I find the first two measures of Prelude from Bach’s cello suite 6 to be among the more challenging passages in the piece. The string crossings and arpeggiation pose challenges to tone production and intonation. These challenges are compounded by being in the middle register - middle 3 strings, so it’s easy to crash into adjacent strings to produce unwanted sounds. Here’s how I break it down: 1) play only the moving note on the performance bow strokes — in this case the last note of each triplet is played up bow. I focus on placing the hair accurately and driving the bow with awareness of the direction of the tip of the bow. On the G string I drive the bow behind me. On the A, I drive the bow towards the ceiling. 2) Play the moving notes with the preceding notes, in this case open D string. Absorb the feeling of each string crossing. For crossings to the lower string, I visualize the bow tip dropping towards my shoulder. For crossings to the higher string, I visualize my forearm hugging in towards my abdomen. 3) Play all notes slowly being hyper aware of all the motions - bow directions and string crossings. 4) At tempo. Notes: I repeat each stage more than once. I compressed the process for brevity in presentation in Instagram. Bow tip and arm movement direction will be different depending on what instrument you’re playing (violin, viola, cello, etc). The point is it’s useful to external points of reference. #violoncellodaspalla #practiceroom #practiceroomrevelations #practicemakesprogress #cello #cellopractice #cellopracticetime #cellolesson #cellotechnique #violintechnique #violinpractice🎻 #jsbach #bachcello #bachcellosuites #cellosuites #stringplayers #stringsattached #violinteacher #музыкабаха #бах #виолончелист #celloist #baroquecello #hellocello #celloworld #cellopower (at Washington D.C.) https://www.instagram.com/p/CIS7vfTAt3h/?igshid=1gp6zrbyi5uci