calcium+vitamin_D

Perhaps you are correct. Again with the steel strings ^ ^, I am as dumbfounded as you. I believe most people transition to steel because they are most definately more weather adaptable and they don't require a dead animal. Ok new topics... more people need to talk How about cool cello songs or different techniques.

Your comments are most perplexing. Steel strings exert such a great pressure on instruments that after a while they will must likely be damaged. Maybe not brand new ones, but for old instruments like Stradivari, Montagana, or Guadagnini, it's just too much. Plus, the steel strings don't let the cello show its true potential. As far as Vincent, if you're not listening for technique, skill, or sound, why listen. You make it seem as if you yourself might not enjoy the sound of it rather the creativity. Maybe it is creative, but when I try to listen to it, my eardrums literally start to hurt. Perhaps he is creative, I'd just rather him be creative within an audible range.

Steel strings are kinda destroying our instruments. Plus, gut strings are easier to use and sound better. They aren't tinny or tempermental (in the musical sence... gut strings are harder to control due to weather fluctuations). I also find it quite humorous that the very people who despise Ligeti enjoy the creative brilliance of people like Vincent. By the way, please tell me what you enjoy in Mr. Vincent, seeing how I am so musically closed-minded. And I do enjoy alternative cello playing, like Apocalyptica and Rasputina.

Hmmm... maybe we should narrow it down to which style you believe is better: Baroque or modern? Obviously I vote for baroque. And steel strings, what's with them? Also, sorry to be blunt, but wtf is Vincent Courtois trying to do. Iwatched on of his videos and it was a bunch of random squeeky stuff. If you like that then I guess all the power to you.

Perhaps Ma (without the h) is a better player, but listen to Bylsma's recording of the Bach suites and it's clear who wins. I really like Ma's Silk Road Project, it's really cool. However, when playing Bach, you need a much more rustic tone ie. more open strings, fingerings staying within a strings normal 4 notes, and LESS vibrato. Anyone can make a song sound good with vibrato, but it takes a master to make a song sound good without it. Anyways... any other great people out there

I truely believe that Anner Bylsma is just about the cello king. His rustic style and sometimes almost brutish approach is a refreshing aspect to the modern pristine, glassy cello playing. Sorry Mistislav, but you come in second in my book.

I guess we'll have to agree to disagree. To be honest, I got quite bored with it after a while. The entire song hardly concentrated on the cello. I mean the first 5 minutes was just a droning orchestra. I want to hear the cello not some random horn player or string section. I will admit that there were some difficult cello sections, but how hard can a song be when you're just sitting there half the time. I believe your definition of hard is extremely passionate, which I find very appearent in this piece, but I want more of the wholesome dark "cellistic" tones rather than some rather high squaking sounds you find in many concerti. And by the way, I did not listen to a midi I went to this place: http://www.garageband.com/song?%7Cpe1%7CS8LTM0LdsaSnZ1Cyam0

If anyone doesn't like Ligeti, try his cello sonata on for size. It is one of the most impressive and melodic cello pieces I have heard recently. He obviously got something correct when he composed this piece.

I don't know which cello concerto you listened to FPSII, but the one I heard was neither impressive nor seemingly complex to play (Dvorak cello concerto in B minor... keep in mind these are my personal opinions), especially compared to some I have heard. Some great cello songs I recommend (based on what I have heard) are: György Ligeti's Cello Sonata (1st movement is the definition of the cello) Benjamin Britten's 3 suites (cool... bit more sophisticated and modern than Bach's) Beethoven's 2nd Cello Sonata (another sad one, cool and fun) Chopin's Cello Sonata, op 65, (it's chopin, what couldn't you love about it) I'll post some more when I find them.

Really, he's both a con-artist and a genius. He actually made people believe just siting there is music, or making random noises and sounds. It takes real guts and creativity to fo that.

Ok... well... have you even seen the 6th suite mr. FPSIII. Also, if you think they are so easy, try using almost all open strings, using all first position (with some rare exceptions), hardly any vibrato, holding your cello in the baroque style, not tuning any strings out of their normal note, playng them all in tempo (which is most likely faster than you play it), and making it still sound appeasing. You will not have such an easy time then. I belive the first Bourree in the 4th suite is one of the hardest to play, until you get all those 16th notes. The Courante from the second and third suitea are also hard if you play them correctly. I actually think the 5th suite is somewhat easy (by no means compared to the first three, rather the latter three). I don't think they are overplayed, I just believe people play the same movements over, and over, and over, and over again... making it seem like they are overplayed (just walk into an audition room, practically every kid will have out that first suite first movement... it annoys me too) Anyways... I have discovered the Britten cello Suites MUAHAHAHAHA! Those are so incredible. I would also like to know what people see in that Shastakovich concerto :happy: That is just a bunch of random squaking cello sounds.

I also was wondering about that funny sounding instrument. It almost sounds like a bird or something. And there is also another one that sounds like a wave or swooshing sound. I really like the first part, but after a while it kinda sounded like a cheesey Zelda theme or something; however, that is probably because it is in Midi form. As far as styles go, maybe try to transition differently, like a cool retard and some chords or something You might want to consider turning this into a piano concerto or something... that would make it all the better Welcome to the forum and good composition.

I really enjoyed your Celtic Lullabye and Monkey Rave... In your lullabye (which was perfect through the first 9 measures), I wish you would continue guitar 2 throughout almost the entire song, it adds such a nice ambiance to the song that it jars a person's ears once it is taken away. At first, guitar 2 continued (measure 8), but then it just stopped. I'm also afraid that it became a touch repetitve after a while. Try to not use so many repeats, especially towards the end. Your first two possessed very nice concepts, but the chords you used were somewhat annoying to the ear, such as in Flower; in measures 19 and 23 you have some very awkward chords. A diminished 8th and an augmented 8th do not sound to nice together (A-Bb; Bb-A). Also in Tightrope Walker you do not need so many notes in measures 23-27. I mean it sounds crazy there... just try to trim it back a little. Over all, your work is really cool. Just try not to use so many repeats and dont use monsterous chords.

So... more about cello. Anyone know some really great solos (besides Bach's).

Good cellist + good cello = one fine Eb I must ask though... what is the note previous to the Eb... if the shift is too high, he/she might not be able to get there... also, if there are many notes that high (maybe not as high) it could be hard to play... the distance between notes becomes smaller than a finger that high up In this case, it depends on the cellist.

As far as I am concerned you can play that extremly high Eb, it would be very hard to play if you did not have a very nice instrument... I might think about changing that note just because of its difficulty. If it is a difficult piece in itself, leave it in. If an orchestra is playing it, the first chair should be able to play it. If it's not to terribly hard.. u might want to change it. You could always start again Daniel also, depending on how well ppl are train, they can switch between arco and pizz pretty easily, your last 1/8th not might just get cut off a bit

Ya... the second movement of rachmaninoff (is it noff or nov cause I've seen it both ways) is not quite as intense... but the first movement is still awsome. I think, for my ear, that some music might get too intense and start sounding like someone is just pounding on their instrument, kinda like shostakovich's cello concerto... anyways I just kinda ran out of ideas... I have some more that are not really that intense but still cool: Allegro from Concerto No. 1 by Bach Fugue from Chromatic Fantasia and Fugue in D Minor ...also by Bach Fugue in G Minor "The Little" again Bach Elegie by Faure (with piano is better than the orchestra version) Does anyone else have some cool intense music And sorry for the typo in the topic title

Finally! I'm so glad you decided to post this... along with you, I believe I am the only cellist here. Let's keep this topic alive. I really don't know what else to say... um... I've been playing for about 5 years now... I just started lessons a year ago, but I can already play class A... um and I'm currently working on Elegie by Faure. I also love the Bach suites. Oh... and if you like baroque cello here are some really cool pieces by Triemer: http://magnatune.com/artists/albums/mirable-triemer/

Thanks for the help everybody... oh and by the way, I do know what relative pitch is, I just don't get how that links to finding a key.

Sorry >< now I'm the one that's confused... which intervals would you use, and how would you use them... I am not connecting the dots between having intervals and automatically finding a key... :glare: I don't really know that much about using music theory in composition... I am new after all

:glare: I don't get why this is so hard. Let me try to explain this one more time. I hear a song in my head (yes that means everything... not just a motif or theme or whatever). I just want to know how to tell what key it is in. Do I analyze how many sharps/ flats there are and then pick the majority and easiest to play, or do I do something else. By the way.. thanks for the information on modes pianoman216

Ok... If you haven't heard Mozart's Rquiem yet someone should slap you. There's also Dvorak... especially symphony 9 Rachmaninoff's piano concertos (mainly 2) Elegie by Faure is also a pretty sweet piece That's about all I can think of (or have heard) at this point.

Wow... that kinda completely missed my point... but oh well... maybe by radio i should say 106.9 the classical station... that better... only it's in my head. By the way, what the heck is a mode... >_< I've never heard of that before... either that or I just forgot.

Try using a little Post-It pad. Make dots relative to your melody on the piece of paper. If you're concerned about timing... then just space the dots closer or farther apart (it's kinda like musical notation without the staves) This way is small and easy.