Chemathmusician0510

For Cello (Solo): Low position repeated four-note scale patterns are a pain on cello due to the fingering system. (1812 overture near the end) For the same reason, chromatic passages are somewhat easier on cello than violins and violas. However as you go higher up, Scales and then ultimately arpeggios get easier to play as a result of finger distance change. Double stops up to a octave are usable throughout the range. Tenths start about from F# (minor) or G (major) (on the C string) as the lowest notes. Repeated thirds involve a lot of shifting. best to do it in higher position for fast passages. However, this is still quite difficult but a competent cellist should be able to play with some practice. sustained triple stops require that some the upper notes be about an octave higher than the open string it's played on. This will still be played forte though. Fast multiple stops can get a bit clunky and more percussive due to the bow pressure. Fast alterations between natural harmonic and open string in one bow are impossible unless the left hand plucks after playing the harmonic. If the bowing is separated, This still could be a problem in low dynamics. Forced harmonics are much more agile than either natural or artificial harmonics as they are fingered like normal notes. This still can not be played too forte though. Don't overuse the A string for solos. For some reason a lot of composers love it, but it just sounds to harsh especially in lower positions. Dropping a melody down an octave is an option thus. High position fifths are harder than sixths, thirds, octave, and tenths unless there is a chance to use the thumb (Shostakovich Cello concerto no. 1 first mvt. near the beginning)

I've had this theory for ages for now. So I've been wondering if the solfège system one prefers to use affects pitch recognization. I've always used fixed solfège and had perfect pitch, but was wondering if there is a pattern. This poll could say something about that, so thanks for answering! (Any additional clarification can be posted below)

Here is a plausible cadenza based on this

for all the brass players who think they have a range to bluff about also larger range than pedal (concert) harp

First, piano: played Fantasie-Impromptu at 8, can somewhat play chopin etudes, Hammerklavier, Heroic polonaise, and the such. Second, cello: Moved around a lot with long periods of time between having lessons weekly. Can play Moses on G (on A) 24 caprice, Dvorak cello concerto. Third, most of the mallets: in middle school band, then homeschooled so haven't picked back up. Can't do 4 mallets. Fourth, clarinet: picked up because we had some spare woodwinds laying around. no teacher so not sure what level of playing.

Thanks for the suggestion! I do usually do 4 or 8 bar phrases, but bars 9-14 and the endings I really couldn't find notes to prolong. Maybe the last note of the three bar phrases could be longer.

That was mostly a practice list I have a really hard time perfecting pieces

Piano: Hammerklavier sonata, Symphony No. 9 Liszt transcription, (this is too long to print out, so I've been doing this one less) all 24 + 3 Chopin etudes, Erkonig Liszt transcription, Chopin sonata op. 35, Cello: Moses on G by Paganini, for cello on A string Hungarian Rhapsody by David Popper Caprice 24 by Paganini, transcribed by Luigi Silva Shostakovich Cello concerto no 1 Symphony-concerto for cello by Prokofiev (this one I've put aside for the time being)

This is an arrangement I did for fun a while back. I added in some secondary minor dominant ninths from the original chord progression to add some color and changed the meter to 6/8. It's based on four-part choral writing with a lot of chromaticism. I used cubase to improve the sound quality from the earlier version on my channel. Critique is welcome!

has anyone even tried Liszt's arrangements of the Beethoven symphonies (especially 9). The amount of stamina to actally play it professionally would be unimaginable. I just sight-read the 9th a couple times for fun. I have small cold sweaty hands, tough skin, and fat short blunt fingers for playing both cello and piano. For cello, as long as you don't touch violin pieces, you're safe. As soon you start, you go down a rabbit hole of playing multi stops, harmonics and notes high as A7. (any of you ever try to play a touch-4 and a touch-5 harmonic as an octave and try to be in tune?)

couple minutes (under ten) if it stays as a piano piece, but I might turn this into a string quartet which would probably be longer

I think I alternate between two modes for contrast, otherwise the rhythmic drone might get too boring after a while. (the second mode only lasts about for measures 13 to 16 and a bit on bar 21)

Added in an mp3. I'm still new to composing (especially the computer aspects), so some of the files needed to converted. Hope it helped!

I have small hands compared to other cello players. so if it works for me, it works for most other cellists. Just keep in mind that sometimes 8v double stops with one open string are harder to do if all the other double stops around it don't need open string. Jumps in octaves are also harder, but a good cellist should be able to pull it off. (studies in octaves in scale patterns or arpeggios are usually a staple for any good cellist) (Currently trying to compose pieces for college admissions. My cello experience consists having three teachers with years of time between first and second teacher and the last teacher is a violinist)

My reasoning goes like this: if a chord can be ended on in a cadence, then it is made up of just minor and major thirds. Both major and minor tonic, subdominant, dominant, and submediant able to do this. By necessity, the mediant is also made up of just thirds (E to G and G to B are in tonic and dominant). (all that proceed form here will be in terms of natural major and minor degrees) Now, I look at leading tones. the VII in major and the raised VII in minor lead to I, The lowered VI in major and the natural VI in minor lead to V, the natural IV in major leads to III, and the natural II in minor leads to III. They all have a consistent just minor second ratio (15 to 16) to their respective stable degree. From this observation, It seems all leading tones have this property, allowing chromaticism for our next part. The chromatic leading tones are as such: lowered II( (leads to I), raised II (leads to major III), lowered IV (leads to minor III), and raised IV (leads to V). By plotting the degrees according to interval, (degrees by a just perfect fifth are horizontal to each other and placing the third of the major chord above the middle and the third of he minor chord below) we get this chart, which is very similar to the Neo-Riemannian theory graph as it is based off of similar principles. I use this instead as a tuning principle (secondary functions complicates this) without enharmonic equivalents. Due to this, the interval between II and IV is not a just minor third. This creates problems as secondary functions to chords with non-just intervals in tuning. How would one solve this?