The Garritan Gofriller Solo Cello was developed by the same team that produced the Garritan Stradivari. The GGSC manual is extremely. GARRITAN SOLO CELLO.

• (, ) • The cello (; plural cellos or celli) or violoncello (; Italian pronunciation: ) is a, and sometimes, with four strings in. The strings from low to high are generally tuned to, an octave lower than the. It is the bass member of the of musical instruments, which also includes the, viola and the.

The cello is used as a solo, as well as in ensembles (e.g., ),, as a member of the of, and some types of. It is the second-largest and second lowest (in pitch) in the modern symphony orchestra, the being the largest and having the lowest (deepest) pitch. Music for the cello is generally written in the, but both and are also used for higher-range parts, both in orchestral/chamber music parts and in solo cello works.

A person who plays the cello is called a cellist or violoncellist. In a small Classical ensemble, such as a string quartet, the cello typically plays the, the lowest-pitched musical line of the piece. 1600-1750) and (ca. 1725-1800), the cello typically plays the bass part, generally an octave higher than the double basses.

In Baroque era music, the cello is used to play the bassline, typically along with a (e.g., or ) or a fretted, plucked stringed instrument (e.g., or ). In a Baroque performance, the cello player might be joined by other bass instruments, playing, or other low-register instruments. Contents • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • Etymology [ ] The name cello is derived from the ending of the violoncello, which means 'little '. The ('big viol') was the lowest-pitched instrument of the family, the group of stringed instruments that went out of fashion around the end of the 17th century in most countries except France, where they survived another half-century before the louder family came into greater favour in that country as well. In modern symphony orchestras, it is the second largest stringed instrument (the is the largest). Thus, the name 'violoncello' contained both the ' -one' ('big') and the ' -cello' ('little'). By the turn of the 20th century, it had become common to shorten the name to 'cello, with the apostrophe indicating the missing stem.

It is now customary to use 'cello' without apostrophe as the full designation. Viol is derived from the root viola, which was derived from vitula, meaning stringed instrument. Description [ ]. Cello open strings. () Cellos are tuned in, starting with (two below ), followed by G 2, D 3, and then A 3.

It is tuned in the same intervals as the, but an octave lower. Unlike the or but similar to the, the cello has an that rests on the floor to support the instrument's weight. The cello is most closely associated with, and has been described as the closest sounding instrument to the human voice. The instrument is a part of the standard, as part of the, and is the bass voice of the (although many composers give it a melodic role as well), as well as being part of many other groups.

A large number of and have been written for the cello. Among the most well-known works for the cello are 's six unaccompanied. The Prelude from the First Suite is particularly famous. From the, the two concertos by in and stand out, as do the five sonatas for cello and pianoforte of, which span the important three periods of his compositional evolution. Repertoire includes the, the as well as the two sonatas and the. Compositions from the early 20th century include 's, 's, and unaccompanied cello sonatas by and.

The cello's versatility made it popular with composers in the mid- to late-20th century such as,,,, and, encouraged by soloists who specialized in contemporary music (such as and ) commissioning from and collaborating with composers. The cello is increasingly common in traditional fiddle music, especially Scottish fiddle music. Well known players include, and Liz Davis Maxfield. In the 2010s, the instrument is less common in, but was commonly used in 1970s pop and music. [ ] Today it is still sometimes featured in and recordings, examples of which are noted later in this article.

The cello has also recently appeared in major and performances, such as singers and 's performance at the. [ ] The instrument has also been modified for by Nancy Lesh and. History [ ] The, including cello-sized instruments, emerged c.

1500 as family of instruments distinct from the family. The earliest depictions of the violin family, from northern Italy c. 1530, show three sizes of instruments, roughly corresponding to what we now call,, and cellos. Contrary to a popular misconception, the cello did not evolve from the viola da gamba, but existed alongside it for about two and a half centuries.

The violin family is also known as the viola da braccio (meaning viola of the arm) family, a reference to the primary way the members of the family are held. This is to distinguish it from the viola da gamba (meaning viola of the leg) family, in which all the members are all held with the legs. The likely predecessors of the violin family include the and the. The earliest surviving cellos are made by, the first known member of the celebrated family of.

[ ] The direct ancestor to the violoncello was the [ ]. Monteverdi referred to the instrument as 'basso de viola da braccio' in Orfeo (1607). Although the first, possibly invented as early as 1538, was most likely inspired by the viol, it was created to be used in consort with the violin. The bass violin was actually often referred to as a ' violone', or 'large viola', as were the viols of the same period. Instruments that share features with both the bass violin and the viola da gamba appear in Italian art of the early 16th century. The invention of wire-wound (fine wire around a thin gut core), around 1660 in, allowed for a finer bass sound than was possible with purely gut strings on such a short body.

Bolognese makers exploited this new technology to create the cello, a somewhat smaller instrument suitable for solo repertoire due to both the timbre of the instrument and the fact that the smaller size made it easier to play passages [ ]. This instrument had disadvantages as well, however. The cello's light sound was not as suitable for church and ensemble playing, so it had to be doubled by,. Around 1700, Italian players popularized the cello in northern Europe, although the bass violin (basse de violon) continued to be used for another two decades in France. [ ] Many existing bass violins were literally cut down in size to convert them into cellos according to the smaller pattern developed by, who also made a number of old pattern large cellos (the 'Servais'). The sizes, names, and tunings of the cello varied widely by geography and time. The size was not standardized until around 1750.

Despite similarities to the, the cello is actually part of the family, meaning 'viol of the arm', which includes, among others, the and. Though paintings like 's 'The Rustic Wedding', and in his Epitome Musical suggest that the bass violin had alternate playing positions, these were short-lived and the more practical and ergonomic a gamba position eventually replaced them entirely. At the 2009 festival. The cello is less common in than in classical music. Several bands feature a cello in their standard line-up, e.g.

The more common use in and is to bring the instrument in for a particular song. In the 1960s, artists such as and used the cello in popular music, in songs such as The Beatles' ', ' and ', and Cher's '.

' by includes the cello in its instrumental ensemble, which includes a number of instruments unusual for this sort of music. Bass guitarist, who had originally studied music on a performance scholarship for cello, played a prominent cello part in 'As You Said' on 's studio album (1968). In the 1970s, the enjoyed great commercial success taking inspiration from so-called 'Beatlesque' arrangements, adding the cello (and violin) to the standard rock combo line-up and in 1978 the UK based rock band,, collaborated with cellist Julian Lloyd Webber on the recording. Most notably, included a cello solo in their 1970 epic instrumental '. Bass guitarist of was originally a cellist and included some cello parts in their album. Established non-traditional cello groups include, a group of Finnish cellists best known for their versions of songs,, a group of cellists committed to an intricate cello style intermingled with Gothic music, the, an ensemble of seven singing cellists known for their arrangements of rock, pop and classical hits, Von Cello, a cello fronted rock power trio, who mix elements of classical music with the more modern rock and metal genre,, a cello rock band that performs original rock/classical crossover music, and Jelloslave, a Minneapolis-based Cello duo with two percussionists. These groups are examples of a style that has become known as.

The crossover string quartet also includes a cellist. Silenzium and Cellissimo Quartet are (Novosibirsk) groups playing rock and metal and having more and more popularity in. From, is using a cello along a as the main solo instrument to create East meets West progressive (folk) rock. More recent bands using the cello are,,,,,,,,,,,,,, and the band. An Atlanta-based trio, King Richard's Sunday Best, also uses a cellist in their lineup. So-called 'chamber pop' artists like, The Vitamin String Quartet and Margot and the Nuclear So and So's have also recently made cello common in modern alternative rock. Heavy metal band has also made use of the cello's rich sound.

The indie rock band are known for using a cello as a major staple of their sound, similarly, the indie rock band employs two cello players in their lineup. The orch-rock group,, which has pioneered the use of stringed and symphonic instruments, employs the cello in very creative ways for many of their '-esque' melodies. The first wave band I Would Set Myself On Fire For You featured a cello as well as a viola to create a more -oriented sound. The band, uses a cello in their song, 'Build God, Then We'll Talk'.

The lead vocalist of the band,, also did the recording of the cello solo. In, bassists and were among the first to use the cello as a solo instrument; both tuned their instrument in fourths, an octave above the double bass. (who was not a bassist) was one of the first notable jazz cellists to use the instrument's standard tuning and arco technique. Contemporary jazz cellists include,,,,,, Akua Dixon,,,, Vincent Courtois, John O'Keefe, Stephan Braun, Jean-Charles Capon,, Enrico Guerzoni and James Hinkley of jazz combo Billet-Deux. Modern musical theatre pieces like Jason Robert Brown's, Duncan Sheik's, Adam Guettel's, and Ricky Ian Gordon's use small string ensembles (including solo cellos) to a prominent extent.

In Indian Classical music is a well established soloist as well as playing duets with her sitarist husband Pt.. Other cellists performing Indian classical music are: Nancy Lesh (Dhrupad) and Anup Biswas. Both Rao and Lesh play the cello sitting cross-legged on the floor.

The cello can also be used in and, with notable players including of the and the 'Cajun cellist' Sean Grissom, as well as who, in addition to her own projects, has played for those of. Cellists such as, Abby Newton and Liz Davis Maxfield have contributed significantly to the use of cello playing in Celtic folk music, often with the cello featured as a primary melodic instrument and employing the skills and techniques of traditional fiddle playing. Is becoming well known for playing the cello like a guitar, with her cover of ' ' a big hit on. The cello has been further popularized by the cello duo of &, known by the stage name, who have been active since 2011. They are famous for playing various songs on the cello, such as 'Smooth Criminal' (), 'Thunderstruck' () and. Construction [ ].

Main parts of the cello The cello is typically made from carved wood, although other materials such as or aluminum may be used. A traditional cello has a top, with for the back, sides, and neck. Other woods, such as or, are sometimes used for the back and sides. Less expensive cellos frequently have tops and backs made of. Laminated cellos are widely used in elementary and secondary school orchestras and, because they are much more durable than carved wood cellos (i.e., they are less likely to crack if bumped or dropped) and they are much less expensive.

The top and back are traditionally hand-carved, though less expensive cellos are often machine-produced. The sides, or ribs, are made by heating the wood and bending it around forms. The cello body has a wide top bout, narrow middle formed by two C-bouts, and wide bottom bout, with the and just below the middle. The top and back of the cello has decorative border inlay known as. While purfling is attractive, it is also functional: if the instrument is struck, the purfling can prevent cracking of the wood. A crack may form at the rim of the instrument, but spreads no further.

Without purfling, cracks can spread up or down the top or back. Playing, traveling and the weather all affect the cello and can increase a crack if purfling is not in place. Less expensive instruments typically have painted purfling. [ ] Alternative materials [ ] Cello manufacturer constructs cellos from.

Carbon fibre instruments are particularly suitable for outdoor playing because of the strength of the material and its resistance to humidity and temperature fluctuations. Luis & Clark has produced over 1000 cellos, some of which are owned by cellists such as and. In the late 1920s and early 1930s, the Aluminum Company of America (Alcoa) as well as German luthier G.A. Pfretzschner produced an unknown number of aluminum cellos (in addition to aluminum double basses and violins). Neck, fingerboard, pegbox, and scroll [ ] Above the main body is the carved neck. The neck has a curved cross-section on its underside, which is where the player's thumb runs along the neck during playing. The neck which leads to a and the.

The neck, pegbox, and scroll are normally carved out of a single piece of wood, usually. The is glued to the neck and extends over the body of the instrument.

The fingerboard is given a curved shape, matching the curve on the bridge. Both the fingerboard and bridge need to be curved so that the performer can bow individual strings. If the cello were to have a flat fingerboard and bridge, as with a typical guitar, the performer would only be able to bow the 'outer' two strings or bow all the strings. The performer would not be able to play the 'inner' two strings alone. The is a raised piece of wood, fitted where the fingerboard meets the pegbox, in which the strings rest in shallow slots or grooves to keep them the correct distance apart. The pegbox houses four tapered, one for each string.

The pegs are used to tune the cello by either tightening or loosening the string. The pegs are called 'friction pegs', because they maintain their position by friction. The scroll is a traditional ornamental part of the cello and a feature of all other members of the. Is usually used for the tuning pegs, fingerboard, and nut, but other hardwoods, such as or, can be used.

Black fittings on low-cost instruments are often made from inexpensive wood that has been blackened or 'ebonized' to look like, which is much harder and more expensive. Ebonised parts such as tuning pegs may crack or split, and the black surface of the fingerboard will eventually wear down to reveal the lighter wood underneath. Strings [ ] Historically, cello had cores made out of, which, despite its name is made from sheep or goat intestines which are dried out. Most modern strings used in the 2010s are wound with metallic materials like, and. Cellists may mix different types of strings on their instruments.

The pitches of the open strings are C, G, D, and A (black note heads in the playing range figure above), unless alternative tuning () is specified by the composer. Some composers ask that the low C be tuned down to a B ♭ or B so that the performer can play a different low note on the lowest open string. Tailpiece and endpin [ ] The and are found in the lower part of the cello. The tailpiece is the part of the cello to which the 'ball ends' of the strings are attached by passing them through holes. The tailpiece is attached to the bottom of the cello. The tailpiece is traditionally made of or another hard wood, but can also be made of or on lower-cost instruments.

It attaches the strings to the lower end of the cello, and can have one or more fine tuners. The fine tuners are used to make smaller adjustments to the pitch of the string. The fine tuners can increase the tension of each string (raising the pitch) or decrease the tension of the string (lowering the pitch).

When the performer is putting on a new string, the fine tuner for that string is normally reset to a middle position, and then the peg is turned to bring the string up to pitch. The fine turners are used for subtle, minor adjustments to pitch, such as tuning a cello to the oboe's 440 Hz A note or to tune the cello to a piano. The endpin or spike is made of wood, metal or rigid carbon fibre and supports the cello in playing position. The endpin can be retracted into the hollow body of the instrument when the cello is being transported in its case.

This makes the cello easier to move about. When the performer wishes to play the cello, the endpin is pulled out to lengthen it. The endpin is locked into the player's preferred length with a screw mechanism. The adjustable nature of endpins enables performers of different ages and body sizes to adjust the endpin length to suit them. In the Baroque period the cello was held between the calves, as there was no endpin at that time. The endpin was 'introduced by Adrien Servais c.

1845 to give the instrument greater stability'. Modern endpins are retractable and adjustable; older ones were removed when not in use. (The word 'endpin' sometimes also refers to the button of wood located at this place in all instruments in the violin family, but this is usually called 'tailpin'. ) The sharp tip of the cello's endpin is sometimes capped with a rubber tip that protects the tip from dulling and prevents the cello from slipping on the floor.

Many cellists use a rubber pad with a metal cup to keep the tip from slipping on the floor. A number of accessories to keep the endpin from slipping; these include ropes which attach to the chair leg and other devices. Bridge and f-holes [ ]. The bridge of a cello, with a mute (the mute is not in use) The holds the strings above the cello and transfers their vibrations to the top of the instrument and the soundpost inside (see below).

The bridge is not glued, but rather held in place by the tension of the strings. The bridge is usually positioned by the cross point of the 'f-hole' (i.e., where the horizontal line occurs in the 'f'). The, named for their shape, are located on either side of the bridge, and allow air to move in and out of the instrument as part of the sound-production process. The f-holes also act as access points to the interior of the cello for repairs or maintenance. Sometimes a small length of rubber hose containing a water-soaked sponge, called a Dampit, is inserted through the f-holes, and serves as a humidifier.

This keeps the wood components of the cello from drying out. Internal features [ ] Internally, the cello has two important features: a, which is glued to the underside of the top of the instrument, and a round wooden, a solid wooden cylinder which is wedged between the top and bottom plates. The bass bar, found under the bass foot of the bridge, serves to support the cello's top and distribute the vibrations from the strings to the body of the instrument. Nch Express Accounts Keygen Serial.

The sound post, found under the treble side of the bridge, connects the back and front of the cello. Like the bridge, the sound post is not glued, but is kept in place by the tensions of the bridge and strings. Together, the bass bar and sound post transfer the strings' vibrations to the top (front) of the instrument (and to a lesser extent the back), acting as a to produce the instrument's sound. Glue [ ] Cellos are constructed and repaired using, which is strong but reversible, allowing for disassembly when needed.

Tops may be glued on with diluted glue, since some repairs call for the removal of the top. Theoretically, hide glue is weaker than the body's wood, so as the top or back shrinks side-to-side, the glue holding it lets go, so the plate does not crack. Cellists repairing cracks in their cello do not use regular, because it cannot be steamed open when a repair has to be made by a. A cello French bow sul ponticello Traditionally, are made from. Both come from the same species of tree ( Caesalpinia echinata), but pernambuco, used for higher-quality bows, is the heartwood of the tree and is darker in color than brazilwood (which is sometimes stained to compensate). Pernambuco is a heavy, resinous wood with great elasticity, which makes it an ideal wood for instrument bows. Horsehair is stretched out between the two ends of the bow.

The taut horsehair is drawn over the strings to produce the cello's characteristic tone. A small knob is twisted to increase or decrease the tension of the horsehair. The tension on the bow is released when the instrument is not being used. The amount of tension a cellist puts on the bow hair depends on the preferences of the player, the style of music being played, and for students, the preferences of their teacher. Bows are also made from other materials, such as carbon-fibre—stronger than wood—and fiberglass (often used to make inexpensive, lower-quality student bows). An average cello bow is 73 cm (29 in) long (shorter than a violin or viola bow) 3 cm (1.2 in) high (from the frog to the stick) and 1.5 cm (0.59 in) wide. The frog of a cello bow typically has a rounded corner like that of a viola bow, but is wider.

A cello bow is roughly 10 g (0.35 oz) heavier than a viola bow, which in turn is roughly 10 g (0.35 oz) heavier than a violin bow. Bow hair is traditionally, though synthetic hair, in varying colors, is also used. Prior to playing, the musician tightens the bow by turning a screw to pull the frog (the part of the bow under the hand) back, and increase the tension of the hair. Is applied by the player to make the hairs sticky. Bows need to be re-haired periodically.

Style (1600–1750) cello bows were much thicker and were formed with a larger outward arch when compared to modern cello bows. The inward arch of a modern cello bow produces greater tension, which in turn gives off a louder sound.

The cello bow has also been used to play. Jimmy Page pioneered its application on tracks such as '.

The band 's lead singer often plays a guitar using a cello bow. In 1989, the German cellist began developing a, encouraged by,, and: and since then many pieces have been composed especially for it. This curved bow ( BACH.Bow) is a convex curved bow which, unlike the ordinary bow, renders possible polyphonic playing on the various strings of the instrument. The solo repertoire for violin and cello by J. Bach the BACH.Bow is particularly suited to it: and it was developed with this in mind, polyphonic playing being required, as well as monophonic.

Michael Bach, Cello with Physics [ ] Physical aspects [ ] When a string is bowed or plucked, it vibrates and moves the air around it, producing sound waves. Because the string is quite thin, not much air is moved by the string itself, and consequently if the string was not mounted on a hollow body, the sound would be weak. In acoustic stringed instruments such as the cello, this lack of volume is solved by mounting the vibrating string on a larger hollow wooden body. The vibrations are transmitted to the larger body, which can move more air and produce a louder sound. Different designs of the instrument produces variations in the instrument’s vibrational patterns and thus changes the character of the sound produced.

A string’s fundamental pitch can be adjusted by changing its stiffness, which depends on tension and length. Tightening a string stiffens it by increasing both the outward forces along its length and the net forces it experiences during a distortion. A cello can be tuned by adjusting the tension of its strings, by turning the tuning pegs mounted on its pegbox, and tension adjusters (fine tuners) on the tail piece. A string’s length also affects its fundamental pitch. Shortening a string stiffens it by increasing its curvature during a distortion and subjecting it to larger net forces. Shortening the string also reduces its mass, but does not alter the mass per unit length, and it is the latter ratio rather than the total mass which governs the frequency. The string vibrates in a standing wave whose speed of propagation is given by √ T/ m, where T is the tension and m is the mass per unit length; there is a node at either end of the vibrating length, and thus the vibrating length l is half a wavelength.

Since the frequency of any wave is equal to the speed divided by the wavelength, we have frequency = 1 / 2 l × √ T/ m. (Note that some writers, including Muncaster (cited below) use the Greek letter μ in place of m.) Thus shortening a string increases the frequency, and thus the pitch. Because of this effect, you can raise and change the pitch of a string by pressing it against the fingerboard in the cello’s neck and effectively shortening it.

Likewise strings with less mass per unit length, if under the same tension, will have a higher frequency and thus higher pitch than more massive strings. This is a prime reason why the different strings on all string instruments have different fundamental pitches, with the lightest strings having the highest pitches. A played note of E or F ♯ has a frequency which is often very close to the natural resonating frequency of the body of the instrument, and if the problem is not addressed this can set the body into near resonance. This may cause an unpleasant sudden amplification of this pitch, and additionally a loud beating sound results from the interference produced between these nearby frequencies; this is known as the “” because it is an unpleasant growling sound. The wood resonance appears to be split into two frequencies by the driving force of the sounding string. These two periodic resonances beat with each other. This wolf tone must be eliminated or significantly reduced for the cello to play the nearby notes with a pleasant tone.

This can be accomplished by modifying the cello front plate, attaching a wolf eliminator (a metal cylinder or a rubber cylinder encased in metal), or moving the sound post. A cellist Playing the cello is done while seated with the instrument supported on the floor by the endpin. The left hand fingertips stop the strings on the fingerboard, determining the pitch of the fingered note. The right hand plucks or bows the strings to sound the notes.

The left hand fingertips stop the strings along their length, determining the pitch of each fingered note. Stopping the string closer to the bridge results in higher-pitched sound, because the vibrating string length has been shortened. In the neck positions (which use just less than half of the fingerboard, nearest the top of the instrument), the thumb rests on the back of the neck; in (a general name for notes on the remainder of the fingerboard) the thumb usually rests alongside the fingers on the string and the side of the thumb is used to play notes. The fingers are normally held curved with each knuckle bent, with the fingertips in contact with the string. If a finger is required on two (or more) strings at once to play perfect fifths (in double stops or chords) it is used flat. In slower, or more expressive playing, the contact point can move slightly away from the nail to the pad of the finger, allowing a fuller vibrato. Is a small oscillation in the pitch of a note, usually considered expressive.

Played on the cello fall into two classes; natural and artificial. Natural harmonics are produced by lightly touching (but not depressing) the string with the finger at certain places, and then bowing (or, rarely, plucking) the string. For example, the halfway point of the string will produce a harmonic that is one octave above the unfingered (open) string. Natural harmonics only produce notes that are part of the on a particular string.

Artificial harmonics (also called false harmonics or stopped harmonics), in which the player depresses the string fully with one finger while touching the same string lightly with another finger, can produce any note above middle C. (Italian for 'sliding') is an effect played by sliding the finger up or down the fingerboard without releasing the string. This causes the pitch to rise and fall smoothly, without separate, discernible steps. In cello playing, the bow is much like the breath of a player. Arguably, it is the major determinant in the expressiveness of the playing. The right hand holds the bow and controls the duration and character of the notes.

The bow is drawn across the strings roughly halfway between the end of the and the bridge, in a direction perpendicular to the strings. The bow is held with all five fingers of the right hand, the thumb opposite the fingers and closer to the cellist's body. Tone production and volume of sound depend on a combination of several factors.

The three most important ones are: bow speed, weight applied to the string, and point of contact of the bow hair with the string. Involve the playing of two notes at the same time. Two strings are fingered simultaneously, and the bow is drawn so as to sound them both at once.

In playing, the string is plucked directly with the fingers or thumb. Pizzicato is often abbreviated as 'Pizz.' Position of the hand is slightly over the finger board and away from the bridge.

A player using the technique rubs the strings with the wood of the bow rather than the hair. In playing, the strings are not 'drawn' by the bow hair but struck by it, while still retaining some horizontal motion, to generate a more percussive, crisp sound. In, the player moves the bow a small distance and stops it on the string, making a short sound, the rest of the written duration being taken up by silence. Is a technique where the notes are smoothly connected without accents or breaks. It is noted by a slur (curved line) above or below - depending on their position on the staff - the notes of the passage that is to be played legato.

Sul ponticello ('on the bridge') refers to bowing closer to the bridge, while sul tasto ('on the fingerboard') calls for bowing nearer the end of the fingerboard. Sul tasto produces a more flute-like sound, with more emphasis on the fundamental frequency of the note, and softer overtones. ​ 1⁄ 8 size cello with full size cello Standard-sized cellos are referred to as 'full-size' or '​ 4⁄ 4' but are also made in smaller (fractional) sizes (e.g. ​ 7⁄ 8, ​ 3⁄ 4, ​ 1⁄ 2, ​ 1⁄ 4, ​ 1⁄ 8, ​ 1⁄ 10, ​ 1⁄ 16). The smaller cellos are identical to standard cellos in construction, range, and usage, but are simply scaled-down for the benefit of children and shorter adults.

Cellos in sizes larger than ​ 4⁄ 4 do exist, and cellists with unusually large hands may require such a non-standard instrument. Cellos made before approximately 1700 tended to be considerably larger than those made and commonly played today. Around 1680, changes in string-making technology made it possible to play lower-pitched notes on shorter strings. The cellos of, for example, can be clearly divided into two models: the style made before 1702, characterized by larger instruments (of which only three exist in their original size and configuration), and the style made during and after 1707, when Stradivari began making smaller cellos. This later model is the design most commonly used by modern luthiers. The of a ​ 4⁄ 4 cello is about 70 cm ( 27 1⁄ 2 in). The new size offered fuller tonal projection and greater range of expression.

The instrument in this form was able to contribute to more pieces musically and offered the possibility of greater physical dexterity for the player to develop technique. Rosin is applied to bow hairs to increase the 'bite' of the bow on the strings.

•, made from, is applied to the bow hairs to increase the effectiveness of the friction, grip or bite, and allow proper sound production. Rosin may have additives to modify the friction such as beeswax, gold, silver or tin. Commonly, rosins are classified as either Dark or Light. • stops or straps (tradenames include Rockstop and Black Hole) keep the cello from sliding if the endpin does not have a rubber piece on the end, or if a floor is particularly slippery. • are placed on cello strings between the tailpiece and the bridge to eliminate acoustic anomalies known as or 'wolfs'.

• are used to change the sound of the cello by reducing and to reduce the amount of noise produced by the instrument by preventing the bridge vibrating as much. Main article: A person who plays the cello is called a cellist. For a list of notable cellists, see the and. Careers [ ] Careers in cello vary widely by genre and by region or country. Most cellists earn their living from a mixture of performance and teaching jobs.

The first step to getting most performance jobs is by playing at an. In some styles of music, cellists may be asked to printed music or perform standard repertoire with an ensemble. In classical music, cellists audition for playing jobs in orchestras and for admission into university or Conservatory programs or degrees. At a classical cello audition, the performer typically plays a movement from a Bach suite or a movement from a concerto and a variety of excerpts from the orchestral literature.

Orchestral auditions are typically held in front of a panel that includes the, the, the Principal cellist and other principal players. The most promising candidates are invited to return for a second or third round of auditions, which allows the conductor and the panel to compare the best candidates. Performers may be asked to sight read orchestral music. The final stage of the audition process in some orchestras is a test week, in which the performer plays with the orchestra for a week or two, which allows the conductor and principal players to see if the individual can function well in an actual performance setting. Performance jobs include playing as a freelancer in small groups, playing in a group, large ensembles, or performing solo music, either live onstage or as a session player for radio or TV broadcasts or for recordings; and working as the employee of an orchestra, big band, or recording studio. Many cello players find extra work by substituting ('subbing') for cellists who are double-booked or ill. It is hard for many cello players to be able to find full-time, full-year work at a single job.

About the closest that a cellist can come to this is in the case of those who win an audition at a professional orchestra. Even full-time orchestra jobs do not usually last for the entire year. When the orchestra stops playing (which is often in the summer), orchestral cellists have to find other work, either as a teacher or coach, or in another group. Teaching work for cellists includes giving private lessons in the home or at colleges and universities; coaching cellists who are preparing for recordings or auditions; doing group coaching at music camps or for youth ensembles; and working as a high school music teacher. Due to the limited number of full-time orchestral jobs, many classical cellists are not able to find full-time work with a single orchestra.

Some cellists increase their employ-ability by learning several different styles, such as folk or pop. In some cases, cellists supplement their performing and teaching income with other related music jobs, such as working as a stringed instrument repairer (luthier); as a contractor who hires musicians for orchestras or big bands, composing music, songwriting, conducting, or organizing festivals (e.g., ). Famous instruments [ ].

The Servais Stradivarius is preserved in the 's Specific instruments are famous (or become famous) for a variety of reasons. An instrument's notability may arise from its age, the fame of its maker, its physical appearance, its acoustic properties, and its use by notable performers.

The most famous instruments are generally known for all of these things. The most highly prized instruments are now collector's items, and are priced beyond the reach of most musicians.

These instruments are typically owned by some kind of organization or investment group, which may loan the instrument to a notable performer. (For example, the, which is currently in the possession of one of the most widely known living cellists,, is actually owned by the Vuitton Foundation. ) Some notable cellos: • the 'King', by, is one of the oldest known cellos, built between 1538 and 1560—it is in the collection of the in. • is in the collection of the, Washington DC.

•, played by, currently played. •, played by Clive Greensmith of the. •, formerly played.

• Piatti Stradivarius, 1720, played. Organizations [ ] • CelloBello • International Cello Society • World Cello Congress • Violoncello Society of New York • London Cello Society Playing examples [ ].

The Gofriller Solo Cello represents a major step forward in software musical instrument technology and provides a level of realism and expression never before heard in the industry.This new instrument integrates the Native Instruments Kontakt 2 sample player and can be used as a standalone instrument, as a VST, DXi, RTAS or Audio Units plug-in, and can be used with supported notation programs. System Requirements: The entire Gofriller Cello instrument, is packed into a single Kontakt 2 instrument, and as such, works on PC & Mac platforms (For Mac, OSX 10,4+ required), and works with all sequencers that support VST, DXi, RTAS and Audio Units. It works in real time on a P4 2.6+ GHz (or a comparable Mac), with a CPU load of about 20-25% (convolution included). A faster computer will yield more efficiency and also Kontakt 2 purging will significantly decrease the CPU load. A keyboard with a six octave range, Pitch Wheel, Mod Wheel, Sustain Pedal, Channel Aftertouch and Expression Pedal or similar controllers are required to get full use of the product.