For quick revisions later on: 1:20 detache 1:58 legato 5:24 sul ponticello 6:52 sul tasto 7:44 staccato 10:13 spiccato 12:08 marcato 14:21 ricochet 15:34 col legno 17:01 pizzicato 18:25 tremolo 19:48 hook bowing 23:34 using the frog of the bow
That was extremely useful. I'm a pianist thinking of writing for the cello for the first time, and this was fantastically helpful. I particularly appreciated Bryan using the same scale to demonstrate so much of what was covered - that consistency in the material really helped highlight the differences in sound due to the various techniques! Much appreciated :)
This is a great idea for teaching orchestration. Having a live player interviewed and demonstrating the techniques of their instrument is of tremendous value. Thank you for doing this; opening up and inspiring my music once again.
I'm studying cello and composing music. This was a good simple exploration of the cello. What I miss though is to show how much one can do using two or more strings at once. Bach presented so many pieces with two melodies simultaneously on one cello. Bryan Gibson, you probably know this better than I do, I just wish you included it. Pushing the limits of what a cello can do.
oh man rick you're the best! i've not seen anyone on youtube give such detailed information on the nuances of orchestral instruments and bringing them to people who are mostly programming their orchestral compositions. i'm filled with gratitude...
You have no idea how badly I needed this video! lolololol I write my own Orchestral scores and without knowledge of techniques of the orchestra, it’s very hard to do. These vids help a lot. Thank you for these.
This is so precious to me. Thanks, Rick and Bryan. I use Vienna Symphonic Library, love string quartets. I got the full solo strings bundle which contains all of these articulations you are presenting. Plus the VSL system offers superb tweaking for everything. You can easily stretch out those staccato articulations. This is awesome. So grateful.
I was so pleased to see this in my feed. I'm an aspiring composer and this couldn't have come along at a better time. Good luck with the rest, Rick! Thanks a lot, your videos are incredibly useful.
Brilliant. I have posted this to several film scoring groups on Facebook, with thousands of members (one including Hans Zimmer himself as well). Hopefully everyone gets to see these series!
Hi Rick, Even though we can find many things on youtube, many musicians don't have a classical players to demonstrate and explain about their instruments. I know I didn't have and had to work very hard to get example from professional musician which is different then to listen them playing in a concert. *Rick, what you have done is AWESOME!!!*
Once in awhile I will add virtual cello to my songs - I hadn't given study of this topic any thought, but this video was VERY interesting and helpful. Thanks, guys!
Thanks Rick. When you do other strings like violin/viola could you cover the playing of double stops? The realistic speed of playing stops. I have in mind the problem of viola writing in string trios where it has to add harmony filling in what a 2nd violin would provide in a quartet. Will you be covering contrabas yourself?
You're amazing, Rick! And Bryan is a fantastic and knowledgeable cellist. Thank you so much! I'm really looking forward to seeing more of this series. :)
Hey Rick. Really appreciate what you're doing here. One thing I think that could be a lot of help to these types of videos is if you had little picture in picture frames showing what each articulation looks like when notated. You could possibly achieve this by writing a score for your video with a small title referencing each technique - for instance, start the score with a phrase notated in single bow strokes, then legato (as a slur and using other forms), then how one would notate several notes played on the same string etc etc. I think it'd really help to show exactly how to implement these techniques as a composer that might not have the extensive experience that usually brings knowledge of different notations
I’m a hobbyist songwriter and will probably never write anything with a cello, but I still really enjoyed this and feel I learned a lot. Just to be clear, it’s mostly that I’m unlikely to ever have access to a cellist so that’s why I wouldn’t write for that instrument, but as a guitarist it’s fascinating to learn about the differences in technique. That and yeah, cello is as awesome as I thought it was from the sound of it. :)
Assuming the fingering is easy, is two-note tremolo, where you wobble long bow strokes between strings, easier or harder to play for an extended period at a good pace than the single-note fast bow tremolo demonstrated here @ 18:25?
Congratulations on a good start to what sounds like it will be a mammoth undertaking. Great to see a real live player demonstrating the different techniques, the differences between live sounds and sampled sounds and also the comments on blending 'live' and sampled instruments. It might not be necessary for every stringed instrument, but can cover use of vibrato (and senza vibrato), harmonics (natural and artificial) and con sordino in at least one of the string instrument videos? Thanks again, and a belated happy birthday - as a 55-year-old myself, I've realised that we are almost identical in age! ;-)
This will be great. I'm a beginner in this composing venture, so this is exactly what I had in mind doing by hiring a live teacher to show me all this stuff. I will still do that, but now, I'll have some knowledge going in, and won't be a dumb wide eyed slug sitting in a chair saying.....teach me.....I can be a participant. The teacher will probably have more fun too....because I put forth some effort & can interact. Thanks Rick. Of course, all your stuff is top notch. :)
Brilliant, Rick (thanks Bryan) As I move into working with more orchestral libraries and composing in different genre's, I've been picking up some of this information on articulations, elsewhere (UA-cam's algorithm kicking in, too), but fantastic to get demonstrations and explanations. Gonna have to go deeper on your cinematic composition vids, next, too
I like the comments he made comparing the real instruments with the samples people use with their DAWS, and what doesn't really work very well. Makes all the difference when you hear the real thing.
I love these videos Rick and appreciate all that you have been doing for the music community! Thank you. I agree that it is better to use a real musician with instrument versus a virtual instrument in your orchestral arrangements. However, in November of 2020, I picked up BBC Orchestra by Spitfire Audio and you can articulate many of these type of nuances with your virtual instruments. Its pretty cool, check it out, still not the same but it's getting closer...
Good to get another point of view. Glad I took up the guitar though as I would be lost on the cello. However.one cellist my wife always loved to listen to was the great Jacqueline Du Pre, who, unfortunately, died in 1982. First wife of Danial Barenboim.
I really liked this. I'm always struggling since I know I should know more about the instruments and the techniques to really improve my orchestration and my composing as well. Technique that has certain sound can be useful as an inspiration in itself. :) I hope we get more ^_^
Awesome videos! I actually use the technique with the 8 chairs myself :) But I often ask the player to bring an extra violin, so it's not always the same instrument. Most players have a second one and don't mind bringing it. It sounds a bit more realistic that way.
I have a question; I've noticed that with stringed instruments, particularly with fretless, due to the instrument's nature, the intonation varies hugely from note-to-note, and player-to-player, yet when we hear them as an ensemble, those tuning/intonation variations are inaudible. I figured this is similar to crowds singing at gigs, where even the most tone deaf of singing seems to build together to be at least half on pitch. (Sorry gig-goers! Haha) It's as though the sharp and flat notes add up to produce the average pitch somewhere in between, which is closer to in-key. Would you be able to talk about this, and maybe how that works?
Howdy man, thanks for such a fleshed out reply. I'm a guitarist first, so all of the factors along the lines of playing the same note on different strings affecting it's character, with all the different factors you mentioned, is something I'm familiar with. You mentioning the adjustment of performance in real-time makes a lot of sense, so thank you for that. I had a suspicion that it might just be effectively adjusting on the go, but I figured that this couldn't rule out all of the variation, hence my question. When you mentioned me having said the intonation varies, I did say this was due to the nature of the instrument. I was referring to some of what you went on to explain; about the temperament, and the fact that it doesn't have any handy ol' fretwires at all to support consistent intonation. I understand entirely why these variations happen, I compose and as such I need a working-knowledge of the limitations/nuances to each instrument's techniques. I completely understand why the variations happen, I've played fretless stringed instruments in the past, and it's definitely fighting a losing battle!
Oops, I almost forgot to ask. I still don't quite grasp what you meant about enharmonics sounding differently on strings. Do you mean because of the subtle variation in fingerings D#/Eb would have causing the note to potentially sharp or flat? I would have thought that would be chalked down to bad technique
To be honest, with such a subject that evidently has a huge realm of factors to consider, anything short of a tome wouldn't cover it enough depth. hahaha. I'll keep reviewing what you've said, in the hope that it gradually clicks a bit more. I'm sure I grasp what you're saying, but I'd like to be sure. P.S, the example with my name was brilliant, had me in bits. Thanks a lot for taking the time to put your point across, far too often is the case that people just tell you to go screw yourself when you don't immediately grasp what they're saying.
String ensembles, like choirs, get their distinctive sound from all the tiny differences in what the players are doing. I think the scientists say that differences in pitch as smaller than 6 cents aren't perceived as melodically different. When people hear vibrato, their ears sort of average out the pitch and choose something in the middle. So, when the ear hears a lot of very close but different pitches, it does something similar. You know the effect if you've ever used a chorus pedal with your guitar. Another thing to thin about is the physics of sound- the waves from each instrument may or may not be similar in phase. Actually, since they all come from different sources, they're all going to be out-of-phase somewhat- meaning that the sound waves won't necessarily add up. When two signals are out of phase, they cancel and all you hear is what's different. String sections aren't very out-of-phase, since everyone sits so close together, and only the really big differences create noticeable cancellations and interference. And really, the tiny differences in pitch are the same- they go in and out of phase too- just at a faster rate (An aside: that's also what harmony is- a perfect fifth for example features waves that interfere at a particular ratio, three of one wave for every two of the other means that the amplitude of the wave . It produces a sort of W shape pattern that we hear as harmony). So what I'm saying is, all the little differences cancel out, and produce a unified whole that also sound different. The big, rich sound of an ensemble comes from all the little differences that also add together, just less than the big similarities. The key to understanding it is to think in terms of waves and how they interact. This will help you understand the microtonal thing: look up "just intonation." You'll see for yourself that harmony is just complex interference patterns that are produced when two wave forms consistently meet at some point along the wave. An octave is a 2:1 ratio, a fourth is a 4:3 ratio, and more complex ratios produce more dissonant intervals, a tritone for example is like 45:32. Music has a lot of maths.
milou80 I have seen this video at least a dozen times, and just now read your post. The information you have given is amazing and invaluable. I had no idea about the lack of enharmonics like a piano on the violin or viola, especially the part where they use even different fingerings for, say, F sharp or G flat. That I just learned right now.
Hey Rick, have you done any more of these videos? I really enjoyed this one on the cello. I've had a look through your channel but couldn't find any others on orchestra instruments. It'd be awesome to have a look at the rest of the string section :)
It's very interesting to 'hear' a cellist delineate the deficiencies in string sample libraries. This will be a valuable series. Btw, I wonder if the cello is bryan's favorite instrument? He also happens to be one Hell of a guitar player.
+Dale Morris Aimee is going to be on but I'm not sure when. I talked to her about it a couple weeks ago. Actually before I even started of the show. I was actually on Aimee's periscope show twice about a year and a half ago :)
I assumed you had done videos like this, just hadn't come across it. Good resource for non-string players. How about one that shows off what an electric cello can do? (You've probably done one of those too). 🔥
Great job and very informative as always, Rick. Love your channel. Could you please add vibrato to the next string segment. Also, what's your opinion of On The Track (book) for film scoring? Fred Karlin was a friend of my composition teacher. Thanks for the great lessons! Peace. JR
THIS COULD BE SUCH A GOOD SERIES, LIKE BRASS, WOODWINDS, PERCUSSION, ETC IT COULD HELP ALOTTA BEGINNING COMPOSERS LIKE ME AHH!!
So much yes!
YEESSSS
I know I'm kind of randomly asking but does anyone know a good site to watch newly released movies online?
For quick revisions later on:
1:20 detache
1:58 legato
5:24 sul ponticello
6:52 sul tasto
7:44 staccato
10:13 spiccato
12:08 marcato
14:21 ricochet
15:34 col legno
17:01 pizzicato
18:25 tremolo
19:48 hook bowing
23:34 using the frog of the bow
legato?
corrected. thanks.
Not all heroes wear capes
Thanks!
thanks so much!
BEST. CHANNEL. EVER.
Thanks!
Agreed :)
That was extremely useful. I'm a pianist thinking of writing for the cello for the first time, and this was fantastically helpful. I particularly appreciated Bryan using the same scale to demonstrate so much of what was covered - that consistency in the material really helped highlight the differences in sound due to the various techniques! Much appreciated :)
What an incredible player and teacher. This is gonna be an amazing series!
This is a great idea for teaching orchestration. Having a live player interviewed and demonstrating the techniques of their instrument is of tremendous value. Thank you for doing this; opening up and inspiring my music once again.
This is awesome. Keep it up Rick.
I'm studying cello and composing music. This was a good simple exploration of the cello. What I miss though is to show how much one can do using two or more strings at once. Bach presented so many pieces with two melodies simultaneously on one cello. Bryan Gibson, you probably know this better than I do, I just wish you included it. Pushing the limits of what a cello can do.
Mahavishnu Stravinskij
That is called a double stop
There's also harmonics, etc.
oh man rick you're the best! i've not seen anyone on youtube give such detailed information on the nuances of orchestral instruments and bringing them to people who are mostly programming their orchestral compositions. i'm filled with gratitude...
Rick, you are amazing! This brings the articulations in my East West Diamond collection alive with the opportunity to see them!
+1000buffalos Great! That was the idea!!
So fascinating! Loving your diverse uploads.
Bryan's skill + cello = POWER! I love it!
I really hope this series continues
When I searched for this I never thought I get a Rick Beato vid. This rocks.
Very much appreciate this. I just picked cello up again after 25 years (played it in 6th grade) and this info was really helpful!
You have no idea how badly I needed this video! lolololol I write my own Orchestral scores and without knowledge of techniques of the orchestra, it’s very hard to do. These vids help a lot. Thank you for these.
Once more you raised the bar, Rick! Amazing video, I've been looking for something like this for months. Thank you very much!
Thank you for doing this series, Rick - can't wait for the future installments!
This is so precious to me. Thanks, Rick and Bryan. I use Vienna Symphonic Library, love string quartets. I got the full solo strings bundle which contains all of these articulations you are presenting. Plus the VSL system offers superb tweaking for everything. You can easily stretch out those staccato articulations.
This is awesome. So grateful.
I was so pleased to see this in my feed. I'm an aspiring composer and this couldn't have come along at a better time. Good luck with the rest, Rick! Thanks a lot, your videos are incredibly useful.
Brilliant. I have posted this to several film scoring groups on Facebook, with thousands of members (one including Hans Zimmer himself as well). Hopefully everyone gets to see these series!
Thank you Rick for these lessons. I really appreciate them.
Thanks Bryan and Rick for the quality content!
Hi Rick, Even though we can find many things on youtube, many musicians don't have a classical players to demonstrate and explain about their instruments. I know I didn't have and had to work very hard to get example from professional musician which is different then to listen them playing in a concert.
*Rick, what you have done is AWESOME!!!*
This is a superb video. So informative.
Awesome job Bryan - I so much wish to go back 30 years and pick up the Cello... enjoy music! Thanks for sharing
Absolutely brilliant! Thank you so much for a very informative video.
Rick, I'm a big fan of your channel. You've got a goldmine here if you could do something like this for just about every instrument.
This was very cool, I love Bryan's work with Chris
Once in awhile I will add virtual cello to my songs - I hadn't given study of this topic any thought, but this video was VERY interesting and helpful. Thanks, guys!
Hey Rick,
Can you do a video on how to write and orchestrate for French horn?
I'm going to do a video on every instrument of the Orchestra
Great!!!!!! Can't wait
Thanks Rick. When you do other strings like violin/viola could you cover the playing of double stops? The realistic speed of playing stops. I have in mind the problem of viola writing in string trios where it has to add harmony filling in what a 2nd violin would provide in a quartet.
Will you be covering contrabas yourself?
Realistic speed for virtuoso player vs. typical professional orchestra player.
You're amazing, Rick! And Bryan is a fantastic and knowledgeable cellist. Thank you so much! I'm really looking forward to seeing more of this series. :)
This is so valueable, thank you Rick amd Bryan.
This really helped me write sheet music! Thank you!
So helpful! Great value.
First after Adam Neely.
What an honor.
Hey Rick. Really appreciate what you're doing here. One thing I think that could be a lot of help to these types of videos is if you had little picture in picture frames showing what each articulation looks like when notated. You could possibly achieve this by writing a score for your video with a small title referencing each technique - for instance, start the score with a phrase notated in single bow strokes, then legato (as a slur and using other forms), then how one would notate several notes played on the same string etc etc. I think it'd really help to show exactly how to implement these techniques as a composer that might not have the extensive experience that usually brings knowledge of different notations
Great video! There's a lot of value here
Make more of these, Rick! Please!
This series is going to be great. The intro was well done.
Fantastic video! Very informative! Thank you very much!!
That's awesome! Thank you Rick!
This is a great idea for a series, and really well made. Thanks.
Who doesn't love the evocative sound of a cello?
Wow, amazing series.
I’m a hobbyist songwriter and will probably never write anything with a cello, but I still really enjoyed this and feel I learned a lot. Just to be clear, it’s mostly that I’m unlikely to ever have access to a cellist so that’s why I wouldn’t write for that instrument, but as a guitarist it’s fascinating to learn about the differences in technique. That and yeah, cello is as awesome as I thought it was from the sound of it. :)
Superb video, thank you so much both of you.
this is gold! tnx Rick
Who dislikes this, man? Seriously! Great video. Super Informative!
Awesome video, very helpful. Thank you.
he is a fantastic Cellist.
what a great time to be alive!
How about continuing this series Rick for woodwind, brassand percussion.
got a test next week about orchestration, so thank you a lot for this
I know this video is old but I got a cello for Christmas (I'm 48), and I figured I had to see if Rick had anything on cello. Score!!
Bravo Rick! you have the chuck norris of theory channels
Assuming the fingering is easy, is two-note tremolo, where you wobble long bow strokes between strings, easier or harder to play for an extended period at a good pace than the single-note fast bow tremolo demonstrated here @ 18:25?
Great video, but I just have to say, what a beautiful cello. That colour is amazing.
Rick Beato... Coolest dude ever! Thanks for these damn videos!
Congratulations on a good start to what sounds like it will be a mammoth undertaking. Great to see a real live player demonstrating the different techniques, the differences between live sounds and sampled sounds and also the comments on blending 'live' and sampled instruments.
It might not be necessary for every stringed instrument, but can cover use of vibrato (and senza vibrato), harmonics (natural and artificial) and con sordino in at least one of the string instrument videos?
Thanks again, and a belated happy birthday - as a 55-year-old myself, I've realised that we are almost identical in age! ;-)
I just bought the Chris Hein Ensemble strings and I found this very helpful
wonderful, thanks
Thank you both of you
Thank you for doing this !
Thanks a bunch for this!!
You are welcome!
I just can't get enough of your channel, Rick! Thanks so much, man!
This will be great. I'm a beginner in this composing venture, so this is exactly what I had in mind doing by hiring a live teacher to show me all this stuff. I will still do that, but now, I'll have some knowledge going in, and won't be a dumb wide eyed slug sitting in a chair saying.....teach me.....I can be a participant. The teacher will probably have more fun too....because I put forth some effort & can interact. Thanks Rick. Of course, all your stuff is top notch. :)
Brilliant, Rick (thanks Bryan) As I move into working with more orchestral libraries and composing in different genre's, I've been picking up some of this information on articulations, elsewhere (UA-cam's algorithm kicking in, too), but fantastic to get demonstrations and explanations. Gonna have to go deeper on your cinematic composition vids, next, too
I like the comments he made comparing the real instruments with the samples people use with their DAWS, and what doesn't really work very well. Makes all the difference when you hear the real thing.
This was so informative! Thank you!
Rick! You forgot about battudo! Thank you for this video though it cleared up somethings that I always wanted to know!
Excellent!! Thank you! :)
Great Lesson !!!!
thank you very much both of you, so useful, fantastic.
What a shock ...you almost had me thinking you had an unknown talent...still laughing so hard it almost hurts lol
Really enjoy your videos :)
I love these videos Rick and appreciate all that you have been doing for the music community! Thank you.
I agree that it is better to use a real musician with instrument versus a virtual instrument in your orchestral arrangements. However, in November of 2020, I picked up BBC Orchestra by Spitfire Audio and you can articulate many of these type of nuances with your virtual instruments. Its pretty cool, check it out, still not the same but it's getting closer...
Good to get another point of view. Glad I took up the guitar though as I would be lost on the cello. However.one cellist my wife always loved to listen to was the great Jacqueline Du Pre, who, unfortunately, died in 1982. First wife of Danial Barenboim.
Really really usefull video
I really liked this. I'm always struggling since I know I should know more about the instruments and the techniques to really improve my orchestration and my composing as well. Technique that has certain sound can be useful as an inspiration in itself. :)
I hope we get more ^_^
Excellent, thank you.
Awesome videos! I actually use the technique with the 8 chairs myself :) But I often ask the player to bring an extra violin, so it's not always the same instrument. Most players have a second one and don't mind bringing it. It sounds a bit more realistic that way.
Do a video on your intro music? i'm stumped on the second to last chord in my transcription haha
Great, thanks!
Does anyone know if the performer improvised the music at 17:51 or if it comes from an already existing song. I love the sound!
I have a question;
I've noticed that with stringed instruments, particularly with fretless, due to the instrument's nature, the intonation varies hugely from note-to-note, and player-to-player, yet when we hear them as an ensemble, those tuning/intonation variations are inaudible.
I figured this is similar to crowds singing at gigs, where even the most tone deaf of singing seems to build together to be at least half on pitch. (Sorry gig-goers! Haha)
It's as though the sharp and flat notes add up to produce the average pitch somewhere in between, which is closer to in-key.
Would you be able to talk about this, and maybe how that works?
Howdy man, thanks for such a fleshed out reply.
I'm a guitarist first, so all of the factors along the lines of playing the same note on different strings affecting it's character, with all the different factors you mentioned, is something I'm familiar with.
You mentioning the adjustment of performance in real-time makes a lot of sense, so thank you for that. I had a suspicion that it might just be effectively adjusting on the go, but I figured that this couldn't rule out all of the variation, hence my question.
When you mentioned me having said the intonation varies, I did say this was due to the nature of the instrument. I was referring to some of what you went on to explain; about the temperament, and the fact that it doesn't have any handy ol' fretwires at all to support consistent intonation.
I understand entirely why these variations happen, I compose and as such I need a working-knowledge of the limitations/nuances to each instrument's techniques.
I completely understand why the variations happen, I've played fretless stringed instruments in the past, and it's definitely fighting a losing battle!
Oops, I almost forgot to ask.
I still don't quite grasp what you meant about enharmonics sounding differently on strings. Do you mean because of the subtle variation in fingerings D#/Eb would have causing the note to potentially sharp or flat? I would have thought that would be chalked down to bad technique
To be honest, with such a subject that evidently has a huge realm of factors to consider, anything short of a tome wouldn't cover it enough depth. hahaha.
I'll keep reviewing what you've said, in the hope that it gradually clicks a bit more.
I'm sure I grasp what you're saying, but I'd like to be sure.
P.S, the example with my name was brilliant, had me in bits.
Thanks a lot for taking the time to put your point across, far too often is the case that people just tell you to go screw yourself when you don't immediately grasp what they're saying.
String ensembles, like choirs, get their distinctive sound from all the tiny differences in what the players are doing. I think the scientists say that differences in pitch as smaller than 6 cents aren't perceived as melodically different. When people hear vibrato, their ears sort of average out the pitch and choose something in the middle. So, when the ear hears a lot of very close but different pitches, it does something similar. You know the effect if you've ever used a chorus pedal with your guitar.
Another thing to thin about is the physics of sound- the waves from each instrument may or may not be similar in phase. Actually, since they all come from different sources, they're all going to be out-of-phase somewhat- meaning that the sound waves won't necessarily add up. When two signals are out of phase, they cancel and all you hear is what's different. String sections aren't very out-of-phase, since everyone sits so close together, and only the really big differences create noticeable cancellations and interference. And really, the tiny differences in pitch are the same- they go in and out of phase too- just at a faster rate (An aside: that's also what harmony is- a perfect fifth for example features waves that interfere at a particular ratio, three of one wave for every two of the other means that the amplitude of the wave . It produces a sort of W shape pattern that we hear as harmony).
So what I'm saying is, all the little differences cancel out, and produce a unified whole that also sound different. The big, rich sound of an ensemble comes from all the little differences that also add together, just less than the big similarities. The key to understanding it is to think in terms of waves and how they interact.
This will help you understand the microtonal thing: look up "just intonation." You'll see for yourself that harmony is just complex interference patterns that are produced when two wave forms consistently meet at some point along the wave. An octave is a 2:1 ratio, a fourth is a 4:3 ratio, and more complex ratios produce more dissonant intervals, a tritone for example is like 45:32. Music has a lot of maths.
milou80 I have seen this video at least a dozen times, and just now read your post. The information you have given is amazing and invaluable. I had no idea about the lack of enharmonics like a piano on the violin or viola, especially the part where they use even different fingerings for, say, F sharp or G flat. That I just learned right now.
Great idea
Very helpful!
Awesome
Very helpful
Hey Rick, have you done any more of these videos? I really enjoyed this one on the cello. I've had a look through your channel but couldn't find any others on orchestra instruments. It'd be awesome to have a look at the rest of the string section :)
It's very interesting to 'hear' a cellist delineate the deficiencies in string sample libraries. This will be a valuable series.
Btw, I wonder if the cello is bryan's favorite instrument? He also happens to be one Hell of a guitar player.
Thanks for this! Amazing You Tube channel. I have subscribed!
this is invaluable
Great as always. How about a Sounding Off episode with Aimee Nolte? Thanks!
+Dale Morris Aimee is going to be on but I'm not sure when. I talked to her about it a couple weeks ago. Actually before I even started of the show. I was actually on Aimee's periscope show twice about a year and a half ago :)
very helpful! thanks
Nice vibrato and lovely cello tone. I wish I knew the year your cello was made and the maker.
Are there anymore of these on the channel?? I cant seem to find many. This video was really great
I assumed you had done videos like this, just hadn't come across it. Good resource for non-string players. How about one that shows off what an electric cello can do? (You've probably done one of those too). 🔥
Hey, absolutely LOVED this video! You said you'd do one on every orchestral instrument, did that not happen or has it been taken down :(
Great job and very informative as always, Rick. Love your channel. Could you please add vibrato to the next string segment. Also, what's your opinion of On The Track (book) for film scoring? Fred Karlin was a friend of my composition teacher. Thanks for the great lessons! Peace. JR