow, and its counter-action with the index finger is essential to obtain a substantial tone in the mp, p, mpp, pp, and ppp, as well as in the [. Place a coin on the back of the right hand when in the position shown in photo 24,to ensure that it remains level during the bow strokes.Points of Contact on the Bow Friant 6 vont LN | Prine ae erties Te cae 4 Prernt ts een Yet ted Thumb—should be bent and placed so that the flesh is in contact with the corner of the nut and the nail with the stick. The points of contact are shown in photos 5 and 6. Middle Finger—should have its tip half on the metal ring and half on the hairs (see photo7). Suaighten the first joint so that it feels not only the metal ring and hairs, but also the stick, which should lie approximately in the bend of the first joint. Index Finger—should be placed fairly vertically on the stick just above the bend of the first joint. Acthe point the stick should be rolled slightly deeper between the firstand second joint to obtain more power. Third Finger—should be straightened so that it lies against the nut and feels its whole concave form. Liule Finger—should be placed just above the circle of the nut.Faulty position Faulty position. Raised shoulder, elevated elbow, sinking wrist Elbe too low, wrist too high: Asshown in photo I the shoulder, arm and hand should form an unbroken line, The elbow should always follow the natural line of the arm. At the point, the player with a short arm will have to bring his shoulder forward and, in some cases, the torso as well. If, on the other hand, the player's arm is long, the shoulder should be drawn back, mainly when playing near the heel on the low strings, in order to avoid the elbow being in a “hair-pin” shape (see photo 3).Mistake Double mistake 2O ‘Tham conectty bent but below the sick QI itend overvamed, thumbs stiff and below the sie * 22 Marte a sues burnarbon D3 the consequence of falty than’ position Weight Distribution of the Hand and Co-ordinated Use of the Fingers In the correct position (see photo 24) the natural weight of the whole arm is fully distributed toall parts of the hand, thus enabling one to express the classics with delicacy, to sing the romantics and to grip the moderns. It permits the wansition from the utmost lightness and dexterity (A major Sonata—Boccherini, Scherzo of Elgar’s Concerto) to great power (Sonata op. 8—Kodaly). A transfer of weight from Ist and 2nd fingers to the 3rd and 4th may occur near the heel at the crucial moment of changing bow. This allows a perfect linking up of sounds, without scratching, stopping or weakening the sound. An equal spacing of the fingers should be maintained. The naturally bent thumb enables the hand to “‘cap” the bow properly and draw it towards the palm of the hand. When playing at the heel, the index finger supports the bow and prevents it from sliding towards the bridge. The ring formed by the middle finger and the thumb facilitates the rotation of the stick