CelloChanChat ~ Music, Mind, & Body are essentially one.

Thought for the week

2011-09-12T07:15:00.000-07:00

"Stop thinking and end your problems"

Lao Tzu

In the context of playing the cello, this means to back up and "see" as much as possible when playing in a relaxed, flexible state. This will help integration of the facets of technique to happen naturally. It is a good method to include in daily practice to accompany slow work on more local issues.

Janos Starker recommends playing in a dark room for 1/2 hour after regular practice. Why? Because, as he says "most people are still practicing when they perform" One has to be able to play freely and in a holistic, aware way without over doing local analysis.

Suzanne

Fall 2011

2011-08-31T16:11:00.000-07:00

Hello cellochan,
We're ready for another year together, exploring how to find the music while sitting, and yet moving, at the cello. I encourage everyone to watch, listen carefully, and move freely when playing. Save some time at the end of your practice to "just play." In fact, Janos Starker says "Most people are still practicing when they perform." His suggestion: "Put a blind fold on if you have to, or play in a dark room for a short time every day." The larger "viewer" in our mind's eye will gradually learn how the process is a flowing one and can only truly work once we are free. See you soon.

Suzanne

A unique cello retreat camp ~ Well Being & The Arts 2011 * Click here to visit site

2011-01-18T18:46:00.000-08:00

We invite you to a new and rich experience that brings together mind, body, music, and a supportive musical community. For more information about June and July dates and more, visit: cellochanwoods.com
CelloChanWoods is a unique music camp for young cellists. Its holistic approach to cello playing combines the fun of summer music camp with a retreat-like atmosphere. Relaxation classes, master classes, individual supervised practice, and beginning meditation start off the day. Adults are welcome as day participants.

A cello student who experiences CelloChanWoods will leave with greater mental clarity and a deeper understanding of the difference between force and power in cello playing. They will gain more confidence in themselves as well as in their ability to play. This retreat teaches many things including creative practicing and understanding the musical phrase, as well as the importance of being centered at the cello.

cellochan Mission
To help students experience the joy of music-making;
To employ the cello as a tool in the work of self-esteem;
To cultivate service to others through music

"You have to be confident before you put your hands on the instrument."
~ Janos Starker

CelloChanWoods an outstanding success

2010-12-30T08:32:00.000-08:00

We here at cellochan invite you to explore our new cello retreat camp for the summer of 2011.
Designed for cellists aged 12-17 overnight and welcoming adult students during the day.

Visit us at: cellochanwoods.com

A New Michigan summer strings camp for cello! Summer Cello Camp! Click to visit the camp website.

2010-05-03T10:13:00.000-07:00

~ CelloChanWoods ~

A Unique retreat for cellists

Well Being & The Arts

A unique summer retreat for young cellists

Music, Mind and Body * Well-Being and The Arts

Howell Nature Center, Howell Michigan
July 26 - July 29 * 2010

CelloChanWoods is a new summer music camp for young cellists. Its holistic approach to cello playing combines the fun of summer music camp and a retreat-like atmosphere. Cello students ages 11 -15 learn new ways to access their abilities in an atmosphere of mutual support and creativity.

The day's events are designed to cultivate self-acceptance and a heightened awareness in the context of music making. The schedule begins with an early breakfast followed by a 30-45 minute talk given by Suzanne, setting the tone for the day. Morning activities follow in an atmosphere of silence with individual supervised practice, relaxation methods, beginning centering meditation, and a daily master class. The silent part of the day ends at noon with a leisurely lunch. In the afternoon students participate in cello ensemble and outdoor activities. During the evening: a bonfire, capture the flag, and more. Thus the day flows from inner work in the morning to chamber music playing and community by day's end.

We would like CelloChanWoods campers to leave with: improved mental clarity, good practice techniques, and a renewed excitement about music. By understanding the value of patience and self-respect as necessary ingredients in the learning process, students become more grounded in their artistic journey. The art of cello playing requires a solid belief in oneself and everyone has something of value to say. Confidence and playing the cello go together like the two wings of a bird.

"You have to be confident before you put your hands on the instrument."
~ Janos Starker

cellochan Mission

To help students experience the joy of music-making;

To employ the cello as a tool in the work of self-esteem;

To cultivate service to others through music

The word Chan comes from the Chinese word Ch'an, meaning deep insight. The three parts of the cellochan mission statement are mutually reinforcing with the sum often being greater than the parts

Suzanne Smith Director/Teacher: Phone: 734-662-2325 ~ Email: cellochan3b@gmail.com

A lesson

2010-04-05T06:43:00.000-07:00

2009-10-26T19:56:00.000-07:00

Feeling free while playing is one of our essential goals. We strive to make cello playing natural when it is, in the beginning, very unnatural. So much more can be acheived when one backs away and scans the process of playing from a place of calm, even when the music is very exciting. As Starker says, "don't get excited, create excitement." Enjoy Mark Summer and this high school student playing Julie-o by Mark Summer.

http://en.wikipedia.org/wiki/Mark_Summer

Opening the bow without strain in proper form.

2009-09-13T05:50:00.000-07:00

We indeed got off to a good start this week. One of the tips that I seemed to be giving a lot in lessons was one concerning opening the bow arm. Here it is summarized. Do this as an exercise: The upper part of the bow arm is basically at rest hanging from the right shoulder when the bow is at the frog on the string. Let's choose D string. The bow hand ( including the thumb!) is relaxed and loose. Start tapping your foot establishing a beat and part your lips slightly to ensure that you are breathing normally...always be aware of this. Start the bow above the string anticipating the motion and coming in for a landing moving in the air from left to right on your way to the string. Relax as you touch the string and continue to bow. ( breath!:) When you approach the point along the bow that is just before mid bow or even a tad earlier, raise your right elbow but do not pull upper arm to the right while doing so. Just lift the elbow as if you're pointing with it to something in front of you or waving "hi" with it. Explore what is too low and what is too high in terms of ease of the forearm continuing to pull. All the while you are pulling the bow. (Importantly, the right shoulder should not in any way prevent you from raising the upper arm as described above). In fact it is part of the upper arm and should feel free. Think of the butterfly stroke in swimming. As you continue to mid/upper half of the bow the elbow continues to open but the upper arm is still "available" to move slightly as needed. At the far UH of bow and tip, the entire arm and shoulder will do a subtle rotation to the left ( arm is high now and elbow has been opening during the second half of bow) positioning the index finger in the perfect place for a powerful and free up bow. During down and up bow your concerns should be: Balance of form, the lines of power, no angles, breathing, no resistance, good sound, mid contact point, and searching for a basically ( distilled ) circular loop. And as Starker says of the bow stroke "nothing stops!" More on the lines of power next week.

Happy practicing.

What a great way to start the fall. My favorite cello concerto!

2009-09-06T07:55:00.000-07:00

http://

Sunday, September 5, 2009

2009-09-06T05:02:00.000-07:00

Hello,

This year at cellochan things are evolving in new and exciting ways. The CelloChanWoods retreat/camp website will go live at the end of September. We have a full class of 30 cellists this coming year consisting of all ages including seven very bright and interesting adults. The high school section is coming along very well and the talent there is something to see.

This past year and summer I have been doing some work with Janos Starker. He, as most everyone knows, is a consumate teacher as well as being one of the greatest players of all time. In my view he seems to be a wonderful combination of humor, intelligence, courage, and compassion. He gives his all when teaching the many incoming cellists that consult his advice calling them "kids." I remember quaking at the thought of playing for him long ago because of his reputation for being "direct." He doesn't mince words so to speak. However, the Starker today is accessible, full of light, as sharp as ever, and still doesn't mince words!!

I will be writing every Sunday this year, unlike other years. cellochan is busy, but our blog needs attention! You'll read things about technique, student stories, my thoughts about Zen and how it might be connected to better playing. There is lots to talk about. In the future I will open up the comments but only after we've put in some regular posting under our belt.

Have a great year with your cello/s! And remember--"practice is the goal." Master Sheng Yen.

Suzanne

Janos Starker playing the Dvorak Concerto Mvt 1

2009-09-04T16:00:00.000-07:00

PRESS RELEASE * CelloChanWoods 2009 * A unique arts camp

2008-11-19T11:15:00.000-08:00

CelloChanWoods is a retreat style music camp designed to help cellists access a deeper sense of well-being, self -Acceptance, physical relaxation, and cellistic excellence. Last years pilot day camp was a great success and is returning this summer as an overnight camp that will run from July 27-July 30, 2009 at the Howell Nature Center in Michigan. CCW creates an opportunity for a special type of community by combining the traditional fun of summer camp in the afternoon and a more focused, retreat like atmosphere during the morning. The counselor to student ratio of one to five , with a total enrollment of 16 cellists means campers will receive our total attention and have the best experience possible. Campers will learn gentle centering meditation, receive daily unobtrusive Trager*/relaxation sessions, supervised practice sessions, and more. A daily master class in the late morning given b Suzanne allows students to learn from each other in a mutually supportive, low key atmosphere. Our cellist counselors will also join cellists in the cello ensemble, which will rehearse in the afternoons. And there will be ample time for fun, camaraderie, and supervised outdoor activities after lunch. These activities will include a voluntary high ropes course; hiking, swimming, and a game of capture the flag one evening! Our final day will include a concert, potluck supper, and evening swim with families invited to participate. We welcome you to be part of this unique arts experience!

* Space is limited. CCW will accept students aged 11-15 who have played at least two years. Arrival time is 8 AM, July 27 and camp ends at 8 PM, July 30. A deposit is required by March 15 to receive the discounted rate of $490. After 3/15 tuition will be $525.. Pictures and testimonials from last summer's camp can be found on this web site and blog.

We look forward to an interesting mix of talent and personalities!

A counselor's experience of CelloChanWoods 08

2008-09-07T13:54:00.000-07:00

By Caitlin, a graduate of Pioneer High School and presently an undergraduate at Mount Holyoke College in Mass.

The CelloChanWoods Experience

It is difficult to remember the precise feeling I experienced at the beginning of day 1, but I do know how nervous I was. I doubted myself, particularly my ability to instruct others in the art of making music. Would I be able to give constructive advice? What if I told them something "wrong"? What if I have trouble with rhythm? I do know, however, that I experienced none of these feelings come Day 3. I believe every aspect of the retreat helped theses feelings to dissipate, and to be replaced with confidence, patience, and focus. I found the meditation provided fitting bookends to the day. I felt rejuvenated following the morning meditation, ready for the day's work, while the afternoon meditation helped clarify so many things, without actually thinking about them. As one who obsessively- compulsively goes over and over things in her head, it was a welcome, and exciting change. This new approach to thinking helped both my playing, and my teaching. Every day it became a little easier to let frustrations go, and for lack of a better way to say it, just go with the flow. If a note was played that I didn't particularly like, I would ask myself how I could make it better, rather than punishing myself for an imperfection. In my ten years of playing the cello, never have I been able to do that.

The CellChanWoods Orchestra proved to be quite inspiring as well---there is nothing like hearing 12 beautiful cellos performing together. I thought this was the foundation of the retreat. Having that chance to pull together and share what we all learned was an important component to the retreat. I know it motivated me to work on my own part, and incorporating advise given to other players helped me to play with more ease, focus, and confidence. At the next retreat, I would love for there to be more group playing, whether in small ensembles or as a cello orchestra.

My only regret is that I did not keep a journal documenting my experience. I think it would have been helpful to all to record their feelings each day to really see how they progressed. It would be useful for jotting down what things worked,and what things didn't. As I'm writing this, I wish I had something to remind me of the little things that have since slipped my mind.

Music, Cello and Life Afterwards:

The most profound difference I see in my life following CelloChanWoods is simply patience. It allows me to be unhurried in my approach to not only practicing, but to the little things that arise each day. This feeling has ripened over time, surprising me with acceptance of myself, others, and my music. I find my focus is sharper, my ears listen a bit better, my body mid more open, an my head is held little bit higher. I have held on to this feeling by meditating a few times a week, and practicing when I feel as though "I had forever." If I had to summarize CelloChanWoods in one word, it would be 'enlightening.' I've heard many of the words spoken at the retreat before, but something about the group experience triggered the words to sink in. I am still attempting to understand what made the retreat so effective, but I know that everything and everyone contributed to a truly unique and enjoyable experience.

Sept 4 / 2008 Ann Arbor

2008-09-06T08:08:00.000-07:00

Max And The Cello Tree Forest

Once upon a time there was a cellist named Max. He was six years old and had a great mom, a neat room, an oak tree outside his bedroom window and lots of stuff. He also did cool things, like play the cello.
On the day our story begins, his mother had gotten quite tough with him about practicing. She told him that she didn’t want to see him come out of his room until he had finished his cello work. But, unfortunately, it was one of those outside days if there ever was one. All of his friends were climbing trees at the park.
Max wasn’t very pleased to have to stay in. He sat there staring angrily at his little cello, and the longer he sat, the madder he got. He just didn’t want to practice-----AT ALL! His arms felt so heavy! Oh, he loved the cello songs a lot, but when HE played, it sounded, well......“different” than his CD. And it was hard!
So he sat slouched in his chair swinging his bow, back and forth between his fingers with a sour expression on his face, until he remembered a wonderful dream he had a few nights ago. It was so real he could hardly believe it was only a dream. It was about a forest with huge trees, and amazingly, there were cellos hanging from the giant branches. They were all sizes, colors and shapes. Some were of glass, some of cloth, some of metal and wood. He wished he could go there. If only he could pick a cello growing from one of those fantastic trees, maybe the magical cello would help him practice. It would certainly “sound” special and couldn’t possibly be as hard to play as his own, he thought.
Time wore on as the clock ticked quietly and he sat alone in his room. He looked out his window at the great friendly oak tree, while NOT practicing, and suddenly an idea appeared in his mind. He sat very still. Max's mood could turn on a dime sometime “Yes siree, it has been quite a boring day!” said Max to himself in a strange voice. “But it sure isn’t going to stay that way! I’m taking a trip to the cello tree forest!”
He scrambled to his feet and rushed to the closet. It took him a long time to dig out an old rope he used for tree climbing. After untangling it, Max threw it expertly out the window and around the old oak outside. He had practiced that! In seconds he slid down the rope and was in the yard below! No sooner had his feet touched the ground, than he was off. He didn’t have a clue where he was after a short while but this didn’t seem important. He knew where he was going. The cello tree forest!
As he walked along the sidewalk, he imagined the multi colored cellos swinging in the breeze from towering trees in the bright sun. He walked and walked and walked. The shadows grew longer and the air turned a bit chilly. He could now see fields between the houses and the sidewalk had turned into a dirt path. As he reached the end of town and reached the countryside, he could hear grumbling in his stomach. “I’m hungry", Max thought, and started to wish he were back home. At that moment he noticed a strange group of trees across the road ahead of him. They gave off a funny bluish light -very strange he thought. He ran to get closer and was really surprised when he got to the edge of the woods. He heard music!
He stepped into the forest past the first line of trees, and immediately felt something special was happening. Things looked magical and shadowy. Now Max felt somehow sure that he was close to finding the cello trees.
He hiked on faster and the music got louder. It was cello music but it sounded oddly dollhouse sized. How on earth could there be such a thing as “tiny” music? He could hear the small cellos but couldn’t see them. How small were they he wondered. As he peered up into the trees he noticed mysterious colored lights moving in and out among the branches. Then he spotted it. He was flabbergasted! High up near the top of a tree, was the smallest cello player he had ever seen. His bow was moving furiously. It was a chipmunk! With a little laugh, he wondered if the chipmunk hated to practice as much he did.
As Max traveled farther down the path, he saw more little animals sawing away on their instruments up in the trees. They were certainly working hard and yet seemed happy.
Next he noticed rays of light shooting up from the ground at the end of the path ahead of him. It was the first time he felt truly surprised since beginning this trip, (which is strange considering there were tiny animal musicians playing in the tree tops). And .....streams of light shooting up from the forest floor? Was this a dream?
When he reached the source of the light he realized that it wasn’t coming from the ground because there was no ground. It was a drop off.
(ask your mom or dad what a drop off is) He was basically standing on a high cliff looking down on a valley so far below that he may as well have been seeing it from an airplane. There were rolling hills, trees, and roadways. Here he was up above in a dark forest looking down into another world with trees dotting the hills and a beautiful stream winding through it. “Hmmmm.......I don’t get it” thought Max.
More surprises were on the way. This time he surprised himself. Max jumped.....weeee!!!! And the next instant he was floating the long distance down between the forest and the valley with no more fear than if he were jumping over a puddle. The air felt warm coming up to meet him and it carried a delicious mixture of smells, sort of like cello varnish and apples! It all happened so fast that he was on the ground with a soft comfortable thump in the blink of an eye.
All around him in the sunshine were the biggest green trees he had ever seen. The grass was very soft on his feet. Where had his shoes gone he wondered? Did they fall off when he jumped? Then Max heard something. The sound of chimes, sort of the ones dangling from his neighbor’s porch at home, rode the breeze from far off. He walked in the direction of their tinkling and suddenly heard first one cello and then another. Cellos in conversation! In a land of surprises, surprise is no surprise!
He walked on and when he reached the top of a very steep hill, he looked down and saw what he had dreamed about. It was a HUGE orchard. On the trees hung cellos of all sizes, colors, shapes and materials. There were golden ones with pearl edging, cellos of glass that you could see through, even tiny ones made of wood that you could hold in the palm of your hand. He was excited beyond belief. He walked between the trees hoping to find the cello of his dreams, when a booming voice came out of nowhere.
“MAX!! I know the secret to success!” He stopped abruptly, frozen with fear. Then silence. The cellos swayed gently from the trees. Click, clack....click...clack. The sounds they made as they gently bumped each other in the breeze were soft and pleasing. “MAX!!” trumpeted the voice again; “I know the secret to success!” This time, afraid, he let the words sink in and began to wonder what they meant. “It would be kind of nice to know the secret to success,” he thought.
“Max!!....” the voice rumbled on. Well, it continued saying the same thing over and over as the shadows of the cello trees danced along the grass in the sunlight. On and on the voice repeated the same thing. “I know a secret to success!” it roared now louder. Max slumped against a tree in a sort of daze, growing tired of the voice after a time.
Then in a weak little voice he asked, “What..... What is a secret to success?”
The Voice paid absolutely no attention, but went on repeating the same message. Max got impatient. “What!!!!?” he asked angrily. “WHAT IS IT!?” Finally he was so angry that he stomped the grass and started to cry. His mother always answered his questions. This was an outrage! He thought about going home, if he could find his way back.
More time passed and he grew sleepy. The sound of the “Voice” rolled over him, over the trees, and up into the sky like waves. “Oh dear”, he thought sleepily “what a beautiful place this is, even with that stupid voice.” He fell asleep.
When he woke up, a new idea had taken shape in his mind. There was something about that voice. It said the same thing over and over and.........OVER!
That was it!

Max figured it out and had his answer in a flash. He knew the secret to success. “Over and over” ...that was it. After all, he was in a cello tree forest and it was obviously trying hard to tell him something. Just practice over and over until it’s not so hard. How amazingly easy. He had always been in a rush and never wanted to just sit with his cello or get into the work for very long. It was always rush rush rush. Everything in this place was telling him he could be great at playing the cello if he just took the time, repeated it over and over, and believed he could do it. The message was that he had lots of time to get it right. Max thought, “A long trip could be as wonderful as a short one!”

Somehow, the moment he learned the secret to success, he found himself back in his room. It was more magic. It happened with no time elapsing. He saw his cello next to the chair on the floor. He thought about music and flying fingers. With a new kind of excitement he picked the cello up. There had been so many different cellos hanging from the trees, and yet he had forgotten to pick one after all. He didn’t care. His own cello seemed lonely, so he sat down and picked it up. He liked it fine.
“ Max!” called his mother. “ Have you finished your practicing yet? Kyle wants to play outside ”
“No”, answered little Max as he calmly arranged his music on the music stand. “And don’t rush me please, I’ve got work to do!”
Max’s mother was shocked!! And very very pleased. She told Max’s friend he could come back later because Max wanted to practice.
The sounds that came from Max’s room were never the same from that day on. He still had problems and the notes were sometimes wrong, but every day he got better. He knew the secret to success.

TheEnd

By Suzanne Smith

Music, Mind, and Body ~ A talk by Suzanne Smith Jan 31 /08

2008-09-06T07:59:00.000-07:00

Tonight I will be talking about Music, Mind, and Body from a couple of different perspectives.

Over the years I have learned and observed certain things through performing and teaching that I would like to share. One of the most basic learnings for me has been that the instrument, in this case the cello, is truly an extension of the player. The ultimate goal then, is to achieve a type of control that allows the player the freedom to be him or her self in the context of the music being played or improvised. Sounds obvious doesn't it? I'm really talking about freedom. The road to that kind of freedom on the cello, or in life for that matte is a rich, challenging, and mysterious one to say the least. Why mysterious? It is my belief that much of what is involved in mastery of the cello demands being open to oneself, one's heart and mind, all the while engaging in dialogue with the instrument. This very engagement is a constant learning process for a player. Listening is activity and takes effort. We are explorers. We are exploring our inner world...listening to it. Because an artist is gathering his/her feelings and observations and transforming them into the language of whatever medium the artist is using whether it be painting, music, poetry etc. So, listening is a kind of seeking awareness that can never go on automatic for a true musician. That may sound like it would be tiring, but actually it is energizing because one is in touch with one's energy as a continuous flow and not blocking it.

So let's talk about the body first, since it is more concrete. In western philosophy, and Descartes is a good example of our culture's thinking, we tend to think of the body as separate from the mind. We've all heard the quote: I think; therefore I am. However these days there is more and more discussion about how mind and body are interconnected on a deep level and not really at all separate. My thinking is more along these lines.
The Oxford Dictionary: Body: the physical structure of a person or an animal, including the bones, flesh, and organs : it's important to keep your body in good condition [as adj. ] body temperature.
• the physical and mortal aspect of a person as opposed to the soul or spirit : a duality of body and soul.

Eileen, a physical therapist and Trager specialist will be explaining a bit about anatomy and the muscles used in cello playing, in addition to explaining the Trager technique briefly for you.

The two of us did a project last summer working with 6 of my students first on the Trager Table, then leading them in a short session of meditation, and then having a brief cello lesson. We then repeated the process over a period of an hour and half. Our project identified for the student which muscles are involved in playing the cello and how to let go while still remaining engaged and active. We worked with a technical issues/skills needed to play from the perspective of a body free from tension and resistance to movement. There are many educational movements out there today geared to mind body unity and in general I think this is good. How do we get to a profound state of acceptance or relaxation on the physical level is one of the questions an instrumentalist must ask I believe. Eileen will demonstrate how this can be done through Trager techniques. Trager is a set of motions the therapist puts a client through while he/she is on a comfortable massage type table. http://www.trager.com/

It is my belief that we must begin to play the cello with the realization that we are never truly physically still and that movement when needed,however slight, can be a cure for blocks and tensions in playing. These blocks are actually defenses when a player is worried about a mistake about to happen or generalized over caution and fear of losing control. If one realizes that one can find solutions by being more immediately flexible and allows freer range of movement, if only a hair, that player is beginning to move toward freedom. One has to learn the cello from the inside out, so to speak, and this cannot happen without making many mistakes. Albert Einstein
"Anyone who has never made a mistake has never tried anything new."

Let's talk a bit about the mind. First, what is a mistake? We all have our set definitions in our minds. Let's redefine a mistake from the current definition in the Oxford dictionary: "an action or judgment that is misguided or greater clarity to a given situation than was the case before it took place." From "How Children Fail" by John Holt. "From the time of birth until the age of three years, children have a "tremendous capacity for learning, understanding, and creating." Adults, either through their own actions or through excessively dictating their children’s actions, destroy most of the this intellectual and creative capacity. Most frequently, we destroy this capacity by making our children afraid; afraid of being wrong. Holt’s examination of our present educational system is a critical and insightful study, one which forces us to look more closely at the lessons that we are unwittingly imparting to our young ones."

More about the body: The body searches. It is almost as if in some sense it has it's own "way." I often say to my students, who is beating your heart? In Zen we would call that big mind. Or maybe Freud would call it the subconscious. But I am getting beyond the body at the moment. The body is set up magnificently to do things, things that we do every day without a thought that are just as difficult as playing the cello. The body learned these various things through repetition and making many mistakes. I guess we could even suggest that evolution is a stream in slow motion (from a more detached perspective) of a long line of mistakes and corrections. We have become human through a long history of trial and error. It moves at it's own pace. So the body, as far as cello playing is concerned, is not really the problem in my view. Given enough space and time, the body is quite capable of playing the cello. George Nicrug, former head cellist at the New England Conservatory said, " I could teach a monkey to play the cello." What was he saying? He was saying that he had the pedagogy and craft of cello playing so clear in his mind, that he could transmit that to a monkey. He also, more importantly I think, was hinting that a stunning technique, something that some people bow down to as before an alter, is really not the center piece of being an artist. It is a part of the whole - and given the right approach, can be learned. So then, what's so great about a superb technique if you're a monkey? Where is the rest of it...the speaking of the soul- the music? What about the unique expression of a given player and how does that mesh with technique? Now the subject gets a bit stickier.

Here are a few quotes/definitions on mind:

Webster's medical dictionary: Mind: That which thinks, reasons, perceives, wills, and feels. The mind now appears in no way separate from the brain. In neuroscience, there is no duality between the mind and body. They are one.

Albert Einstein again. I like Albert.
A human being is a part of a whole, called by us 'universe', a part limited in time and space. He experiences himself, his thoughts and feelings as something separated from the rest... a kind of optical delusion of his consciousness. This delusion is a kind of prison for us, restricting us to our personal desires and to affection for a few persons nearest to us. Our task must be to free ourselves from this prison by widening our circle of compassion to embrace all living creatures and the whole of nature in its beauty.

Oxford Dictionary: Mind
That part of being associated with thinking. Both Plato and Aristotle stressed the immaterial nature of the mind and, even today, the concept of mind is distinguished from that of the brain as a physiological centre of thought, although few support the radical distinction of mind and body as proposed by Descartes.

Buddha "All that we are is the result of what we have thought: all that we are is founded on our thoughts and formed of our thoughts." These momentous words lead straight home, into man's very heart. Mind is the nearest to us, as through mind alone we become aware of the external world—including our own body. If mind is comprehended, all other things are comprehended

Mind is where, if there is truly a where, the music arises. It, in my view is the beginning and the end as we go full circle like one breath following the other in our lives. Descartes insert:

Since I hold the view that nothing is truly separate from anything else, though we can't see this directly, the music that arises in the mind also arises, in the body. Where does the mind begin and the body leave off? This question is an old one. Rather than use the word mind, I prefer to use "bare awareness." In Zen we ask, who is it that is aware? Or what is this awareness? For our purposes tonight, that is not really important and is a question still being asked. But the question is relevant in that it acknowledges that there is this awareness and it is hard to pin down just where and what it is. It is a mystery. In the context of teaching the cello, I see awareness as a friend, active observer and director of our playing. The observation of detached awareness, in Zen, is a potent thing. It has the power to transform what it observes. It is like shining a light on the situation and bringing clarity and healing. The meditation technique called Silent Illumination in Zen is a simple one. It simply involves the watcher, this awareness, become aware of the body and it's surroundings. Master Sheng Yen, a famous Zen Master and mentor says "Your mind creates your world." He means that situations, be as they may, do not in and of themselves dictate your state of mind. This is your choice in the final analysis. So as a cello instructor, I deal with many situations involving many different students. Fear, impatience, tension, unhappiness,

Mediation : The Japanese term "shikantaza" literally means "just sitting." Its original Chinese name, mo-chao, means "silent illumination."The method of silent illumination slowly calms the mind until it is completely settled. This is a gradual method where one allows wandering thoughts and vexations to slowly dissipate. You can liken this method to a pool of very muddy water. If there is no wind or activity to disturb the pool, the mud will gradually settle to the bottom, allowing the water to become clear. Like the clearing of the pond, silent illumination seeks stillness and clarity. One keeps letting the mind-dust settle until all of it has reached the bottom.

Next, be aware of your body, but do not think of it as yourself. Regard your body as a car you drive. You have to handle the car well, but it is not you. If you think of your body as yourself, you will be bothered by pain, itchiness and other vexations. Just take care of the body and be aware of it. The Chinese name for this method can be translated as "just take care of sitting." You have to be mindful of your body as the driver must be mindful of the car, but the car is not the driver

Sheng Yen also said, "practice is the goal" What does he mean? Or take Pablo Casals, one of the greatest of all cellists and artists. "I always practiced as if I had forever" These two statements are the same at heart. They are saying that the process begins and ends where you sit. So many people, students are rushing ahead of themselves to get to the result, ( often approval, the confidence they believe playing well will bring, or as a tonic for whatever ails) that they are incapable of "just sitting" and allowing the process to bring it's fruits. We all know that the person afraid of dropping the tray is more likely to do so. He is watching himself in the wrong way. It is fear. Detached watching, being in a state of keen focus and calm...backing up as it were, is the place where great playing, in my view, is possible. It's paradoxical. This kind of detachment brings about a larger unity of Mind and Body. Here is a formula: : Calm down and relax + become aware of yourself in that moment + focus and begin to make/produce/sing the music inside before and while you play not losing this focus + allow the body to be free to find it's way as an extension of the mind. This is not to say that there is not a place for slow work that is more local and differently focused, but the method above is the method within which the other ways of working are contained. Wolfgang Amadeus Mozart quote

“The most perfect technique is that which is not noticed at all.” This can only happen when Mind and body are not in conflict. So, to summarize. We go from relaxation and calming to focus and keen awareness, to flowing activity, correcting ourselves as we go along if we slip into tension, scattered unfocused mind, or anxiety.

Music:
• noun 1 the art of combining vocal or instrumental sounds in a pleasing way. 2 the sound so produced. 3 the written or printed signs representing such sound. Music - The organization of sounds with some degree of rhythm, melody, and harmony.
Music - The organization of sounds with some degree of rhythm, melody, and harmony.
From the Harvard Dictionary of Music:
Some medieval writers believed the word to be derived from the Egyptian work moys ( water) co. Of basic importance throughout the Middle Ages was Boethius concept of music as an all embracing "harmony of the world" divided into musica mundana( harmony of the human soul and body and musical instrumentalis misc as actual sound. 485 bc.

Let's begin with some quotes once again:

Music can name the unnamable and communicate the unknowable.
Leonard Bernstein

Technique is communication: the two words are synonymous in conductors.
Leonard Bernstein

The key to the mystery of a great artist is that for reasons unknown, he will give away his energies and his life just to make sure that one note follows another... and leaves us with the feeling that something is right in the world.
Leonard Bernstein

“Neither a lofty degree of intelligence nor imagination nor both together go to the making of genius. Love, love, love, that is the soul of genius.”

Pablo Casals quote
“The heart of the melody can never be put down on paper.”

Pablo Casals quote
“It's easy to play any musical instrument: all you have to do is touch the right key at the right time and the instrument will play itself.”

How or why has been a mystery forever. Just as why and how we are able to think has always been, ultimately, a mystery, We can discuss it forever and we can come to conclusions, but we can never be sure. So I will to speak about music as I understand it within the context of Mind and body tonight.

Music arises in the mind. When I say music arises, I mean, it comes about. Just like our thoughts. It comes about. In Zen there is a phrase "just so." This refers to the fact that things are as they are, and though they can be labeled and "explained" from a given perspective, the thing still remains itself is....... just itself. Music does not only arise, it in some special sense, is always going on in my view, as odd as that may sound. We just hop on for the ride. Just as we are constantly in motion, however still we think we are. We are constantly breathing for example. I'll put it another way. Music is not apart from the player, it is the player and it flows, as do we. Change is constant and happening every second of our lives. Music cannot be wrestled to the ground and controlled. It is something to listen for, to watch for, and to join with.

Meditation is the process of calming the mind to help a person see more clearly. The process is like the mud in a stream settling to the bottom until the pebbles show clearly on the bottom. Agitation is not good for playing and is not power or dramatic playing. It prevents powerful dramatic playing. Janos Starker:
"Power is not Force." A rushing stream or river is powerful, but nothing is being forced. Once again, we are talking about flow. We don't create the flow, we find it, see it, and join it.

What are we trying to achieve by playing the cello, mastering it? I submit it is an attempt to integrate, heal and express ourselves which is what great art does. Integration is health..it is integrity. It is also about connection to others and when we come full circle those we touch and ourselves are in a greater state of harmony. Here are some quotes about the artistic process:

A excellent professional cellist and friend; Nina Deverich's comment : Where are we going to put all these cellists....in context of today's limited job market?
My answer was, we are going to enjoy the music they make where ever, however and when ever they choose to make it. Playing is itself the goal.

Or as Sheng Yen put it "practice is the goal" Why would he say that?

I think it is because being a musician is a state of being. It is a path and a process and one that happens in the moment, not in the past or the future. Sometimes I say to a student, " your finger tips need to sing" or "play from the back", or "play as if you are a mother watching your child ( the body dealing with the cello) learn to walk."

Music:
What is music
Hope you will share your definitions at the end of our demonstration
Music is akin to life energy...the energy that runs and imbues everything and it is mysterious
( share quotes........i.e no one can truly define music. )
Music is related to our emotions, thoughts, and deepest selves. If we can't listen to or accept that, we have trouble being in touch with music, our music.
Starker ( Force is not power) Power of the rushing stream....flowing. How does one jump on? By letting go while at the same time being in a calm, watchful state that joins with the flowing. Often I'll observe students playing and all of a sudden they get lost. Their minds shift and they go from doing to too much thinking. Has anyone every been driving and realized at a certain point that 10 miles have gone by and you don't remember paying attention? It's a bit scary.
It is also scary for a musician to trust by detaching and allowing the body to learn, to catch up with the music in ones head and heart in effect. What most people will not allow to the extent needed is the space and time, whether we're talking about a slower tempo to work within or about accepting learning the craft as a long term process. Why? Here is how I see this. For one, people are trained from birth to be ashamed of making mistakes. ( insert your def of mistake) This creates a pattern of putting on the breaks and resisting the flow through physical tension in an ongoing basis. In other words, they have greatly reduced their arena of exporation, trial and error, and for gaining mastery. ( Pablo Casals quote)
Another reason is a type of impatience, and this sounds a bit alarming perhaps, but it is related to greed in a way. We are desperate for immediate results because we don't enjoy remaining in a state of flux or uncertainty. Results must come at their own time as a result of constant practice and an approach to the instrument that is more like parent to child then Slave master to slave. A good parent gives a child the space and support to experiment and find their footing as a human being. The slave master is not listening to the slave.....simple dictating. When we drive ourselves like this, the result is a sort of facade of control. It does not spring from the core outward. And it is fragile and can be knocked off course more easily by nerves in performance and a multitude of other things. For one thing, because our emotions are fluid and always chaning, we need a cellistic technique that an accomodate that. If we learn how to do a shift one concrete way removed from the living music, music happening that moment, we don't have the tool to express that new subtlety. We then have a smaller tool box or pallet to express ourselves with. How do we constuct a large pallet with many many colors/skills at our disposal? We practice being awake in each moment. We watch, listen, feel, and
try to clarify what we want to express again, and again, and again.
I believe that music is not seperate from the self nor seperate from the basic energy of life.

So really, in my view, Music, Mind and Body are different parts of a single phenonoim. And that is almost impossible to describe. Balance is what we seek so that the sluice way can be cleared and the water rush through. Pablo Casals grew up in the village Catalonia in Spain. In his village the ability to balance was a badge of honor and once a year all the men, young and old, would form large pyrimads standing on each others shoulders. There were teams and the tallest pyrimad won the day. Balance.

Janos Starker : "The physical aspects of playing are most important. The real problem is not to break the muscle line, not to interrupt the power as it goes to various parts of the body. We must avoid cramp in the muscles and yet not think of relaxation. We cannot relax and still create power. The cellist must learn to distribute the power from the back muscles down to the upper arm, the hand, and finally the fingers. All pressure comes from the back."

A rudimentary but vital principle, according to Starker, is that the bow arm should not be neglected but should be developed to the highest degree.

Casals - Joys and Sorrows
For the past eighty years I have started each day in the same manner. It is not a mechanical routine but something essential to my daily life. I go to the piano, and I play two preludes and fugues of Bach. I cannot think of doing otherwise. It is a sort of benediction on the house. But that is not its only meaning for me. It is a rediscovery of the world of which I have the joy of being a part. It fills me with awareness of the wonder of life, with a feeling of the incredible marvel of being a human being. The music is never the same for me, never. Each day it is something new, fantastic and unbelievable. That is Bach, like nature, a miracle.

I do not think a day passes in my life in which I fail to look with fresh amazement at the miracle of nature. It is there on every side. It can be simply a shadow on a mountainside, or a spider's web gleaming with dew, or sunlight on the leaves of a tree. I have always especially loved the sea. Whenever possible, I have lived by the sea, as for these past twelve years here in Puerto Rico. It has long been a custom of mine to walk along the beach each morning before I start to work. True, My walks are shorter than they used to be, but that does not lessen the wonder of the sea. How mysterious and beautiful is the sea! How infinitely variable! It is never the same, never, not from one moment to the next, always in the process of change, always becoming something different and new.

I see no particular merit in the fact that I was an artist at the age of eleven. I was born with an ability, with music in me, that is all. No special credit was due me. The only credit we can claim is for the use we make of the talent we are given. That is why I urge young musicians: "Don't be vain because you happen to have talent. You are not responsible for that; it was not of your doing. What you do with your talent is what matters. You must cherish this gift. Do not demean or waste what you have been given. Work-work constantly and nourish it."

Of course the gift to be cherished most of all is that of life itself. One's work should be a salute to life.
Mission statement in the context of MMB.

To help student enjoy making music.
This means to help students make music without self-consciousness and enter into it fully, which is freedom.

To employ the cello in the work of self esteem
This means to convey to a student that they are whole when they start learning and all through the process. Mastery is a never-ending project. When they can approach the challenges of cello playing with self compassion, patience, awakens, and joy, they are learning a way to approach themselves in other contexts as they face other life challenges. There is no reason to delay self acceptance. I do not believe it is something anyone should need to earn. The best playing springs from an integrated and confident person.

To cultivate service to others through music.
How can music serve others in my view? Because the process of learning and playing the cello is one that enriches and can heal a person. This person then can better connect and love others. Also, music touches the heart. I really do believe that it is a part of love itself.

Summary:
The mind is the seat of awareness from which everything flows and comes from.
The music is part of the mind, just like anything else we perceive. It is at our finger tips
The body is part of the mind, flows from the mind so to speak.
A last thought about hard work:

The integration of these three lead to clarity, happiness, solid confidence, and mastery.

"CelloChanWoods" ~ cellochan presents a new kind of cello retreat

2008-07-28T13:57:00.000-07:00

WELL BEING AND THE ARTS GO CAMPING:

Recently the AARP named Ann Arbor the healthiest city in the US. Gary Gossein, of the Michigan Business Review wrote, "We've been talking with a lot of state organizations, and a
lot of cities are trying to aspire to what Ann Arbor offers," said Amanda Cyr, project manager for the University of Michigan Health Management Research Center.....wellness, she explained, is looking at the whole person, and applying healthy lifestyle concepts, rather than the traditional models of treating each individual illness as separate from the person." http://www.mlive.com/businessreview/annarbor/index.ssf/2008/07/ann_arbor_named_healthiest_cit.html

And speaking of viewing health and happiness in the context of the whole person, a cello program called cellochan in Ann Arbor aspires to do just that. cellochan is a unique program for all ages that places the art of cello playing between the two bookends of care of self and care of others. The program juxtaposes relaxation, self-acceptance, and keen concentration and attention as essential to good playing. The surrounding optional activities, including frequent performance opportunities, offer the types of experiences and community support that can lead to greater personal well-being. Students come to value and respect their unique learning styles and clarify their own cellist goals. The word Chan comes from the word Ch'an, a Chinese word meaning ‘insight.’ Playing the cello involves all facets of a person: physical, emotional, intellectual, and spiritual. Finding our authentic musical ‘voice’ by employing patience, regular practice, self-love, and presence can open us up to greater levels of fulfillment and I believe, overall health.

This July 15th – 17th, cellochan held it's first cello retreat/camp, "CelloChanWoods." The theme of this cello retreat, held at the Michigan Friends Center in Chelsea, MI, was well-being and the arts. In the course of the three days they spent there, students learned beginning centering meditation, experienced deep relaxation through the Trager method, (http://www.trager-us.org/milton_trager.html) and prepared a performance of the Adagio for Strings by Samuel Barber for cello ensemble. Meditation, Trager sessions, daily master classes and supervised individual practice occupied the mornings. Afternoons offered ample time for hikes, swimming, orchestra rehearsal, and a treasure hunt. The schedule produced a balance between the contemplative tone of the morning and freer activities in the afternoon. The ratio of students to counselors was three to one, providing students with a great deal of attention.

Janos Starker, one of the greatest living cellists of the twentieth century said: "Power is not force." He is referring here, in my view, to the need for complete freedom of physical motion while playing in order to allow a natural flow of energy and expression. This can apply to any activity. Pablo Casals, another of the great cellists and teachers said, "I always practiced as if I had forever." This statement, to me, suggests a compassionate approach to oneself in the practice room while simultaneously allowing the space needed for real trial and error and thus, real progress. This way of approaching learning is a gift to any student, in my experience, because there are so many natural obstacles, both physical and mental which can cause subtle tension and anxiety. Ann Arbor has demonstrated its commitment to both wellness and the arts. This program, which links the two, is fortunate to be part of a city where so many have made the ground fertile for a mission like that of cellochan.

cellochan mission:

To help students experience the joy of music-making;
To employ the cello as a tool in the work of self-esteem;

To cultivate service to others through music.

Announcing: CelloChanWoods

2008-06-16T17:23:00.000-07:00

From cellochan:

A cello retreat style music camp "Well being & the Arts"
July 15, 16, & 17, 2008
Final deadline for enrollment is July 3, 2008

CelloChanWoods is a unique retreat style music camp designed to help musicians achieve a deeper sense of well-being, improved concentration skills, ease of playing, and meaningful community with other musicians. Playing the cello involves all facets of a person: physical, emotional, intellectual, and spiritual. From one perspective, music is a kind of language of the self. Finding our musical "voice" can open us up to greater levels of awareness and personal satisfaction. Campers will learn gentle beginning meditation, receive daily Trager*/ relaxation sessions and benefit from supervised cello practice sessions. Students will also participate in the CCW cello orchestra and daily master classes led by Suzanne. This important work will be balanced with ample time during the day for fun, camaraderie, and supervised outdoor activities.
Where: The Michigan Friends Center, located in Chelsea, is an estate of 90 acres of beautiful woods and trails. It offers an ideal setting for the calm clarity and enjoyable community CCW cultivates within a musical context.

When: Camp takes place July 15-17, 2008. Students will arrive at 7:00 am; pick-up will be at 5:30 pm. On the final day, Thursday, July 17, there will be a concert by the CCW Cello Orchestra, potluck supper, and evening swim, ending around 8 pm.

Space is limited. This year's pilot program will be comprised of no more than 15-20 cellists, ranging in age from 11 to adult.

For more information and/or to reserve a place, please contact Suzanne Smith at cellochan3b@gmail.com or 734-662-2325. The cost is $300. A deposit is required by July 3 of $50 which goes toward tuition.

* Suzanne Smith was a student of Bernard Greenhouse. She has a Masters in Music and performance degee from Oberlin Conservatory. In addition to teaching and performing over many years, Suzanne has been on many meditation retreats, studied methods of profound relaxation and concentration for many years.

* Eileen Dickinson, PT, is a Certified Trager Practitioner. Her presence, creativity, and nurturing touch are supported by her knowledge and experience from more than 25 years practice as a Physical Therapist. The Trager approach utilizes gentle, non-intrusive, natural movements to help release deep-seated physical and mental patterns and facilitates deep relaxation, increased physical mobility, and mental clarity."

* * * * * * * * * * * *

* For more about Suzanne and her program cellochan in Ann Arbor, MI. visit: cellochan.com

Contact: Suzanne Smith at cellochan3b@gmail.com or phone: 734-662-2325

The CelloChan Blog is under construction - back soon

2008-05-31T06:39:00.000-07:00

Max & The Cello Tree Forest

2007-11-24T07:47:00.000-08:00

For the "little cello folk"

Once upon a time there was a cellist named Max. He was six years old and had a great mom, a neat room, an oak tree outside his bedroom window and lots of stuff. He also did cool things, like play the cello.

On the day our story begins, his mother had gotten quite tough with him about practicing. She told him that she didn’t want to see him come out of his room until he had finished his cello work. But, unfortunately, it was one of those outside days if there ever was one. All of his friends were climbing trees at the park.

Max wasn’t very pleased to have to stay in. He sat there staring angrily at his little cello, and the longer he sat, the madder he got. He just didn’t want to practice-----AT ALL! His arms felt so heavy! Oh, he loved the cello songs a lot, but when HE played, it sounded, well......“different” than his CD. And it was hard!

So he sat slouched in his chair swinging his bow, back and forth between his fingers with a sour expression on his face, until he remembered a wonderful dream he had a few nights ago. It was so real he could hardly believe it was only a dream. It was about a forest with huge trees, and amazingly, there were cellos hanging from the giant branches. They were all sizes, colors and shapes. Some were of glass, some of cloth, some of metal and wood. He wished he could go there. If only he could pick a cello growing from one of those fantastic trees, maybe the magical cello would help him practice. It would certainly “sound” special and couldn’t possibly be as hard to play as his own, he thought.

Time wore on as the clock ticked quietly and he sat alone in his room. He looked out his window at the great friendly oak tree, while NOT practicing, and suddenly an idea appeared in his mind. He sat very still. Max's mood could turn on a dime sometime “Yes siree, it has been quite a boring day!” said Max to himself in a strange voice. “But it sure isn’t going to stay that way! I’m taking a trip to the cello tree forest!”

He scrambled to his feet and rushed to the closet. It took him a long time to dig out an old rope he used for tree climbing. After untangling it, Max threw it expertly out the window and around the old oak outside. He had practiced that! In seconds he slid down the rope and was in the yard below! No sooner had his feet touched the ground, than he was off. He didn’t have a clue where he was after a short while but this didn’t seem important. He knew where he was going. The cello tree forest!

As he walked along the sidewalk, he imagined the multi colored cellos swinging in the breeze from towering trees in the bright sun. He walked and walked and walked. The shadows grew longer and the air turned a bit chilly. He could now see fields between the houses and the sidewalk had turned into a dirt path. As he reached the end of town and reached the countryside, he could hear grumbling in his stomach. “I’m hungry", Max thought, and started to wish he were back home. At that moment he noticed a strange group of trees across the road ahead of him. They gave off a funny bluish light -very strange he thought. He ran to get closer and was really surprised when he got to the edge of the woods. He heard music!

He stepped into the forest past the first line of trees, and immediately felt something special was happening. Things looked magical and shadowy. Now Max felt somehow sure that he was close to finding the cello trees.

He hiked on faster and the music got louder. It was cello music but it sounded oddly dollhouse sized. How on earth could there be such a thing as “tiny” music? He could hear the small cellos but couldn’t see them. How small were they he wondered. As he peered up into the trees he noticed mysterious colored lights moving in and out among the branches. Then he spotted it. He was flabbergasted! High up near the top of a tree, was the smallest cello player he had ever seen. His bow was moving furiously. It was a chipmunk! With a little laugh, he wondered if the chipmunk hated to practice as much he did.

As Max traveled farther down the path, he saw more little animals sawing away on their instruments up in the trees. They were certainly working hard and yet seemed happy.
Next he noticed rays of light shooting up from the ground at the end of the path ahead of him. It was the first time he felt truly surprised since beginning this trip, (which is strange considering there were tiny animal musicians playing in the tree tops). And .....streams of light shooting up from the forest floor? Was this a dream?

When he reached the source of the light he realized that it wasn’t coming from the ground because there was no ground. It was a drop off. (ask your mom or dad what a drop off is) He was basically standing on a high cliff looking down on a valley so far below that he may as well have been seeing it from an airplane. There were rolling hills, trees, and roadways. Here he was up above in a dark forest looking down into another world with trees dotting the hills and a beautiful stream winding through it. “Hmmmm.......I don’t get it” thought Max.

More surprises were on the way. This time he surprised himself. Max jumped.....weeee!!!! And the next instant he was floating the long distance down between the forest and the valley with no more fear than if he were jumping over a puddle. The air felt warm coming up to meet him and it carried a delicious mixture of smells, sort of like cello varnish and apples! It all happened so fast that he was on the ground with a soft comfortable thump in the blink of an eye.

All around him in the sunshine were the biggest green trees he had ever seen. The grass was very soft on his feet. Where had his shoes gone he wondered? Did they fall off when he jumped? Then Max heard something. The sound of chimes, sort of the ones dangling from his neighbor’s porch at home, rode the breeze from far off. He walked in the direction of their tinkling and suddenly heard first one cello and then another. Cellos in conversation! In a land of surprises, surprise is no surprise!

He walked on and when he reached the top of a very steep hill, he looked down and saw what he had dreamed about. It was a HUGE orchard. On the trees hung cellos of all sizes, colors, shapes and materials. There were golden ones with pearl edging, cellos of glass that you could see through, even tiny ones made of wood that you could hold in the palm of your hand. He was excited beyond belief. He walked between the trees hoping to find the cello of his dreams, when a booming voice came out of nowhere.

“MAX!! I know the secret to success!” He stopped abruptly, frozen with fear. Then silence. The cellos swayed gently from the trees. Click, clack....click...clack. The sounds they made as they gently bumped each other in the breeze were soft and pleasing. “MAX!!” trumpeted the voice again; “I know the secret to success!” This time, afraid, he let the words sink in and began to wonder what they meant. “It would be kind of nice to know the secret to success,” he thought.
“Max!!....” the voice rumbled on. Well, it continued saying the same thing over and over as the shadows of the cello trees danced along the grass in the sunlight. On and on the voice repeated the same thing. “I know a secret to success!” it roared now louder. Max slumped against a tree in a sort of daze, growing tired of the voice after a time.

Then in a weak little voice he asked, “What..... What is a secret to success?” The Voice paid absolutely no attention, but went on repeating the same message. Max got impatient. “What!!!!?” he asked angrily. “WHAT IS IT!?” Finally he was so angry that he stomped the grass and started to cry. His mother always answered his questions. This was an outrage! He thought about going home, if he could find his way back.

More time passed and he grew sleepy. The sound of the “Voice” rolled over him, over the trees, and up into the sky like waves. “Oh dear”, he thought sleepily “what a beautiful place this is, even with that stupid voice.” He fell asleep.

When he woke up, a new idea had taken shape in his mind. There was something about that voice. It said the same thing over and over and.........OVER!
That was it!

Max figured it out and had his answer in a flash. He knew the secret to success. “Over and over” ...that was it. After all, he was in a cello tree forest and it was obviously trying hard to tell him something. Just practice over and over until it’s not so hard. How amazingly easy. He had always been in a rush and never wanted to just sit with his cello or get into the work for very long. It was always rush rush rush. Everything in this place was telling him he could be great at playing the cello if he just took the time, repeated it over and over, and believed he could do it. The message was that he had lots of time to get it right. Max thought, “A long trip could be as wonderful as a short one!”

Somehow, the moment he learned the secret to success, he found himself back in his room. It was more magic. It happened with no time elapsing. He saw his cello next to the chair on the floor. He thought about music and flying fingers. With a new kind of excitement he picked the cello up. There had been so many different cellos hanging from the trees, and yet he had forgotten to pick one after all. He didn’t care. His own cello seemed lonely, so he sat down and picked it up. He liked it fine.

“Max!” called his mother. “Have you finished your practicing yet? Kyle wants to play outside.” “No”, answered little Max as he calmly arranged his music on the music stand. “And don’t rush me please, I’ve got work to do!” Max’s mother was shocked!! And very very pleased. She told Max’s friend he could come back later because Max wanted to practice.

The sounds that came from Max’s room were never the same from that day on. He still had problems and the notes were sometimes wrong, but every day he got better. His mind was in the land of music and he knew the secret to success.

TheEnd

By Suzanne Smith

Courage: Strenght of Heart * A cellistic "technique"

2007-11-15T09:02:00.000-08:00

I believe that there is a lot to be gained from this. Happy reading. Suzanne

Courage: Strength of Heart ~ An excerpt from ONE DHARMA by Joseph Goldstein

"The Pali word viriya is usually translated "effort," and it is considered the root of all achievement. But in our Western culture we can sometimes get out of balance by making too much effort. We may confuse viriya with ambitions striving or expectation; right effort then becomes overexertion, a straining quality of the mind. The Buddha pointed to this imbalance when the Buddha used the example of tuning the strings of a lute. A monk had been doing walking meditation with so much effort that his mind was becoming unsettled and agitated. The Buddha, knowing this monk had been a skilled musician earlier in his life, asked him what happened when the strings on his lute were too tight. the monk replied that the instrument was out of tune. Then the Buddha asked him about the string being too loose, and he was given the same reply. In just the same way, the Buddha said, your effort "when overstrung, ends in agitation, when over lax, ends in sloth." The quality of our energy must be neither too tight nor too loose; then it can become the root of all achievement."

A less common translation of viriya, but one that highlights its essence for us in another way, is "courage." "Courage" comes from the root word for "heart" being the seat of feeling and thought. It connotes spirit, vital force, and energy. It is the boldness and valor of mind that faces obstacles without shrinking from them. In the Pali texts, viriya is often used in opposition to sloth and torpor ( laziness), that mind state commonly thought of as sleepiness, but that more deeply signifies retreating or withdrawing from difficulty. In this context too " courage" is an apt translation."

Suzanne: What does this have to do with cello playing? Just about everything. Mastery is a lot about balance. The balance of many inner and outer things. It is also you persevering and continuing. Simply put, not giving up. That's what you and I in cellochan are working on, in part. Being a keen observer of your playing in every moment, which for our purposes includes keen listening, is essential to finding this balance. When we do, the music flows, our fingers dance, the heart soars, and the mind is at ease.
Practice in this way. See you in your next lesson!

Go with the flow

2007-10-18T17:09:00.000-07:00

Well, I should have posted way before now and promise to do better in the future. I'm still getting used to the blogging thing and I hear you really have to feed blogger often.   Music. Today I was talking to a student about music and how it resembles electricity. Of course that's not a real stretch...everything is energy. We talked about the fact that nothing is truly still...nothing. Everything, down to the very smallest particles is flowing. The student understood that the music stand looked solid and unmoving but that it was not. The particles making up the stand were in slow motion. So I suggested that this student never feel locked into position when playing and think of playing music as jumping into "a river of music." Why not? Rivers flow. Everything flows. When one puts the bow on the string and thinks of riding a wave instead of pressing down on the string, a very different sound is produced. Pressing too hard and pulling the bow at the wrong speed prevents a lot of good sound production. The flow is flowing naturally, in other words. Sure, we may speed up and slow down our bow stroke, but it has to be a natural progression and fit exactly what needs to be expressed. If you have ever water-skied behind a boat where the driver feels like having a little fun by slowing down the boat laughing as you start to sink into the water, you'll know that it isn't pleasant. You need to be at a certain speed to ride on top of the water. Getting a good sound is a combination of correct speed, pressure and bow placement. This sounds fancy. But really it can be observed easily and felt if you choose to focus on it. A good student experiments...a lot. And your playing has to come from the inside out so to speak. So, next time you sit down at the cello, realize that you aren't totally still - ever. Even if you try to be still, you are still breathing. When you begin to play, try to "go with the flow" instead of trying to force something into being. Good luck. See you next week! Suzanne

Stories

2007-10-03T16:04:00.000-07:00

cellochan is off to a really nice start this fall. We have a "gallery" this year. Everyone was asked to bring a framed picture 8x11 or larger of something that has some meaning to them for the studio wall. Something appropriate of course! :) It's very interesting to see the variety of things that have come in. I'm still waiting for a few stragglers. One student did a very well done pencil and ink drawing of the word Allegro with the letters made out of the musical staff with music written on them. Messages within messages! The title is: Music to words. Lovely. He obviously gets that not only is music a language but that words and music are not completely seperate and ultimately come from the same place. Another adult student brought a painting of a small girl in a garden full of sun flowers. My guess is that she might be this little girl of a long time ago. A former cello major at the University of Michigan who chose not to make his living playing the cello but wanted to begin studying the cello again brought a picture of a rock musician who inspired him long ago. He decided he had time to play, a need to play, inspite of having 10 month old twins! Then there is one of the new boys that brought a beautiful drawing of a sailing ship done with a light pencil in a bright blue frame. Maybe he wants to go somewhere and is a bit cautious ( given the light touch of the drawing ) but wants to go on an adventure? Stories. We can make them out of anything. There are severel pictures of the students themselves holding beloved pets smiling out at themselves as they have their lesson. All these cellochan gallery contributions convey something about the students who brought them and maybe hint at what a student wants from the cello. When students come in for their lesson, I see eyes darting quickly to their "spot" on the wall as if to take note that this is their place, not just my studio. I hope it is place where they can feel safe to make mistakes and thus gain skill and confidence. So, whatever a given gallery offering means to me, of course they are just my little stories, here one second, gone the next. What is important is that I put the stories aside and pay full attention to who is in front of me. That is one of the best ways I can help a student pay full attention to what is in front of him or her ---the music, the cello, the challenges, and him or herself........the cello is a mirror.

From a place of acceptance ~ Naturalness

2007-09-21T09:39:00.000-07:00

The new quote I just posted on cellochan.com speaks directly to the state of mind/body that someone should seek to be in while practicing their cello.

Here it is again:

'I accept life unconditionally. Most people ask for happiness on condition. Happiness can only be felt if you don't set any condition.' Arthur Rubinstein ~ One of the greatest pianists of all time

There is most definitely a relation between Rubinstein's statement and success at the cello. When one has an attiude like this the attention is totally focused on the task at hand. This approach consists of curiousity and engagement free of background chatter consisting of negative self judgement or shame. There is a fascination with the unfolding process of mastery and with getting in touch with oneself. In this sense, practice is the goal. This doesn't mean that results are not important, of course. But the process and the result continue to merge. I think of it this way. Playing the cello is an end in itself and the rest is gravy.

We learn what it is that we wish to express through a keen, detached observation of our acivity. Good results flow from a focused and calm mind. One can see. One can hear. One can LET ONESELF do. ( and BE) Ironically, you could be moving around and playing incredibly passionately and agitatedly, but because it is flowing naturally from you, it is in a sense stable, real, and neither tense nor forced.

People speak of being "in the zone" in sports, the arts, writing, and it can apply to most activities. What is the zone? I believe it is a state of being/doing when things seem to do themselves. I find it ironic that it can take so much effort to be relaxed at one's cello when that is how we play the best. Yes, playing the cello is complex. So one has to work at calming down to get a good view of the overall picture. It is a delicate dance to learn new skills and remain calm. Twising yourself into a pretzel may get you half (or even three quarters of the ) way there. It will never get you all the way, in my view. Whether we like it or not, playing the cello is somewhat like looking into a mirror. We want to like what we see. I think Rubinstein was right. It just might have had a lot to do with how well he played! Suzanne

Four cellochan vignettes

2007-09-15T12:57:00.000-07:00

1. I have a five and a half year old student named K. He is a constellation of wonderful things....as of course we all are. At his last lesson he was quite sleepy during the first half. (It's only a half hour lesson.) But as usual, by about half way through, he was much more awake and focusing hard. I asked his father who was sitting right there if he thought K would benefit from a 45 minute lesson, given that he really gets going by mid lesson and then doesn't seem to want the lesson to end. We turned to him and asked him. He had just been laughing and wiggling in his chair but now became quite serious. He crossed one leg over the other, placed his chin in his hand, elbow on his knee, and leaned forward. Looking me in the eye he said, "Well, I would think my lesson should be a normal length" I most definitely had a flash of K at age 45. I think we'll stick with the half hour for now and not rock the boat!

2. This is an old story but is worthy of being documented here I think. I have a student named M who has been with me for quite some time. She is very very smart and more than that, she is funny and imaginative. During one lesson I was asking her to "tame the monkey mind", a Zen phrase basically meaning "get focused." She is a hard worker in the lesson and asks good questions. But today her mind was truly bouncing around. At one point I asked her to explain a particular thing she was doing on the cello from her point of view. She said, "I will Suzanne, but could I ask you a question?" I said, of course. She asked, "Do fish cry?"

3. I have an adult student, D, who really is just beginning. He has always wanted to play the cello and finally decided to do so. Yo Yo Ma is his favorite cellist. (D has no classical musical background) It takes some courage to start an instrument as an adult until the student realizes that he/she really can do it. At any rate, I asked him to tell me about his practice schedule at home and how it was going. He did so and then said, "Well, another thing I do is sit with my cello on the couch while I'm watching TV just to get to know it better."

4. My student A is a very motivated and determined student. She is also very sensitive. We were beginning a new song called Witches Dance. She looked uncomfortble when I suggested we study it so I asked her if all was ok. She said, "This song has always reminded me of spiders and I really really don't like spiders." I asked if it was the music or the title that was the problem. She said she liked the music just not the title. So I suggested we temporarily rename the peice. She chose the title "Jester's Dance" No more spiders. No more problem. She played it very well too!

The Price of physical tension

2007-09-11T17:46:00.000-07:00

Mischa Elman was one of the great violin virtuosos of all time.

Elman, Mischa (actually, Mikhail Saulovich), remarkable Russian-born American violinist; b. Talnoy, Jan. 20, 1891; d. N.Y., April 5, 1967.

"At the age of 6, he was taken by his father to Odessa, where he became a violin student of Fidelmann and a pupil of Brodsky. His progress was extraordinary, and when Leopold Auer heard him play in 1902, he immediately accepted him in his class at the St. Petersburg Conservatory In 1904 he made his debut in St. Petersburg with sensational acclaim; on Oct. 14, 1904, he made a brilliant Berlin debut; on March 21, 1905, he made his first appearance in London to great acclaim. On Dec. 10, 1908, he made his U.S. debut as soloist in an extraordinary performance of the Tchaikovsky concerto with Altschuler and the Russian Symphony Orchestra in N.Y., and was hailed as one of the greatest virtuosos of the time; he played with every important symphony orchestra in the U.S. In the following years, he played all over the world, and, with Jascha Heifetz, became a synonym for violinistic prowess. His playing was the quintessence of Romantic interpretation; his tone was mellifluous but resonant; he excelled particularly in the concertos of Mendelssohn, Tchaikovsky, and Wieniawski; but he could also give impressive performances of Beethoven and Mozart. He published several violin arrangements of Classical and Romantic pieces, and he also composed some playable short compositions for his instrument. His father published a sentimental book, MEMOIRS OF MISCHA ELMAN'S FATHER (N.Y., 1933). In 1923 Elman became a naturalized American citizen.'

Why this short bio of Mischa Elman? When I was a student of Bernard Greenhouse he told me a story about this beloved artist. Greenhouse attended one of his final concerts, actually a concert in his honor. He was famous for his tone, as is mentioned in the bio above. Greenhouse once said to me that if a cellist has a beautiful tone, he or she is 90%
'there.'
But back to our story. At this final concert Mr. Elman was on stage performing. He was taking one of his long luscious bows and looking the picture of naturalness and freedom. What many people didn't know was that Mr. Elman battled tension in his playing all his life. He developed a way of playing that mimicked relaxation. Not an easy feat. Well, at the end of a glorious long down bow, just for an instant, his control of this underlying tension slipped and the bow flipped out of his hand making circles in the air across the stage. You can imagine everyone's confusion and shock given that he looked and sounded so free. He ended up having to crawl around on stage looking for his bow while his glasses fell off. It was a sad moment for such a great musician and artist. I tell this not to mock Elman but to say that relaxation is crucial in order to really be free in one's playing. No one wants to play with the risk of things like this happening.

However. a few incidents like this cannot truly tarnish a great player like Mischa Elman or all the beauty he created.
He apparently had a tone that was otherworldly. Suzanne

The Tortoise and the Hare

2007-09-06T17:11:00.000-07:00

"Practice is like cooking rice. If you use a gentle flame the rice will be perfect and easy to digest, whereas with a high flame, it will burn before it is done. One should practice with a very relaxed attitude. If you do not abide in duality, ( for our purposes this means scattered thinking) neither having too much nor too little confidence, then what should you do? (...) It is not important whether you have a good grasp of the matter and can enter the practice deeply or not. ( more about why he says this later ) Just do not have any doubts about the method or whether you have the "right stuff" to practice. Do not underestimate yourself. If others can practice, then at least you can try."

This is a quote from Master Sheng Yen, a great philosopher and Spiritual practitioner.

He is talking about meditation. But he could just as well be talking about sitting at the cello. When we practice the cello we want to find what some might call the "zone." The place where the mind, emotions, and body are clear and relaxed. This allows us access to our ability and to the music itself. One reason practicing is so hard for so many people is that they don't like to sit with themselves very much. There is a running commentary going on in the back of their minds and more often than not it is negative. Not good. If one can accept the results of a practice session without complaining, the productive practice sessions will outweigh the unproductive ones. It's about being aware .....very aware. Like a cat waiting to catch a mouse. Though I don't much like the analogy!
So Sit....calm down and pay attention. When you act (make a move on the cello) be aware of what you are doing. Choose a tempo that isn't so fast that you miss what is going on. The energy you invest in working this way will allow you to become a powerful and authentic player. Being scattered and anxious is not "attention." It is distraction. What do you think? Suzanne

Practice advice from a great jazz musician ~ Wynton Marsalis

2007-09-02T07:19:00.000-07:00

We're gearing up for cellochan, starting September 10. What better way than by exploring some great and effective practice tips from a master performer, Wynton Marsalis: Here are his 12 steps to great practice.
Suzanne's comments in small caps:

1. WM: SEEK INSTRUCTION
Suzanne: "you can't learn the cello from a book or a cd. The many levels, nuances, and traditions are passed from one artist to another over time. Good instruction is clear, compassionate, organized, of a high level of competence, and effective. "

2. WM: MAKE A SCHEDULE
Suzanne: "Be creative. The idea of being locked into a schedule scares some people. The trick is to invent it yourself. Maybe it looks a bit odd to someone from the outside, but if is works for you, that's success. ex: breaking up your practice into several short sessions, or practicing at 2 AM....:). You get the idea. The bottom line is that it flows and is consistent, if varying, and gets the job accomplished over time. Have fun creating a schedule for yourself and work to keep it.

3. WM: SET GOALS - CHART DEVELOPMENT
Suzanne: " Some people think they know what their goals are, but do they really? It takes some thought to clarify exactly what your goals are for the cello. Think about it. Set small goals first if the big picture is unclear and then keep track of whether you actually accomplish it. I can help you with this.

4. WM: FOCUS WHILE PRACTICING
Suzanne: "One of the main goals of cellochan is to teach focus. Notice that Wynton says to focus "while practicing". I think this implies that he knows the level of concentration needed for good practice is of a higher level than we use every day. It has to be worked at. It will get easier.

5. WM: RELAX, PRACTICE SLOWLY, YOU CAN'T BE IN A HURRY IF YOU'RE GOING TO GET BETTER.
Suzanne: " Ahh, here comes one of my favorite Pablo Casals quotes again. "I always practiced as if I had forever"
Relaxation, focus, patience, love of working on the details, and confidence that you will arrive at your goal are all a necessary foundation for success.

6. WM: PRACTICE THINGS YOU CAN'T DO - DON'T REHEARSE YOUR INSTINCTS
Suzanne: "Here I think that he is saying take a deep look at what needs work. Don't play "by the seat of your pants" so to speak. Don't get stuck playing what you can do easily. Good musicians of course have instinct, but here he is talking about getting the skill to access those deeper instincts and refining them.

7. WM: ALWAYS GIVE MAXIMUM EXPRESSION - INVEST
Suzanne: "There is an attitude that is more common than one might think. This attitude assumes that the technical work and the musical work are separate. They are not. When Mr. Marsalis says "always give maximum expression" he means that this will integrate and bring together the many facets of playing. These are: physical, emotional, spiritual, musical. Again, focus is needed to do this. Another way of putting it would be to say, wake up! Be fully present.

8. WM: DON'T BE TOO HARD ON YOURSELF
Learning the cello is a long journey. It simply can't be enjoyed if one is breathing down one's neck and wincing at every little mistake. Believe me, there will be LOTS of mistakes. Being hard on yourself could be seen as a reverse egotism actually. Just do you job - your best. Accept the results. Take the spotlight off of YOU. Don't invest your total self worth in the cello............the cello is something that you will invent for yourself, it is nothing without you. Just get to work and have the confidence you can do it. I will work with you on this too.

9. WM: DON'T SHOW OFF
Suzanne: " This is the flip side of no. 8. If you're showing off you are not focused and it will derail your playing. It is also the kind of attitude that causes unnecessary suffering to you and others. Should you take pride in what you do? Should you feel the joy of playing beautifully? Of course. There is a difference between showing off and the joy of playing.
(p.s.....here's a paradox for you. A tiny tiny bit of showing off might be ok sometimes.....:) :) Fun is definitely part of playing.

10. WM: THINK FOR YOURSELF
Suzanne: " It is a good think when there is true dialogue between student and teacher. Many students don't think that they can challenge the teacher or have permission to try to come up with their own ideas and solutions. This is a mistake.
The more a student asks questions, tells me what is on his/her mind, the faster we arrive at our goal.

11. WM: BE OPTIMISTIC
Suzanne:" There is no reason not to b e optimistic. With regular practice, good instruction, and normal coordination and intelligence, you can become a fine player. If you are pessimistic, it is you that is supplying that attitude. It has nothing to do with the reality of your talent/abilities.

12. WM: LOOK FOR CONNECTIONS TO OTHER THINGS
Suzanne: "This is perhaps the most complex of the 12 tips. It, I believe, means many things. Everything is interconnected. Look for connections within the music ( repeated patterns) ,connections in your body - how motion in one area affects another area, connections between your emotions and a given note or notes, connections between the music and things you experience in the environment in every day life. This could be a long long discussion!

Where Everything Is Music ~ a poem by Rumi

2007-08-13T17:44:00.000-07:00

The following poem by Rumi is one of my favorites.

Bio excerpt from: Web Source: www.khamush.com

"Rumi’s poetry also has been read in the West for centuries and there have been informed references to him in the work of Ralph Waldo Emerson and Georg Wilhelm Friedrich Hegel and many other eminent writers. But in recent years the popularity of his work in the West has increased to a surprising extent: according to the Christian Science Monitor, Rumi ranked as America's best-selling poet in 1997. His biography, or at least the highlights of his difficult but victorious life, should prove as inspiring as his poetry to his diverse and growing readership."

* * * * * * * * * * * * * * * * * * * * * * * *

Where Everything Is Music
Don't worry about saving these songs!
And if one of our instruments breaks,
it doesn't matter.

We have fallen into the place
where everything is music.

The strumming and the flute notes
rise into the atmosphere,
and even if the whole world's harp
should burn up, there will still be
hidden instruments playing.

So the candle flickers and goes out.
We have a piece of flint, and a spark.

This singing art is sea foam.
The graceful movements come from a pearl
somewhere on the ocean floor.

Poems reach up like spindrift and the edge
of driftwood along the beach, wanting!

They derive
from a slow and powerful root
that we can't see.

Stop the words now.
Open the window in the center of your chest,
and let the spirits fly in and out.

-- Jalaluddin Rumi

To me the poem speaks about removing barriers and the desolving of boundaries. Learning the cello is a delicate dance between all of our faculties. We have to balance the entire activity of playing even while concentrating more intensely on certain aspects of playing at certain moments. Sometimes we keep a sharp eye/ear, sometimes we let go, sometimes persevere, slogging ahead knowing we are out of balance. At times we are almost detached and can observe ourselves playing without getting in the way. But always, we hope, we are drawing closer to a place "where everything is music" with the whole process being integrated and flowing. What do you think Rumi is saying about music, perhaps learning the cello, or you in this poem? Suzanne

Summer Time

2007-07-10T15:49:00.000-07:00

I'm gearing up to start posting 1-2 times a week on CelloChanChat starting the third week in August. We will talk about all sorts of things related to the art of cello playing and I welcome you to the discussion. Given the fact that every lesson seems to have a special moment or interesting interchange, there will be no shortage of things to share with you there. I will be reviewing various articles and books and, over time, the links list will be expanded to include more cello resources and music related sites. If you have a suggestion for the blog or videos to share down the road, please let me know in the comment section. Until then, please visit cellochan.com.

Summer teaching ends Aug 24. Check back to CelloChanChat around then. In the mean time, Happy Summer! Suzanne

Learning the cello is like taking a long trip

2007-05-24T07:13:00.000-07:00

Master Sheng-Yen, one of the most famous present day Chinese Ch'an ( Zen) Masters:
'Practicing is like going on a long trip; you have to take the first step before you can reach your goal. But after many steps, suddenly you are there. There’s no reaching a distant goal without taking many steps.'

Above, Master Sheng-Yen or Shifu as his students call him, is talking about practicing in the sense of cultivation. We cultivate a garden, we cultivate ourselves in order to be better people, and we cultivate the art of cello playing. Impatience is one of the most common obstacles to mastery of the cello.

It's all interconnected

2007-05-24T07:09:00.000-07:00

THE BOW: The art of using the bow is one of the most complex areas of cello technique. Here are a few things to think about:
1. One of the ultimate goals concerning the bow hand is to have the learned actions become natural. The bow hold and movements of the fingers should be wedded to the general movement of the arm and even to the general body motion.
2. The bow hair has to “find” a special relationship to the string instead of scraping along on top of the string. It is an almost “glued” feeling the player gets as he/she “plugs” the bow into the string and the arm is “mover.” The hand responds in a flexible way to the motion of the arm. Thus, a circular feedback system is set up between player, bow, and string. Do you understand? Who would like to write comments on these points about the bow for the next newsletter?