Chemathmusician0510

I am the cellist but I do have some other unfinished pieces with cello melody

Waltz 062725 2 - Full Score.pdf Waltz Qrartet Demo 063025.mp3 This is one I've been working on for a while. I was trying for section something like Tchaikovsky's Valse-Scherzo but lighter for the first section. The mp3 is only string quartet for now. Might have a recording latter, but in the meanwhile. Enjoy!

What did I get myself into? This descending circle of fifth of dominant chords with extensions has the 3 dim minor 7ths (6 tritones) going downwards and 4 aug chords going up. Result of me trying to voice lead increasingly complex dominant chords.

been working on a Choral-Orchestral Theme and variations on a two motives D-F-E-C and G-A-F-E Way to much stuff that I want to compose in the future though

A minimalistic version I made Enjoy! Counterpoint Harmony Challange.mp3

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?)