The Importance of Modern Rhythms in Student Repertoire Selection
An Interview with Wendy Velasco
I interviewed Wendy Velasco about her new collaborative series, “The Musical Odyssey” by Barbara Arens and Wendy Velasco. This series brings contemporary rhythms and styles into the reach of less advanced players, and fills the gap in our repertoire from female composers—material which has been sorely lacking.
What motivated you to embark upon this project?
Several years ago I thought about having my students play some pieces by women composers. When I asked for suggestion on the internet, some of the guys on the page insinuated that I would be giving my students substandard repertoire. I decided that I needed to learn more about pieces for cello by women composers with the hope of educating my fellow cellists as well. I started a database of pieces by women composers. I did not pass judgement on any piece. What I like might not be what someone else likes. If it was written by a woman and was for cello solo, cello & piano, or cello & orchestra, it made the list.
While there were pieces of varying styles for a student who had reached the level of the Brahms sonata, there were very few pieces written for students who were less advanced. I set out to find women who would be willing to write music for beginning and intermediate cellists. It was in this search that I met (online) Barbara Arens. She is a pedagogical composer, mostly of piano repertoire. Her own children had played cello and she had written some pieces for them. She was looking for a cellist to edit them for publication. I volunteered.
How has your professional performing career led you to see a need for this for your students?
Over the past few years, I find myself playing more and more contemporary music in my symphonic work, and lots of pop music at my wedding gigs (Thanks Bridgerton!). The rhythms are much more syncopated and require a lot more subdivision than any of the rhythms I had studied growing up. I realized that I wasn’t doing much better at preparing my my own students for this kind of repertoire. I love the Suzuki books and use them all the time but the repertoire does not teach many of the rhythms that I was now playing in my professional career. Barbara Arens’ pieces were a perfect opportunity to supplement my standard repertoire so that my students could play with more complex rhythms —even in their first years as a cellist.
How did you decide what order to introduce different concepts (does it line up with Suzuki levels)?
In looking through Mrs. Arens’ pieces, I selected about one to two pieces that would fit each Suzuki level based on the positions taught. The Musical Odyssey books fit perfectly as a supplement to the Suzuki repertoire progression.
In A Musical Odyssey Book One, the first piece stays in first position but uses 2nd fingers and has slurs. I give it to my students right after they play Minuet in C. “Grumpy Gorilla” is all in first position and introduces a very basic “swing” rhythm. In my studio, I introduce the backwards extension BEFORE the forward extension so the next two pieces are a great way to bring that technique in before Two Grenadiers. “Waltz at the Winter Palace” uses lots of 3rd position. I introduce it around Lully Gavotte. There are a few more pieces that use 4th position in that are perfect for a cellist in Suzuki 3 or 4. In A Musical Odyssey Book Two, the cellist will use 4th through thumb position. There are several fun jazzy pieces as well. Each teacher will find their own places to insert the repertoire. We have also compiled a book of all the pieces in book one and two in duet form. This is very useful for a teacher who wants to help their student get ready to play with piano. I always find it’s the rests that cause students the most trouble!
How do you help students to learn the rhythms in these fun pieces before they play the piece?
The Suzuki program provides fantastic training opportunities for their teachers. I thought it would be helpful for teachers to have some ideas on how to introduce these rhythms to their students. So, in order to get a teacher’s creative juices flowing, I have given a one or two page preparation exercises for each of the pieces. The pages mainly use the scales and arpeggios of the piece to introduce rhythms used in that selection. I have used some sports analogies by having “Rookie, Advanced, and Pro Level” exercises to introduce the rhythms that the piece would require. I also include a “Fun Hack” or words that a student could use to help them remember the rhythms. Of course, I only have minimal space on the page to explain the concepts. A teacher would provide the instruction. This is where I would recommend the excellent materials that Core Music Theory provides. By using these materials together, the students will have a theoretical AND a practical knowledge of these fun rhythms.
How have your own students reacted to the material?
I have enjoyed having something new to use with my students and they enjoy them too. I feel great about introducing them to new rhythms AND showing them that women compose music too.
Why do you think it’s important that students are introduced to music written by women?
When I was growing up, society made the effort to show women as doctors, engineers, and in other careers that were typically thought of as “masculine.” It has worked and women are now considering these options for careers. It use to be unheard of that a woman would play a cello or even violin but now that seems ridiculous. I think with some small effort on a teacher’s part, we can show young girls—and boys—that women too can compose music.
Will you be writing more books in the future?
Barbara Arens and I are considering a collaboration on a book of jazzy cello pieces to introduce students to the swing rhythm style. It is still very much in the planning stage.