If this is your first time to my website. Welcome. I play the cello. I also teach the cello. I love my job and all my students. It's not the easiest, but it is the most fulfilling job I've had. I get to be witness to truly beautiful change and growth in my students. This is a priceless seat that I'm honored to fill.
Unfortunately, this Spring I've had to say goodbye to a few students. Goodbyes are always bittersweet for me as a teacher, but I rest easy knowing that new beautiful students are on their way! Here are my current calendar openings as of today.
Seattle Cello Lesson Availability
Mondays - 1-2:30pm, 5-5:30pm
Tuesdays - 2-3pm, 3:30-4pm, 4:30-5:30, 6-6:30pm
Wednesdays - 1-2:15pm
Tacoma Cello Lesson Availability
Thursdays just opened up! I'm free as a bird from 1-7:30pm.
These openings can go really quickly, so shoot me an email if you'd be interested! Let's start the conversation!
They are the butt of most orchestra jokes and jeering. But there is a little truth to the jokes. And though I don't subscribe to most generalizations, viola jokes are hilarious. Here are my top 5 favorites...
#1
Why do people tremble with fear when someone comes into a bank carrying a violin case?
They think he's carrying a machine gun and might be about to use it.
Why do people tremble with fear when someone comes into a bank carrying a viola case?
They think he's carrying a viola and might use it.
#2
Why is viola called "bratsche" in Germany?
Because that's the sound it makes when you sit down on it.
#3
Conductor: "Start three measures before the da capo."
Principal violist: "Hold on! We don't have measure numbers."
#4
A violist and a 'cellist were standing on a sinking ship. "Help!" cried the 'cellist, "I can't swim!"
"Don't worry," said the violist, "just fake it."
#5
An American orchestra had just arrived in Europe for a two-week tour. One hour before the first concert, the conductor became very ill and was unable to conduct, and the orchestra suddenly had to find a substitute. The orchestra manager asked everyone in the orchestra whether they could step in and conduct, and the only person who was willing was the last chair violist.
The manager was very nervous about this. "We can't audition you," he said.
"No problem," replied the violist.
"There's no time to rehearse. You'll have to do the concert cold."
"I know. It'll be all right."
The violist conducted the concert and it was a smashing success. Since the conductor remained ill for the duration of the tour, the violist conducted all of the concerts, getting rave reviews and standing ovations at each one.
At the next rehearsal, the conductor had recovered, and the violist took his place at the back of the viola section. As he sat down, his stand partner asked him "Where've you been for the last two weeks?"
:-)
And just in case you think I absolutely hate violas, I don't.
Here's a TEDtalk given by Jennifer Strum. She calls the viola the "middle child of the string instruments." Through a mixture of talk and performance, she offers a compelling meditation on the viola's capacity for emotion-- and for making beautiful music... It's pretty fascinating!
During my enforced temporary break from the cello I've had lots of realizations: One of the biggest is how hugely important the bow is to music making in a multi-dimensional way. Of course it is a fine instrument in and of itself. It requires a lifetime of study and attention. But the true magic of the bow comes from truly feeling it with incredible sensitivity and care...it lives and breathes. It will do anything that your heart feels if you learn how to use it and combine that with the wonderful sense of touch and hearing that we are gifted to have. And lastly, imagination: wherever you go in your mind, whatever you dream...there is a sound that can be painted with the bow to match it. Can you find that sound? This is the amazing journey of the bow... - April 29th's facebook status by Steve Balderston, cellist and Professor of Cello at DePaul University
So true. So true. Thank you for the wonderful reminder and insight!
All the time I see students holding their emotions, worries, stress inside their body which changes their cello's sound. For example, a student may be nervous about m54 from the very beginning of a piece. This anxiety has physical consequences which directly affect how their bow makes their cello sound during the entire piece. Even general stress and anxiety from life can change how your bow/body interacts with the cello. Believe me, I know!
Love, happiness, and fulfillment can easily flow through your arm, into the bow, and out of your instrument when your body allows it. Even nervous energy, stress, anxiety, and worry - although usually unpleasant experiences at first - can have a beautiful sound if released into the cello with the right sensitive and caring touch. (Often times, these sounds end up being my favorites!)
How does one do this? My best advice (today) is to acknowledge what's going on inside and then breathe through whatever you're working on. Consciously releasing "it" into the instrument via breath can have some wonderful results!
Friday, May 18, 2012 at 1:31PM | 
