Technique: How to vary and enhance your cello pizzicato

index image

Soloist and chamber musician Christoph Richter talks about good pizz technique with particular attention to the range of sound demanded by Debussy's Cello Sonata. From The Strad's November 2015 issue

For cellists this is an important topic: often we have to play a pizzicato line, but we rarely talk about how we do it. I’m often frustrated when I see a cellist in a quartet rest their thumb on the fingerboard and pluck perpendicular to the string using the index finger, because the sound is so dry. I first realised the importance when watching the Hungarian violinist Sándor Végh: he always said to his violin students, ‘that movement is for scratching behind your ear, not for pizzicato!’ And he was right.

If you use your whole arm and hold the bow as I demonstrate below, pizzicato suddenly becomes much easier and you can produce a rounder sound. Obviously, the whole arm can’t move as quickly as one finger, so we reduce the movement for faster pizzicato.

EXERCISES

Figure 1a shows a good arco hold; figure 1b shows a good pizzicato hold. Practise moving between the two, to help you balance your bow when shifting from pizzicato to arco and back. For single-note pizzicato, use the middle finger: this gives the roundest sound. I use the thumb and index finger to support it, so that I can produce more of a ‘boom’ than a ‘ping’ (figure 2)...

You are moments away from reading great content from The Strad

This article is exclusively available to members of The Strad community. 
JOIN HERE FOR FREE. Already a member, please SIGN IN.

Strad product montage

What you get:

  • Exclusive content including previews of the latest magazine articles
  • Access to our ever-growing library of features and resources
  • Our weekly newsletters with news, views and videos from the string world
  • To be part of the discussion by commenting on articles
  • The latest exclusive offers from The Strad and The Strad Shop