## Description:

One of the greatest and most essential challenges to string players is the mastery of pitch accuracy in all positions. Without visible signposts, the fingerboard can be a daunting uncharted territory.

The purpose of The Seven Points is two-fold:

1. to enable the cellist to establish points of reference needed to build an accurate map of the fingerboard

2. to facilitate a relaxed, ergonomic approach to playing

The Seven Points is based on a simple concept: we divide the string into seven points, corresponding to audible harmonics on the fingerboard, and use these landmarks as points of reference to locate and play all other pitches. Just as many beginners use tape on the fingerboard to mark the notes in first position, the seven points serve as mental “tape” to guide the cellist in locating pitches.

There is great value for a new approach to mapping out the fingerboard. Cellists are typically 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. 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 idea of dividing the string into proportions (fractions or ratios) can be traced back to the time of Pythagoras (c. 582-507 B.C.E.). Through division of the string into whole number ratios, Pythagoras defined musical intervals mathematically. His approach of dividing the string into proportions can be applied to any string instrument to create landmarks.

The purpose of The Seven Points is two-fold:

1. to enable the cellist to establish points of reference needed to build an accurate map of the fingerboard

2. to facilitate a relaxed, ergonomic approach to playing

The Seven Points is based on a simple concept: we divide the string into seven points, corresponding to audible harmonics on the fingerboard, and use these landmarks as points of reference to locate and play all other pitches. Just as many beginners use tape on the fingerboard to mark the notes in first position, the seven points serve as mental “tape” to guide the cellist in locating pitches.

There is great value for a new approach to mapping out the fingerboard. Cellists are typically 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. 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 through the positions faster.The idea of dividing the string into proportions (fractions or ratios) can be traced back to the time of Pythagoras (c. 582-507 B.C.E.). Through division of the string into whole number ratios, Pythagoras defined musical intervals mathematically. His approach of dividing the string into proportions can be applied to any string instrument to create landmarks.

## The Seven Points on All Four Strings

Through a series of exercises, these seven points will become comfortable and consistent in the hand. Once theses are learned, the next step in mapping the fingerboard is to fill in the notes between each of the seven reference points. Each chapter of the book has a series of similar excercises for each points, then the exercises become increasingly difficult and eventually the cellist is "weaned" off of the harmonic point.

## The end result is that the left hand will instinctively base all pitches on the cello on one of the Seven Points, greatly increasing pitch accuracy and confidence

Here are some other examples from the book, just so you know what you're getting into :-)