How can I choose the best solos on a cello?
The selection of the best solo solo cells requires an exploration of what a cellist is able to draw from the instrument. It also requires the color of the color and the range of the tool. Place and audience for solo are also important. The repertoire lists are good resources to find solo as soon as the player takes into account these factors. For example, beginning violoncella solos can focus on specific tilt techniques or concentrate around one chain. On the other hand, advanced violoncello solos could quickly switch from pizzicato or ripped playing, Arco or bow; Require the transition from string to string with ease and have faster passages with other articulations.
After selecting the player's level, specify the venue of the solo cello. Some spaces are not suitable for solos that remain at the bottom of the cello series. An example is outdoor gaming, drought, as could occur at the wedding. Other spaces such as churches are more resonant and allow people to clearly hearEven the bottom playground.
Attached to the venue is the audience. For example, people who know cello only as a classic tool can expect something like Violoncello Apartment by Johann Sebastian Bach. Others may realize that cello can be "electrical" or reinforced and effectively used in pop and rock music. The concert with the aim of showing modern techniques of cello can have members of the audience who expect to hear methods such as harmonious and wah. Very young and old audiences may not be able to sit over long solos.
Another aspect of choosing the best solo cells is a period of rest. In the accompanying solos, the cellular player has the opportunity to break because the pianist or other supportive instrumentalists can play among the showcase of the cello. This is increasingly important, the more difficult the solo is because heavier solos usually requireMore when it comes to finger and arms control. In the violoncello viro unaccompanied by the non -nibist does not have this chance to recover. Solo unaccompanied can also make a player nervous because he cannot hide behind his accompaniment, but on the contrary, these solos are good opportunities to really focus on a cellist.
As soon as one knows what he is looking for when it comes to the level of playing, venue, audience and rest, exploring lists of other vielists' repertoires provides traces in terms of specific solos. The cellists should consider pieces often considered to be a relatively standard repertoire, while pieces that rarely occur can be more modern or have a heavier level of difficulty. The more known the piece is, the more important it is for the player to play flawlessly, because the audience will be better able to recognize errors.