PIZZICATO TECHNIQUE SERIES

Bright and witty, talented and playful, accomplished and approachable, Stephen Katz is quite simply divine. To be StephenвЂ™s student is to experience the delight of discovery, both artistically and personally. Totally present and attuned to his students, he encourages them to explore their individual paths to artistic accomplishment and to have fun along the way. I think that any technique that helps us to think differently about producing sound and rhythm on the cello is worthwhile and your music is very appealing to themвЂ¦and me!вЂ¦ IвЂ™m interested in some of the ways that you create multiple voices.ДЄs a teacher Stephen brings his considerable creativity and warmth into each session.

As a cellist and teacher IвЂ™m having a lot of fun working on the technique and introducing it to my students.

There was alot of food for thought and experimentation on various levels, technical, musical, philosophical, and I really appreciate the openness to the students as people that came across so clearly in your way of interacting.ДЇirst, I wanted to let you know how much I have enjoyed your album Flying Pizzicato. Great classes yesterday! It's so great for me and the students to have contact with someone who has pursued a singular path, rather than trying to follow some perceived route to some, mostly imagined, conventional destination. The cello is an extraordinarily versatile instrument and Stephen helps open new dimensions to playing and creating that would have been difficult to find elsewhere. Stephen is engaged, helpful, flexible, creative, encouraging, and overall a lot of fun to work with. It was an honor getting to work with you and I hope we can do more soon.

PIZZICATO TECHNIQUE SERIES

I came up with the name for my strumming technique long before I learned that the same name was given to another pizzicato technique by the great violin pedagogue Paul Rolland, Turns out I knew him and appeared in his string teaching video series at the University of Illinois String Research Project, a government-funded production of the late 1960's. I've been cultivating and sharing Flying Pizz techniques and repertoire with cellists internationally through one-on-one sessions and workshops s ince 1990. The approach grew out of my quest to make deeply rhythmic music that bonds the emotional resonance and refinement of classical music with the roots of dance music and improvisation. The process guides me to create compositions I would never have come upon without applying the specific principles that make it work. Extend your thumb and index finger so that they are fairly straight. Hold your fist over the strings just above the top inch or two of the fingerboard, with your knuckles pointing toward the ceiling. Listen to both songs on WhoSampled, the ultimate database of sampled music, cover songs and. Make a fist with your right hand, with the tip of your thumb cuddling the middle joints of your first and second fingers. In performance it then makes sense to play what you practice.What could be called individual note strumming, Flying Pizzicato is based on striking the strings one note at a time and using lots of left-hand pull-offs and hammer-ons.ДЇlying Pizzicato techniques and repertoire developed hand-in-hand as I explore patterns and grooves that draw my attention. by Handsomeboy Technique sampled Pizzicato Fives 24 Decembre. By using different fingers for each of the three notes he reduces the risk and extends the amount of time he can spend practising that section. Tension in the string acts as a restoring force. A violinist is playing pizzicato by pulling the string sideways (perpendicular to the direction of the string) near one end of the string, with a single finger, and then releasing the string.

During practice if he always used the same finger then he would be much more likely to develop a blister on that finger. Pizzicato is a technique for playing string instruments where sound is produced by plucking a string. In the piece in the question Perlman plays three consecutive notes with right hand pizzicato. Hoffman also makes a point which is relevant to right hand pizzicato when she warns against practising pizzicato for more than very short periods of time because of the danger of developing blisters on the fingers. If the finger is held down then it is impossible to pluck the string with the first finger of the left hand. As she says in first position it is easier to pluck the open string with the fourth finger of the left hand than the first because the angle is better and the string is higher above the fingerboard.

Here is a video on left hand pizzicato by violinist Vivien Hoffmann which makes some useful points. When playing left hand pizzicato you have less choice. This piece composed in the rondo form is. When playing right hand pizzicato you have a choice. Its a heavily syncopated dance-like piece designed to reinforce good counting and solid pizzicato technique. The question follows: are there any benefits to using fingers other