Do you wish that you could play every note on the cello
on every string in tune without anxiety? If someone
named a note, could you play it on all four strings in all four octaves with all five fingers? Obtaining and maintaining pitch accuracy is a life-long quest of string players. The aim of The Seven Points is to aid the cellist in this quest. Playing in tune is a major concern for both amateur and professional cellists. While tone production and bow technique are of importance, much of the focus while playing is di- verted to pitch accuracy. The purpose of this method is to help give the cellist a framework that will en- able him or her to play accurately in tune in all the positions of the instrument. There is great value for a new approach to mapping out the fingerboard. For the past three hundred years, cellists have been taught by learning first position first. After staying in first position for one to two years, the cellist is then allowed to slowly ascend the fingerboard, mastering one position at a time. The highest positions are reserved for the most advanced players. As a result, many cellists are insecure in the upper positions. This traditional approach can be a handicap to amateur and professional cellists alike. In order to avoid fear of the upper positions, cellists of all skill levels should be given the opportunity to explore all the regions of the fingerboard. Through a comprehensive and logical approach, The Seven Points provides a methodology that will help cellists to advance faster. The Seven Points is based on a simple concept: If a cellist divides the string on the harmonic points of one-fourth, one-third, one-half, two-thirds, three- fourths, five-sixths, and seven-eighths, then all other pitches can be based in reference to these fundamental points. In other words, if the cellist can confidently play these seven harmonic points on each string, then every other note on the fingerboard can be found in relation to these points. The Seven Points The purpose of any map is to help a person to know where they are going. Another benefit of a map is to divide unknown territory into definable sections. The finger- board is unmarked, unfretted territory. Dividing it into sections based on landmarks makes it more approach- able. If you know with certainty where your landmarks are, then you wont get lost. For the beginner this map provides the means to explore new territory. For the professional it provides a stable framework for left- hand accuracy. Most beginners start with tape on the fingerboard to visually mark the landmarks in first position. The seven harmonic points share this purpose by acting as tape in the mind of the cello player. Although this method is subtitled A New Proportional Approach to Cello Playing, the concept is a rather old one. The idea of dividing music into a system of pro- portions can be traced back to the time of Pythagoras (c. 582-507 B.C.E.). Through dividing string length into ratios, Pythagoras devised a system of musical intervals that characterized his tuning system. His approach of dividing the string into proportions can be applied to any string instrument to create landmarks. In volume one of this method, each of the seven points has multiple pages of exercises which follow a progres- sion from easy to difficult. In volume two, the points are then combined together in a similar progression. Volume two also contains etudes for each point. The concept of learning by repetition is built into this method. The notes and fingering patterns presented in the opening exercises of each section are drilled in many different rhythms and sequences.
Below are a few excerpts from the opening chapter, which introduces the Seven Points. The following examples demonstrate the progression of the exercises. Each point begins with introducing the notes associated with that point. The open string an octave lower can also be a pitch reference for the one- fourth point. In one-fourth and one-third, either the open string or the harmonic can be played (not both at the same time). One-Third: One-Half: After learning the notes in sequential order, the notes are mixed up in random order (or randomized) on two strings, and then on all four strings. The unison open string can also be used as a pitch reference for the one-third point. One-Fourth: After gaining accuracy playing the harmonic point and transitioning to the solid note, the harmonic is dropped and just the solid note is played. Two-Thirds: The primary goal of the exercises is not only to learn the notes associated with each point, but also the whole- step/half-step combinations (or shapes) associated with each point. Below are examples of shapes exercises. The next step is to silently play the reference point before each note. This continues to train the left hand to anchor itself on the reference point. Three-Fourths: Five-Sixths: (4 string version) The Five-Sixths and Seven-Eighths points include a four string version (which completes the map of the entire fingerboard), and a more practical version which maps these points only on the A and D strings. By this point in the progression of exercises, the cellist can now look at any note on the instrument and know which harmonic point or points serve as a reference for that note. Below are three examples of the final exercise. Seven-Eighths: (2 string version) One-Half: Two-Thirds: The Seven Points can be a catalyst for quick techni- cal growth. If you commit to learning the map, it will change your approach to the fingerboard while maximizing pitch accuracy. Learning this map is a commitment. In order for it to be an effective tool, the exercises have to be repeatedly drilled. Since there is great amount of repetition involved in the exercises, you must main- tain concentration while practicing in order to rapidly improve. An advanced player may be able to accomplish this in four to twelve months, while it may a take a be- ginner many years. After completing this method, it is advisable to use this method for warm-ups and as a ref- erence tool. George Crumb once said, Music might be defined as a system of proportions in the service of a spiritual impulse. This method will give you the sys- tem of proportions, thus enabling your spiritual impulse. The Seven Points, Vol. 2 features exercises which mix the exercises together. These combined chapters are more difficult than the previous chapters due to increased shifting. Below are four examples from the One-Fourth, One-Third, and One-Half Combined chapter. Also included in volume two are etudes for solo cello, which serve to reinforce the harmonic points in a musical context. The etudes, which often make use of new extended and non-classical cello techniques, may also have interest to cellists looking for unaccompanied performance pieces. The following are excerpts from three of the etudes. Etude for One-Fourth: Etude for One-Half Thumb Position: Etude for 1/4, 1/3, 1/2, 2/3, and 3/4