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Cello Technique
Playing the cello is done while seated with the instrument supported on the floor. The fingertips of the left hand stop the strings on the fingerboard to determine the pitch of the fingered note. The right hand plucks or bows the strings to sound the notes. Body position The cello is played while seated. Its weight is supported mainly by its endpin, or spike, which rests on the floor. The cello is steadied on the lower bout between the knees of the seated player, and on the upper bout against the upper chest. The neck of the cello is positioned above the player's left shoulder, while the C-String tuning peg is positioned just behind the left ear. The bow (music), bow is drawn horizontally across the strings. In early times, female cellists sometimes played side-saddle, since it was considered improper for a lady to part her knees in public. A player's handedness does not alter the way the cello is held or used. In rare cases, a player has used a mirror-image posture—usually bec ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Western Classical Music
Classical music generally refers to the art music of the Western world, considered to be distinct from Western folk music or popular music traditions. It is sometimes distinguished as Western classical music, as the term "classical music" also applies to non-Western art music. Classical music is often characterized by formality and complexity in its musical form and harmonic organization, particularly with the use of polyphony. Since at least the ninth century it has been primarily a written tradition, spawning a sophisticated notational system, as well as accompanying literature in analytical, critical, historiographical, musicological and philosophical practices. A foundational component of Western Culture, classical music is frequently seen from the perspective of individual or groups of composers, whose compositions, personalities and beliefs have fundamentally shaped its history. Rooted in the patronage of churches and royal courts in Western Europe, surviving earl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Legato
In music performance and notation, legato (; Italian for "tied together"; French ''lié''; German ''gebunden'') indicates that musical notes are played or sung smoothly and connected. That is, the player makes a transition from note to note with no intervening silence. Legato technique is required for slurred performance, but unlike slurring (as that term is interpreted for some instruments), legato does not forbid re- articulation. Standard notation indicates legato either with the word ''legato'', or by a slur (a curved line) under notes that form one legato group. Legato, like staccato, is a kind of articulation. There is an intermediate articulation called either ''mezzo staccato'' or ''non-legato'' (sometimes referred to as ''portato''). Classical string instruments In music for Classical string instruments, legato is an articulation that often refers to notes played with a full bow, and played with the shortest silence, often barely perceptible, between notes. The play ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Martin Berteau
Martin Berteau (2 February 1691 in Valenciennes – 23 January 1771 in Angers) was a French classical cellist, cello teacher, and composer. He is widely regarded as the founder of the French school of cello playing. Life Descriptions of Berteau's life are often unreliable and exaggerated. As a result, little is certain about his life. He probably studied viola da gamba in Germany with the Bohemian Kozecz. F.-J. Fétis, who wrote a ''Biographie universelle des musiciens'' (1835-1844), said that Berteau made his debut on the cello in 1739 at the ''Concert Spirituel'', playing his own concerto. However, his name is not mentioned in any media of the time, and neither his concerto nor sketches of it have been found. The only reference of his name was made by Jean-Jacques Rousseau who mentioned having heard Berteau perform in Paris in 1753. Works With the exception of a few cello sonatas, much of Berteau's work has been lost. For many decades Berteau's well known Cello Sonata in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Frances-Marie Uitti
Frances-Marie Uitti (born 1946) is an Americans, American cellist and composer known for her use of extended techniques and performance of contemporary classical music. Tom Service, music criticism, music critic for the ''The Guardian, Guardian'' newspaper, has called her "arguably the world's most influentially experimental cellist." Stephen Brookes wrote in the ''The Washington Post, Washington Post'', "The spectacularly gifted cellist Frances-Marie Uitti has made a career out of demolishing musical boundaries. She has developed new techniques (most famously, playing with two bows simultaneously), collaborated with a who's who of contemporary composers, and pushed the cello into realms of unexpected beauty and expression... Uitti showed why she might be the most interesting cellist on the planet." Music career Born in Chicago, Illinois to Finnish-Americans, Finnish-American parents, Uitti graduated from Berkeley High School in 1964, where she played cello in the school orchestra. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Double Stop
In music, a double stop is the technique of playing two notes simultaneously on a stringed instrument such as a violin, a viola, a cello, or a double bass. On instruments such as the Hardanger fiddle it is common and often employed. In performing a double stop, two separate strings are bowed or plucked simultaneously. Although the term itself suggests these strings are to be fingered (stopped), in practice one or both strings may be open. A triple stop is the same technique applied to three strings; a quadruple stop applies to four strings. Double, triple, and quadruple stopping are collectively known as multiple stopping. Early extensive examples of the double stop and string chords appear in Carlo Farina's ''Capriccio Stravagante'' from 1627, and in certain of the sonatas of Biagio Marini's Op. 8 of 1629. Bowing On instruments with a curved bridge, it is difficult to bow more than two strings simultaneously. Early treatises make it clear that composers did not expect three ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pizzicato
Pizzicato (, ; translated as "pinched", and sometimes roughly as "plucked") is a playing technique that involves plucking the strings of a string instrument. The exact technique varies somewhat depending on the type of instrument : * On bowed string instruments it is a method of playing by plucking the strings with the fingers, rather than using the bow. This produces a very different sound from bowing, short and percussive rather than sustained. * On keyboard string instruments, such as the piano, pizzicato may be employed (although rarely seen in traditional repertoire, this technique has been normalized in contemporary music, with ample examples by George Crumb, Toru Takemitsu, Helmut Lachenmann, and others) as one of the variety of techniques involving direct manipulation of the strings known collectively as "string piano". * On the guitar, it is a muted form of plucking, which bears an audible resemblance to pizzicato on a bowed string instrument with its relatively short ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Col Legno
In music for bowed string instruments, , or more precisely (, ), is an instruction to strike the string with the stick of the bow across the strings. History The earliest known use of in Western music is to be found in a piece entitled "Harke, harke," from the ''First Part of Ayres'' (1605) by Tobias Hume, where he instructs the gambist to "drum this with the backe of your bow". Sound The percussive sound of battuto has a clear pitch element determined by the distance of the bow from the bridge at the point of contact. As a group of players will never strike the string in exactly the same place, the sound of a section of violins playing is dramatically different from the sound of a single violin doing so. The wood of the bow can also be drawn across the string — a technique called ("with the wood drawn"). This is much less common, and the plain marking is invariably interpreted to mean ''battuto'' rather than ''tratto''. The sound produced by is very quiet, with an ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Proper Bow Placement
Proper may refer to: Mathematics * Proper map, in topology, a property of continuous function between topological spaces, if inverse images of compact subsets are compact * Proper morphism, in algebraic geometry, an analogue of a proper map for algebraic varieties * Proper transfer function, a transfer function in control theory in which the degree of the numerator does not exceed the degree of the denominator * Proper equilibrium, in game theory, a refinement of the Nash equilibrium * Proper subset * Proper space * Proper complex random variable Other uses * Proper (liturgy), the part of a Christian liturgy that is specific to the date within the Liturgical Year * Proper frame, such system of reference in which object is stationary (non moving), sometimes also called a co-moving frame * Proper (heraldry), in heraldry, means depicted in natural colors * Proper Records, a UK record label * Proper (album), an album by Into It. Over It. released in 2011 * Proper (ofte ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sautillé
Playing the violin entails holding the instrument between the jaw and the collar bone (see below for variations of this posture). The strings are sounded either by drawing the bow across them (''arco''), or by plucking them (''pizzicato''). The left hand regulates the sounding length of the strings by stopping them against the fingerboard with the fingers, producing different pitches. Posture It is possible to play the violin holding it in a variety of ways. Most players hold the lower bout of the instrument between the left shoulder and the jaw, often assisted by a semi-permanently attached chinrest and detachable shoulder rest. If held properly under the chin, the violinist can let go of the instrument with their hands and it will stay there firmly. Other common ways to hold the instrument include the seated Carnatic attitude, with the scroll resting on a foot, or the dancing-master's "kit" or "''pochette''" hold, along the forearm, by the lower margin of the rib cage, eve ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tempo
In musical terminology, tempo (Italian, 'time'; plural ''tempos'', or ''tempi'' from the Italian plural) is the speed or pace of a given piece. In classical music, tempo is typically indicated with an instruction at the start of a piece (often using conventional Italian terms) and is usually measured in beats per minute (or bpm). In modern classical compositions, a "metronome mark" in beats per minute may supplement or replace the normal tempo marking, while in modern genres like electronic dance music, tempo will typically simply be stated in BPM. Tempo may be separated from articulation and meter, or these aspects may be indicated along with tempo, all contributing to the overall texture. While the ability to hold a steady tempo is a vital skill for a musical performer, tempo is changeable. Depending on the genre of a piece of music and the performers' interpretation, a piece may be played with slight tempo rubato or drastic variances. In ensembles, the tempo is often ind ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
David Popper
David Popper (June 16, 1843 – August 7, 1913) was a Bohemian cellist and composer. Some other sources list his date of birth as December 9, 1843. Life Popper was born in Prague, and studied music at the Prague Conservatory. His family was Jewish. He studied the cello under Julius Goltermann (1825–1876), and soon attracted attention. He made his first tour in 1863; in Germany he was praised by Hans von Bülow, son-in-law of Franz Liszt, who recommended him as Chamber Virtuoso in the court of Prince von Hohenzollern-Hechingen in Löwenberg. In 1864, he premiered Robert Volkmann's Cello Concerto in A minor, Op. 33, with Hans von Bülow conducting the Berlin Philharmonic. He lost this job a couple of years later due to the prince's death. He made his debut in Vienna in 1867, and was made principal cellist at the Hofoper. From 1868 to 1870 he was also a member of the Hellmesberger Quartet. In 1872, he married pianist Sophie Menter, a pupil of Liszt. She later joined the staff ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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