{"id":436141,"date":"2020-08-16T09:30:16","date_gmt":"2020-08-16T07:30:16","guid":{"rendered":"https:\/\/www.thomann.de\/blog\/?p=436141"},"modified":"2024-04-18T10:33:44","modified_gmt":"2024-04-18T08:33:44","slug":"the-cello-enchanting-sound-and-incredible-versatility","status":"publish","type":"post","link":"https:\/\/www.thomann.de\/blog\/en\/learn\/the-cello-enchanting-sound-and-incredible-versatility\/","title":{"rendered":"The Cello – enchanting sound and incredible versatility"},"content":{"rendered":"

The special charm of the cello owes itself partly to the gently dark sound character it produces. Interestingly, a significant homage to this expressive string instrument comes from the world-famous violinist Yehudi Menuhin: “The cello touches our feelings on a deep, unfathomable level”. That alone is reason enough to dedicate an entire blog article to informing you about this big sister of the violin and viola. \ufe0f<\/strong><\/p>\n

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Sound of a Cello – In No Way Limited to Classical Music<\/strong><\/h2>\n

Classical music<\/strong> is the typical domain of the cello <\/strong>and this instrument is an integral part of classic orchestras<\/strong>. Restricting the cello to this would unfairly ignore its musical diversity<\/strong>. Various artists celebrate a cross-genre <\/strong>experience on the cello that can hardly be described in words. One example is Wolfram Huschke<\/strong>, an experimental cellist who was originally trained at the Salzburg Mozarteum<\/strong>. Another example is the Finnish crossover band Apocalyptica<\/strong>, which plays metal covers<\/strong> (as well as originals). See the videos below:<\/p>\n

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Up close and personal<\/strong><\/h2>\n

The cello is usually played while sitting<\/strong>. The cellist basically “hugs<\/strong>” the instrument while playing it. The cello is closely related in construction and form to the violin and viola. Like these relatives, today’s cellos have 4 strings<\/strong> and are tuned in fifths<\/strong>. Nevertheless, there are clear differences between these stringed instruments in terms of dimensions as well as playing style<\/strong> and grip technique<\/strong>.<\/p>\n

\"Stentor<\/a>
Stentor SR1108 Cello Student II 4\/4<\/figcaption><\/figure>\n

Special playing style and fingering<\/strong><\/h2>\n

The fact that the cello is larger<\/strong> than its relatives also means that the distances between the strings<\/strong> and thus the notes are wider<\/strong>. While violinists can grasp four notes in one position, this is hardly feasible with the cello. For this reason, the gripping hand must be moved back and forth<\/strong> with simple melodies on the neck and fingerboard. So that entry-level<\/strong> fingers can perfectly target the notes, simple markings<\/strong> can be glued to the fingerboard. You can do this with precise measurements<\/strong> or with products like this:<\/p>\n

\"Don\u2019t<\/a>
Don’t Fret Cello 4\/4<\/figcaption><\/figure>\n

The cello bow: an extension of the cellist’s arm<\/strong><\/h2>\n

The bow<\/strong><\/a> is particularly important; ultimately it’s an extension of your arm<\/strong>, or some may say even of your soul<\/strong>. The tone<\/strong> and colour<\/strong> of your notes depends on how you stroke the strings<\/strong>. Different materials<\/strong> are used for the bow rod, whereby they need to be durable<\/strong> and, on the other hand, sufficiently flexible<\/strong>. Pernambuco<\/strong> (latin: Caesalpinia echinata), a now endangered wood<\/strong> from Brasil, is often used for the best bows. For some time now, bows with carbon rods<\/strong> have become increasingly popular. The balance<\/strong> of the bow is important for multifaceted and controlled playing.<\/p>\n

\"D\u00f6rfler<\/a>
D\u00f6rfler D6 Cellowbow 4\/4<\/figcaption><\/figure>\n

Horsehair and daily care<\/strong><\/h2>\n

The bow has a covering that is mostly made of natural hair<\/strong>, in many cases horsehair<\/strong>. Sometimes also synthetic<\/strong> alternatives<\/strong> are used, but in either case it needs to be groomed regularly<\/strong> for at least two reasons. The hair cover slides over the strings and should provide the resistance<\/strong> (or friction<\/strong>) necessary for an even tone; on the other hand, it must not slow down the bow movements, so a balance is needed. A care product called rosin<\/strong><\/a> is used for to maintain this balance and is easily applied by rubbing<\/strong>. It is made mostly from the resin<\/strong> (sap<\/strong>) of pine<\/strong> and conifer trees\u00a0<\/strong>but most manufacturers add other materials to it such as beeswax <\/strong>or even gold<\/strong> (for more premium brands).<\/p>\n\n\t\t