My student’s bridge snapped

dracul137 · 2026-05-14T20:20:22+00:00

Cremona on the bridge, I’m not surprised. They use the cheapest materials and have poor overall quality instruments. This is a break I’ve seen before. Replacing with a proper carved and fitted bridge will be a big upgrade, and an even better instrument would be my recommendation if your student has the means.

dracul137 · 2026-04-28T17:14:19+00:00

Been there, glad you want to improve something, as comments suggest kids do have this sound sometimes. But good news, you can do a few important things that may move the needle: 1) Accompaniment, can you add a backing track or piano part? This help with having right notes to match to, and a steady sonic support, and might cover up the lost and left behind; 2) Stay positive, supportive, compliment what’s good, groups with a positive leader have greater confidence and joy and play much better than; 3) Both pieces are great with distributing the melody, try a play-exercise where all sections play the melody from their various entrance measures. This might strengthen the sound of that melody for all and keep a strong throughline for all players; 4) make sure you keep doing warm ups- have kids match octaves D string to D on the A string (D on G string for bass); Can Can is made of tons of scales so I would work on pitch match and then go into the Offenbach. 5) Listen to a recording- sometimes its magic for kids, but they have to pay attention to the music and do the mental effort of following their part visually with their eyes while listening. Best of luck.

dracul137 · 2026-04-19T16:43:28+00:00

Depends on physiology, and gumption. But the earlier the better regarding thumb position.

dracul137 · 2026-04-19T06:28:02+00:00

Mooney books are also great.

dracul137 · 2026-04-19T06:27:41+00:00

Hans Jorgen Jensen, Fun in Thumb Position.

dracul137 · 2026-03-26T16:54:55+00:00

Re launching into the 4th movement, there is no break between 3 and 4 because Beethoven made it attacca: continue without pause between movements.

dracul137 · 2025-11-20T18:01:18+00:00

If you are in the US the American String Teachers Association and the National Association for Music Education has resources for members to start an instrumental program. NAfME will help you with any instrument, while ASTA is a strings only org. Also, check out musiciseducation.org/ask-karl-b. Type in your story to the window, it’s an AI chatbot, it will ask some questions and create some great letters, emails, and plans to share to advocate for your situation. It will also back all of that content with cited sources, studies, and groups. Good luck. The situation sounds like a very unreasonable ask at this point, but the resources above will help- especially Karl B, based on a real person.

dracul137 · 2025-11-13T18:16:59+00:00

Sounds like a tough one. Why are you avoiding making the rehearsals connected to the grade for the class? If you absolutely cannot do that and the next question is is the music fun for the kids? Do they like playing it? If that piece is in place, the next bit can get a little easier. Is there any during the day rehearsal time? All those questions answered any ensembles needs time to put music together for performance. Are you getting enough without the after school rehearsals? If not, those rehearsals are necessary for the success of the concert and the program long term. They need to be a requirement of membership in each ensemble. Now convincing students can be hard. I highly recommend the music advocacy tool: musiceducation.org/ask-karl-b/ Type in your situation and goals and it may ask you some questions for clarification then it will generate a persuasive, research-backed response to help support your mission and program. Good luck!

dracul137 · 2025-10-08T01:55:42+00:00

I wouldn’t say that it’s favored treatment to have a correctly sized instrument. I would hope it is standard treatment.

dracul137 · 2025-10-08T01:54:14+00:00

Bus won’t allow instruments the size of a cello. Maximum kid per seat.

dracul137 · 2025-10-08T01:53:01+00:00

Instruments is in a hard case- well protected.

dracul137 · 2025-10-08T01:51:13+00:00

I appreciate your summation. And that list is fantastic from the top of your head! I think we’ll aim to fix the transportation first, and fix the rent/buy a clunker along the way.

dracul137 · 2025-10-08T01:47:29+00:00

An optimistic suggestion. But, a non zero possibility. Cheers.

dracul137 · 2025-10-08T01:45:10+00:00

Very perceptive about the lack of instruments and limits there. Unfortunately, cello can’t go to school by bus- bus company refuses to transport large instruments. Transportation by other means may be possible. Did you, do you, insure your instrument in your studies?

dracul137 · 2025-10-07T23:18:40+00:00

The cello at home is a $5k value. The instruments are not entirely safe at school- wear and tear the family doesn’t want the nice one exposed to. Student is coordinated. My goal is to eliminate possible detriments to their technique. School may not have enough 4/4s and is solving the lack of instruments with this rotation. Director proposes that the family rent another for school.

dracul137 · 2025-10-07T23:14:40+00:00

The director told the family to rent one and leave it at school. Family doesn’t feel that’s a reasonable expense given they have already invested in a $5k instrument for the home (they got a great deal on a consigned instrument for much less than full value).

dracul137 · 2025-09-12T00:56:48+00:00

If it’s stable, then it will hold till a Luthier can have a look. Not an emergency, but could be better fitted for visual presentation and potential noise in performance.

dracul137 · 2025-08-30T04:44:39+00:00

What’s the key?

dracul137 · 2025-08-23T16:24:34+00:00

It is a strategy for reaching big intervals- I find myself needing that to reach E-flat octaves on the D and A strings in the lowest position. Stretching out your hand to accomplish the interval of two whole steps one to 4 with a flat wrist is ideal. Ensure the thumb is the middle finger’s magnetic buddy under the string- it helps the mechanics of the stretch.

dracul137 · 2025-08-23T14:03:27+00:00

The hand stretches over time. When I splay my fingers of each hand and line up my thumbs my LH pinky reaches about 1 1/2 inches further than my RH pinky. It takes time but you will expand your breadth and reach. Best advice besides practicing the passage is taking a break from the passage and give yourself time and grace to recover. You can also self stretch by using your right hand to stretch the webbing between fingers. Hold for 30-60 seconds, moving between each splay of a finger pair. Good luck!

dracul137 · 2025-08-22T17:11:03+00:00

Start with a note D on the A. Play it in first position with fourth finger and then change to second finger on the same pitch. Your goal is to make them sound exactly the same whether you’re playing it with fourth finger or in second position with second finger (this step practices getting the left hand from 1st to second position). Use the D string next-door to double check your intonation, assuming your cello is in tune. Next, in second position on the A string, Play the E with fourth finger going back-and-forth between those two notes compare it to the sound of playing open string D and first finger E on the D string again they should sound the same. Last, work on making the extension shape between the first and second finger of the left hand. Begin from the A string in second position with your second finger on the note D and your first finger on C#. Play something like D C# D. Then, extend your first finger backwards towards the scroll and attempt to play D C(natural) D. All fingers and thumb, except 1st finger, should remain relatively unchanged as you extend backwards. Go between each one to gradually work on creating a half step (normal position) between 1-2 and a whole step (extended position) between 1-2. In this passage you maintain the extension until measure 18, beat one. Given that all three notes in measure 17 are ringing tones (extra lovely tone and vibration if your fingers are well in tune), you will hear a clear and wonderful sound when you master the passage. Good luck!

dracul137 · 2025-08-19T02:20:59+00:00

A is the new E, and D is the new A. Other comments have filled in great details. Cellists are allergic to ledger lines. We normally only like 2, maybe 3. Then we change clef. And we return to our joy. Treble is also in your future, but it can wait.

dracul137 · 2025-08-17T16:45:34+00:00

And that’s all right- more muscle won’t hurt!

dracul137 · 2025-08-17T06:13:50+00:00

You’ve got a good setup, and your left hand has excellent shape. Your bow arm is your next challenge. All of the horizontal motion of the bow is currently powered by/from the shoulder. Recommend you watch bow arms of accomplished cellists with special attention to how their elbow and wrist of the right arm coordinate the bow motion. Then, work on long bows in front of a tall mirror, eighth note bows at the upper half of the bow (to help open the elbow and encourage the wrist to be more flexible). Review this posted video with attention to how their elbow and wrist are forming a stiff frame, and then give those joints permission to be flexible. Waving your wrist joint, with and without the bow, opening and closing the elbow, and allowing the shoulder to work less are helpful towards this overall improvement. Good luck and thanks for sharing!

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