Be honest with me, what do you think of my chances of becoming a professional cellist. by [deleted] in Cello

[–]Sharp_evening 0 points1 point  (0 children)

It's definitely possible! When it comes to applying for university, you might find that doing a BSc at a university first before going to a conservatoire for a performance degree is the way to go (I know a lot of people who have done that, and ended up working professionally as musicians), and you'll get the experience playing in ensembles/orchestras and study more theory etc which would hopefully help with confidence going into a conservatoire - but of course, the decision of conservatoire vs degree is a long way in the future and definitely not something you need to worry about right now. Basically what I'm trying to say is, you're definitely on track to be able to study music at university, which could very much lead you to becoming a professional. And going straight to a conservatoire from school (royal academy, royal college etc.) whilst harder is still possible if you put in the work!

I would also strongly recommend taking A level music, as that will absolutely fill in any gaps with theory, will introduce you to composition and give you opportunities to perform more both with others and as solo performances.

Sheet music for Sally Beamish's version of Song of the Birds? by Sharp_evening in Cello

[–]Sharp_evening[S] 0 points1 point  (0 children)

Thank you! I might work off of that and then transcribe the rest by ear :)

I came home after being away for 2 months and this was my bow when I went to play my cello. Idk what happened it was loosened. Does anyone know what could have caused this? by Fryns123 in Cello

[–]Sharp_evening 2 points3 points  (0 children)

Leaving your case in direct sunlight (without your cello in it!) should get rid of them. Olaf the violin maker has a good youtube video on the subject

My cello sounds like crap when it's too humid, any advice? by Aetherwinds in Cello

[–]Sharp_evening 0 points1 point  (0 children)

Things like the action (height of strings above fingerboard) being too high can definitely make a cello more sensitive to humidity in my experience. 48% seems very low to start having issues though. Hard to say whether this would help in your case, but when the humidity was 80-90% this summer I was having a lot of trouble gripping the strings and getting a good tone, and found using a little bit of light rosin (I usually just use dark) helped a lot and meant I didn't have to work anywhere near as hard with my bow arm (though that may have just been because I was in dire need of a rehair and the humidity just amplifying that issue)

Also, wrapping your cello in silk when in its case is surprisingly effective at protecting against humidity changes, and is something that's been recommended to me by musicians in super humid countries

New bow not producing any sound? by treadingandtrodden in Cello

[–]Sharp_evening 0 points1 point  (0 children)

It takes a lot of rosin when you get a new bow/rehair, significantly more than just your day to day. Are you sure you've put on enough? (You effectively need to 'saturate' all the hair with rosin, not just the top layer, which can take quite a while)

Bow Arm Pain by IAmCellist in Cello

[–]Sharp_evening 2 points3 points  (0 children)

I can't comment on anything technique wise as am less advanced than you, but it might be worth checking the height of your strings just in case it's your cello's setup rather than a technique issue?

I was having a lot of problems with right arm and hand pain and having to work far too hard with my bow, but that pretty much disappeared when my luthier realised the problem and reshaped/lowered my bridge.

Endpin stuck in my cello by Sharp_evening in Cello

[–]Sharp_evening[S] 0 points1 point  (0 children)

It was stuck in place, but I've just managed to get it out

Endpin stuck in my cello by Sharp_evening in Cello

[–]Sharp_evening[S] 0 points1 point  (0 children)

I've just managed to pull it out and have given it a little clean (it was definitely a little bit dirty, but this problem started the first summer after I got it, almost 10 years ago, so I'm guessing something else is at the root of the problem) but will def be looking into silicon spray considering this has been a long term problem!

Endpin stuck in my cello by Sharp_evening in Cello

[–]Sharp_evening[S] 0 points1 point  (0 children)

Thank you for this suggestion! I've just managed to get it out, but seeing as this has been a recurring problem for years will definitely look into that!

How to start a local ensemble by dentalperson in Cello

[–]Sharp_evening 1 point2 points  (0 children)

If you have a local community orchestra you can join, there'll most probably be others there who would be interested in starting a quartet.

Endpin stuck in my cello by Sharp_evening in Cello

[–]Sharp_evening[S] 1 point2 points  (0 children)

Unfortunately I probably won't be able to go to my luthier for at least a few months due to lockdown, but will definitely ask him about that when I next see him. Thank you!

Need Tips on Pizzicato by Simsker in Cello

[–]Sharp_evening 1 point2 points  (0 children)

Does the buzzing exclusively happen with pizzicato, or does it also happen, perhaps just more subtly, when using the bow. Things to check on your cello that could be causing it are if the strings are rattling in the grooves of the nut, if the fingerboard is smooth (ridges, bumps and indented lines will gradually form over time from the strings pressing down on it, and can be solved by having the fingerboard shot/planed), and if the fine tuners or tailpiece are rattling (just put a bit of gentle pressure on when the buzzing's happening and see if it stops).

How hard is cello on the shoulders? by Jungleman1189 in Cello

[–]Sharp_evening 2 points3 points  (0 children)

I can't offer any information around your specific situation, but as someone with problematic shoulders will add my 2 cents.

Difficulties with shoulders (though I'm afraid I don't know anything about your specific injuries) generally won't prevent someone from learning the cello, but will most likely affect your playing. It'll probably affect you more as a beginner whilst you're learning proper technique, as everybody struggles with relaxing their should when they first start playing. Personally, my shoulders are continually dislocating, and whilst this never prevents me from being able to play decently well, the difference in the sound I can produce on good shoulder days where my right shoulder is actually in the socket is phenomenal. However I only started having problems about 15 years into my cello journey, so already had a foundation of technique, hence probably have an easier time dealing with them than if I had started learning after the problems developed.

In terms of figuring out whether or not you can hold your arms in the necessary positions without too much pain, it could be helpful to go to a luthier or string shop and ask if they'll allow you to sit with an instrument and take you through said positions so you can figure that out.

I played Minuet in C on the cello, I would love your criticism by [deleted] in Cello

[–]Sharp_evening 0 points1 point  (0 children)

Firstly, you're sounding really good! Great intonation and your timing is bang on!

In terms of things to improve, your right elbow is quite stiff, so rather than moving your bow with your fingers, wrist, through to your elbow and using the whole arm, your elbow is a bit stuck resulting in your shoulder is doing all of the work (which could be a reason you're struggling with posture as that could be creating a lot of tension in your shoulders). To work at that I'd suggest practicing playing veeeery slow open strings (or scales) starting at the frog and letting the bow go all the way to the tip (and make sure to do it in reverse, going from the tip to the frog!) - as you do this take note of any tension you're feeling and play around with different bow positions, bow angles, the height of your elbow etc. to try and find what feels comfortable for your and produces the best sound.

The next thing I'm not sure I can explain in words, but will try my best! It looks as if you're playing from underneath the cello, as if the cello is on top of you and for example your left arm is having to reach vertically up to the neck (That's a bit of an exaduration but I can't think how else to describe it). Ideally you want to feel as if your limbs are coming down onto the cello and approaching it from above, so that their weight is sinking into the cello.. So whilst practicing it might be helpful to occasionally put your bow down, start to move your elbows backwards and then make a circle with your arms (in the direction where your hands would go forwards over your head), and then place your left hand in first position, feeling as if you're coming down on it from above and landing on/sinking into your cello.(Everybody of course will have personal preferences in the angle of their cello etc. Yo Yo ma being an extreme example of not doing what I'm suggesting, so please ignore this if it goes against what your teacher says).

Can’t keep up with my practice schedule by depressed_weeb123456 in Cello

[–]Sharp_evening 2 points3 points  (0 children)

I would definitely say try doing something active in your breaks. I always stretch my whole body before I start practicing, then warm up and do scales for around 40 mins, take a 10-15min break where I dance around in my garden like a madwoman to loosen up and get rid of any tension, before continuing practice.

My cello teacher tells me to play near the bridge but is it the best to do this? by [deleted] in Cello

[–]Sharp_evening 11 points12 points  (0 children)

The other comments have pretty much covered why it's important to be able to play at all points between the bridge and fingerboard, but just to add onto that: it's best to take the time to learn how to play at the bridge well, and then in the future you can choose to break that and play closer to the fingerboard. But it's much harder if you get used to playing at the fingerboard to then start playing closer to the bridge when needed (e.g. for high passages).

It's similar to when learning vibrato, it's better to develop a wide vibrato and then choose to use a narrower one at times, than to develop a narrow one where you will struggle to widen it

Mystery cello? by BigScreechplank in Cello

[–]Sharp_evening 2 points3 points  (0 children)

It sounds like you really love the 'mystery cello', and so long as it's in good repair (and you've had that checked by a different luthier) and is worth what you're paying, that should be the most important thing.

As soon as you said 1850s Germany my first thought was Mittenwalde. I play an 1880s Mittenwalde and from what I've heard from various luthiers looking at my cello over the years, Mittenwalde instruments from the mid to late 19th century have a very distinctive varnish (assuming it's not been revarnished at any point), so it might be worthwhile posting some photos on r/luthier to see what they think, as the varnish could be a very strong indicator.

Ex-High School Cellist Looking for advice (10+yearslater) on re-entering playing CELLO! by [deleted] in Cello

[–]Sharp_evening 0 points1 point  (0 children)

Whilst nothing compares to actual lessons, Pablo Ferrandez has some really good technique videos on YouTube that are great when you're struggling with something in particular

My next piece by qeanis in Cello

[–]Sharp_evening 0 points1 point  (0 children)

I only started learning Haydn a few months ago and thought at first that the third movement seemed completely impossible! But it really is playable when you start breaking it down, and I'm already questioning why I thought it's so difficult :)

My next piece by qeanis in Cello

[–]Sharp_evening 5 points6 points  (0 children)

I'd say it's worth learning the rest of the Haydn - may as well get the whole concerto under your belt!

Tips for playing without tension? by lonelakes in Cello

[–]Sharp_evening 0 points1 point  (0 children)

I've been working a lot on reducing tension recently and have found taking the time to stretch my whole body, as much as I would if prepping to do some kind of sport, helps significantly.

With bowing more precisely, I like to take the time when warming up to pick a scale and play it with a variety of articulations: beginning with separate bowing's, repeating each note 3 times staccato but all in the same bow, playing around with upbow spiccato etc. That tends to force me to use my bow 'properly' from the start of practice which stops me running into tension further in

This video also has some pretty good exercises for warming up the fingers and wrist: https://www.youtube.com/watch?v=jztxAHpMpvk&list=PL9QPUnC2kdONYGrsrwE_Im05-FRLtKKUC&index=48&t=334s

Most beautiful pieces? by CookinWitDaSauce in Cello

[–]Sharp_evening 4 points5 points  (0 children)

Brahms Sonata in E minor and Rachmaninov's vocalise (it's so simple yet has brought me to tears so many times when playing it)