#Violoncello

[fidjiefidjie]

" Isabella " 2024

Land-Art 🪨👌de ©Justin Bateman

(🎵 Suite pour violoncelle No 1 en G major)

👋 Bel après-midi

[praline1968]

Hauser ❤️

[andietries]

Anyone knows if I can moisture the pegs of a cello with vaseline?

Asking here because typing in my search bar: “moisture vaseline peg” I’m afraid it’s giving me not the kind of webs I’m looking for

[vesper-brown]

[kurtcobainvarnish]

°ᡣ𐭩 . ° . 𝄞⨾𓍢ִ໋🎻♫⋆｡♪₊˚♬ﾟ.𝄞 °ᡣ𐭩 . ° .

•☽────✧˖°˖☆˖°˖✧────☾•

Tried something new 😔

[feochay]

[schibborasso]

pas de trois

[kakushusband]

One of my personal favorite cell hcs is that they have a stomach of tinfoil.

Literally cannot handle a punch in the gut without being sick. Frieza gets the big purple target on their abdomen blown to bits every other fight but Cell can't handle a single blow to the stomach without losing perfection.

Ffs. Gero built a man eating monster and gave them a sensitive tummy

[art-portraits]

The Rev. John Chafy Playing the Violoncello in a Landscape

Artist: Thomas Gainsborough (English, 1727–1788)

Date: 1750-1752

Medium: Oil on Canvas

Collection: Tate, United KIngdom

[sophia-michelle-art]

VIOLONCELLO KRICKETUNE LOTERIA CARD

Kricketune Pokemon Mexican "The Cello" Lotery card

[automaticfrenchhorn]

String quartet today, continuing to look at one of the harmonic ideas I used in study no. 96. Specifically, add9 chords with the third in the bass. I'm continuing to be quite fond of this shape, as the bass note lends itself to try to function as the root (especially when it is the minor 3rd), creating an ambiguity that I find quite interesting.

In this study, I seperate the sus chord from the bass note texturally, which I find aids in creating ambiguity between the bass note and the root. I also invert the texture, having the 1st violin hold a note above the sus chord shape. I chose to use the 7th for this, rather than the 3rd, partly for contrast, but also as a kind of "mirror" to the 3rd below. The major 7th on top creates the same intervals as the minor 3rd does placed below, just inverted (same thing happens with the minor 7th above and major 3rd below). The perfect fifth relation between the 3rd and 7th also helps them feel like two expressions of the same idea, and it let me use both of them together during the ending.

As always, these pieces are welcome for anyone and everyone to play! All I ask is that you share it with me, because I'd love to hear it done by live players!