#cello

[@DrNDJas]

Great video and explanations, Professor! Wonderful work!

[@berkleynash4973]

Such a great video, I appreciate the shared knowledge.

[@lukedblair]

5:10 🤯 why has no cello teacher ever explained this to me. You’re right this is a phenomenon. Thank you so much cello prof

[@kingsleydyson4841]

Thank you Professor for explaining this. I am learning cello, self taught, playing by ear. I noticed this effect and was puzzled. Now I know I'm not imagining it! I am keen to check how this works out on a piano where the notes cannot be 'bent'.

[@johndiana5276]

Excellent! It would be great if you could do a couple videos on some classical repertoire like the six suites and comparing contrast how the piece sounds with each form of intonation. This was really excellent thank you very much!

[@FelipeLeonRojas.Cellist]

Thank you Professor, nobody told me that in my student years!.😢 but it is never too late!.

[@kamikan22]

9:40 on this case, the G will be slightly off with the open G? it is better to mute the open G string or just eat the tiny disonance it makes? because I tend to always go to resonate to the ringing tones, in fact for a time it was my only way to feel i was on tune x'd the same goes to the E for example, if you pay atention to the ring it makes from the C strings you can feel on tune and out of tune at the same time and you dont know what to do :C

[@LittleHarryBrother1]

Thanks for the video! I usually prefer expressive intonation for melodies and just intonation(what you advocate for) for double stops, or when playing chords during ensemble playing. Which kind of intonation one uses for melodies seems to me to be a question of style and taste. I think that lots of baroque-/HIP-players use just intonation during melodic playing. On the other hand, intonation can be handled the way Yo-Uo Ma does(expressive intonation), or as a more extreme example, Ivry Gitlis. I think all of these approaches has their own artistic merits. Any thoughts on this? I also have a suggestion for a video: Since you studied with Starker, did he ever teach you his concept of consonants and vowels, in regards to phrasing? If so, please make a video about this, professor! 🙏

[@thecelloprof1512]

You are absolutely right: Both ways have their advantages depending on the musical context. It would have taken too much time to speak about all the different aspects in the tutorial. But what I can tell you for sure is, once you get used to the harmonic intonation, your ear becomes dependent to the resulting, wonderful resonance and is always „looking“ for it😉 And: No - I can not remember Starker speaking about consonants and vowels in the context of musical phrasing. But this is infact a very interesting approach that is worth thinking about it! Since I play a lot of songs on the cello, I know exactly what you are talking about. Definetely a great idea for a future tutorial-project! Thanks a lot for your comment🙏

[@LittleHarryBrother1]

@@thecelloprof1512 Oh, I see. I got the impression that you advocated for just intonation in the vast majority of cases. If it doesn't take to long to explain in text, could you use give an example where you prefer expressive intonation over just? I you ever make a video on vowels and consonants I will definitely watch it! Thanks for responding! :)

[@humbertopedemonte]

Mi head just explote😮… from mi ignorance… thath means thath whe have yo adjust every different scale intonatio just a little????.

[@razefkhan]

Thank you so for such an insightful video.I was wondering for scale practice I try to do harmonic intonation but when I am practicing 3rd double stops in the same key I have to adjust and it doesnt match the original harmonic intonation of the key. Any tips for this ? Greetings from Bangaldesh

[@thecelloprof1512]

Thank you for your lovely and competent comment. I will definitely consider to do a tutorial on scales and especially thirds. For now: Harmonic Intonation works always, also for scales and thirds😉

[@stevenj9970]

I'll just use a MUCH wider vibato, the note will be in really tune every once and a while.....HEHE

[@Cheesesteakfreak]

Wow, you are exactly incorrect. The C major E should absolutely be in tune with the open A. A word to the wise, keep an open mind beyond teacher's boasts of certainty

[@mfd1512]

You are really funny. Just play some chambermusic in a string ensemble and find out yourself what’s in tune and what is not, and why. Or your colleagues will tell you!😂