{"id":1862,"date":"2016-08-31T16:36:02","date_gmt":"2016-08-31T16:36:02","guid":{"rendered":"http:\/\/www.servais-vzw.org\/?page_id=1862"},"modified":"2016-09-03T11:42:45","modified_gmt":"2016-09-03T11:42:45","slug":"cellotechniek","status":"publish","type":"page","link":"https:\/\/www.servais-vzw.org\/en\/cellist\/cellotechniek\/","title":{"rendered":"Cello Technique"},"content":{"rendered":"
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The bowing- and left hand technique<\/span><\/h3>

It is mainly in the bowing technique that Servais provided enormous progress. A supple bowing made possible arpeggios in a quick tempo, very long legatos and staccatos in up- or downbows. He also innovated left hand technique: with long passages in thumb positions and in high positions the touch range of the cello was greatly extended. Unlike his predecessors, Servais managed to combine a virtuoso bowing technique with virtuoso left hand technique.<\/p>\n

Servais did not write these innovations down. As a teacher he passed them on to his pupils, who for their part influenced later generations. He also incorporated these technical innovations in his\u00a0Six Caprices<\/em>, opus 11. Nowadays these six studies are still being taught worldwide in academies of music and conservatories.<\/p>\n

The endpin<\/span><\/h3>

Moreover, Servais went down in history as the inventor of the endpin or spike, which enabled a much freer handling of the instrument.<\/p>\n

Till the middle of the nineteenth century a cellist clasped his instrument between his legs. It leaned on his calves. This resulted in slightly convulsive strokes, and moreover it made the lower register hard to play.<\/p>\n

Servais\u2019 merit has to be qualified somewhat: before him, every now and then some cellists placed a little bench or piece of wood underneath their instrument. What Servais did was to fix a metal pin to the bottom of his instrument, and he was probably the first cellist always to play with a pin. Through his pupils and his many performances he contributed strongly to this way of playing.<\/p>\n

After some decades of playing, this adjustable pin was generally adopted. This caused a revolution in cello playing: the instrument could now be handled with much more freedom and played with the entire body, which resulted in a greater virtuosity.<\/p>\n[\/vc_column][\/vc_row]\n<\/div>","protected":false},"excerpt":{"rendered":"

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