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Cello

2007 Schools Wikipedia Selection. Related subjects: Musical Instruments

          Alternate meaning: Cello (web browser)

   CAPTION: Violoncello
   Cello

                 Violoncello

                Classification

   String instrument ( bowed)
                 Playing range
              Related instruments
     * Violin family ( Violin, Viola)
     * Double Bass, Viol (distantly related)

                   Musicians
     * List of Cellists

   The violoncello, almost always abbreviated to cello, or 'cello (the c
   is pronounced [tʃ] as the ch in "cheese"), is a stringed instrument and
   a member of the violin family. A person who plays a cello is called a
   cellist. The cello is popular in many capacities: as a solo instrument,
   in chamber music, and also as a foundation of the modern orchestral
   sound.

Description

   Cellist
   Enlarge
   Cellist

   The name cello is an abbreviation of the Italian violoncello, which
   means "little violone". The violone is an obsolete instrument, a large
   viol, similar to a modern double bass.

   The cello is most closely associated with European classical music. It
   is part of the standard orchestra and is the bass voice of the string
   quartet, as well as being part of many other chamber groups. A large
   number of concertos and sonatas have been written for it. It is less
   common in popular music, but is sometimes featured in pop and rock
   recordings.

   Among the most famous Baroque works for the cello are J. S. Bach's
   Unaccompanied Suites for Cello, commonly known as the Bach Cello
   Suites. An example of a Classical era piece is Haydn's Cello Concerto
   #1 in C major. Standard Romantic era repertoire includes the Cello
   Concerto in B minor by Antonín Dvořák, Elgar's Cello Concerto in E
   minor, and two sonatas by Brahms. Modern compositions from the early
   20th century include unaccompanied cello sonatas by Paul Hindemith (
   opus 25) and Zoltán Kodály (opus 8). Recordings within the Avant Garde
   (cutting edge) genre have revitalized the instrument's perceived
   versatility. One example is Night of the Four Moons by George Crumb.

Construction

   The construction of a cello
   Enlarge
   The construction of a cello

   The cello is larger than the violin or the viola but smaller than the
   double bass. Like the other members of the violin family, the cello has
   four strings. Its strings are normally tuned to the pitches (from high
   to low) A, D, G, and C (A3, D3, G2, and C2 in scientific pitch
   notation). This is like the viola but one octave lower, and is one
   octave plus one fifth lower than the violin (see Tuning and range). It
   is played in an upright position between the legs of a seated musician,
   resting on a metal spike called the endpin. The player draws the bow
   horizontally across the strings. The cello is a complex instrument
   consisting of many different parts. Although the majority of it is
   composed of wood, some parts can be made of steel or other metals
   and/or composite material. Modern strings have a steel, gut, nylon or
   other synthetic core, covered with various kinds of metal winding.

Body

   The main frame of the cello is typically made from wood, although some
   modern cellos are constructed from carbon fibre. A traditional cello
   normally has a spruce top, with maple for the back, sides, and neck.
   Other woods, such as poplar or willow, are sometimes used for the back
   and sides. Less expensive cellos frequently have a top and back made of
   a laminate.

   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 bridge and f-holes just below the middle.

Neck, pegbox, and scroll

   Above the main body is the carved neck, which leads to a pegbox and
   then a scroll. The neck, pegbox, and scroll are normally carved out of
   a single piece of wood. Attached to the neck and extending over the
   body of the instrument is the fingerboard. The nut is a raised piece of
   wood, where the fingerboard meets the pegbox, which the strings rest
   on. The pegbox houses four tuning pegs, each which tunes its respective
   string by either tightening or loosening the string. The scroll is a
   traditional part of the cello and all other members of the violin
   family. Ebony is usually used for the tuning pegs, fingerboard, and
   nut, but other dark woods, such as boxwood or rosewood, can be used.

Tailpiece and endpin

   The tailpiece and endpin are found at the opposite end of the body to
   the neck. The tailpiece is traditionally made of ebony or another dark
   wood, but can also be made of plastic or composite material. It
   attaches the strings to the tail end of the cello. The endpin, made of
   metal or carbon fibre, supports the cello while in playing position.
   Modern endpins are usually retractable and adjustable. The end of the
   endpin touching the floor is usually a spiked tip that can be capped
   with rubber; both serve to grip the floor and prevent the cello from
   moving or slipping.

Bridge and f-holes

   The bridge of a cello,with a mute
   Enlarge
   The bridge of a cello,with a mute

   The bridge elevates the strings above the cello and transfers their
   vibrations to the soundpost inside (see below). The bridge is not glued
   on; tension from the strings holds it in place. The f-holes (named for
   their shape) are located on either side of the bridge, and allow air to
   move in and out of the instrument to produce sound. Additionally,
   f-holes act as access points to the interior of the body when the need
   for repair or maintenance arises. Sometimes a small hose, containing a
   water-soaked sponge, is inserted through the f-holes in order to
   maintain proper humidity levels.

Internal features

   Internally, the cello has two important features: a bass bar, which is
   glued to the underside of the top of the instrument, and a round wooden
   sound post (also called a sound peg), which is sandwiched between the
   top and bottom. The bass bar, found under the bass foot of the bridge,
   serves to support the cello's top, making it rigid. 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 to anything,
   but is kept in place by the tensions of the bridge and strings.
   Together, the bass bar and sound post are responsible for transferring
   the strings' vibrations to the body of the instrument, which in turn
   transfers them to the air mass inside the instrument, producing sound.

Glue

   Cellos are constructed and repaired using hide glue, 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 will let go,
   avoiding a crack in the plate. However, in reality this does not always
   happen.

Bow

   A Cello Bow
   Enlarge
   A Cello Bow

   Traditionally, bows are made from Pernambuco (high quality) or
   brazilwood (lower quality). Both woods come from the same species of
   tree ( Caesalpina echinata), but Pernambuco is the heartwood of the
   tree and is much darker (Brazilwood is stained/painted dark to
   compensate). Pernambuco is a heavy, resinous wood with great elasticity
   and high sound velocity which makes it an ideal wood for instrument
   bows. The hair is horsehair, though synthetic hair is also available.
   In addition, the bow can now be made of fibreglass or carbon fibre (or
   wood with a carbon fibre core). The hair is coated with rosin
   periodically to make it grip the strings and cause them to vibrate.
   Bows need to be re-haired periodically. The most common reason for
   rehairing is excessive hair loss through breakage. Hair that has
   stretched, and will not tighten enough, also calls for professional
   attention. Some professionals believe that eventually hair can also
   "lose its grip." Others disagree, saying that if the ribbon has enough
   hair, and will tighten properly, a proper cleaning will restore its
   playing quality. The hair is kept under tension while playing by a
   screw which pulls the frog (the part of the bow one holds) back.
   Leaving the bow tightened for long periods of time can damage it by
   warping the stick. The dimensions of the cello bow are 73cm long, 3cm
   high (from the frog to the stick) and 1.5 cm wide.

Development

   The cello developed from the bass violin, first used by Monteverdi,
   which was a three-string consort instrument. The invention of
   wire-wound strings (fine wire around a thin gut core), around 1660 in
   Bologna, 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 virtuosic 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 basses or violones.

   Around 1700 Italian players popularized the cello in northern Europe,
   although the bass violin continued to be used for another two decades
   in France and England. The sizes, names, and tunings of the cello
   varied widely by geography and time. The size was not standardized
   until around 1750.

   Despite superficial similarities, the cello is not in fact related to
   the viola da gamba. The cello is actually part of the viola da braccio
   family, meaning viol of the arm, which includes, among others, the
   violin. There are actually paintings of people playing the cello on the
   shoulder, like a giant violin. It was only somewhat later that the
   cello began to be played while being supported by the calves, and even
   later, by an endpin (spike).

   Baroque era cellos differed from the modern instrument in several ways.
   The neck has a different form and angle which matches the baroque
   bass-bar and stringing. Modern cellos have a retractable metal (or
   sometimes carbon fibre) spike at the bottom to support the instrument
   (and transmit some of the sound through the floor), while Baroque
   cellos are held only by the calves of the player. Modern bows curve in
   and are held at the frog; Baroque bows curve out and are held closer to
   the bow's point of balance. Modern strings normally have a metal core,
   although some use a synthetic core; Baroque strings are made of gut,
   with the G and C strings wire-wound. Modern cellos often have
   fine-tuners connecting the strings to the tailpiece, which make it much
   easier to tune the instrument. Overall, the modern instrument has much
   higher string tension than the Baroque cello, resulting in a louder,
   more direct, tone, with fewer overtones.

   No educational works specifically devoted to the cello existed before
   the 18th century, and those that do exist contain little value to the
   performer beyond simple accounts of instrumental technique. One of the
   earliest cello manuals is Michel Corrette's Méthode, thèorique et
   pratique. Pour Apprendre en peu de temps le Violoncelle dans sa
   Perfection (Paris, 1741).

Sound

   The cello produces a deep, rich, and vibrant sound. The cello reaches
   the lowest pitch in the traditional string quartet and is capable of
   covering nearly the entire range of pitches produced by the human
   voice. In the upper register, many cellos may be said to have a
   "tenor-like" timbre. The lowest possible pitch, when tuned in
   C2-G2-D3-A3 (lowest to highest), is C2. The highest pitch (without
   considering harmonics) on the fingerboard is somewhere around F#6,
   played on the A string, but Zoltán Kodaly's solo sonata requires a
   spectacular B6 to be played in the concluding measures.

Playing technique

Body position

   The cello is played sitting, with the knees apart and the instrument
   between them. The scroll, or top, of the instrument is placed by the
   player's left ear, making the C string closest to the ear and the A
   string furthest from the ear. The shoulders should be square but
   relaxed and the arms loose and able to move freely.

   In early times, when the cello was played by women it was positioned
   alongside the legs. It was considered improper for a lady to part her
   knees in public.

Left hand technique

   The left hand determines the pitch of the note when the cello is
   played. The hand is positioned either so the thumb is against the back
   of the neck and the other four fingers are available to depress the
   strings on the fingerboard or with all five fingers above the
   fingerboard, the side of the thumb being used as well as the tips of
   the other fingers (known as "thumb position"). The fingers are normally
   held curved with each knuckle bent, unless certain intervals require
   flat fingers (as in fifths). In fast playing, the fingers contact the
   strings at the tip, almost at the nail. In slower, or more expressive
   playing, the flat of the fingerpad is used, allowing a richer tone and
   fuller vibrato. If the string is depressed further down the string,
   closer to the bridge, the resulting pitch will be higher because the
   string has been shortened. If it is depressed further up the string,
   closer to the scroll of the instrument, the pitch will be lower.

Additional left hand techniques

Vibrato

   Vibrato consists of oscillating the finger of the left hand up and down
   while playing a note. As a result, the pitch of the note will waver
   slightly, much as a singer's voice on a sustained note. A well
   developed vibrato technique is a key expressive device and an essential
   element of an accomplished cello player. In some styles of music, such
   as that of the Romantic period, vibrato is used on almost every note.
   However, in other styles, such as Baroque pieces, vibrato is not used,
   or used only rarely, as an ornament. Typically, the lower the pitch of
   the note played, the wider the vibrato used. The left-hand stays in the
   same place on the bottom of the fingerboard while the finger holding
   down the string wiggles up and down but does not move up and down the
   string.

Glissandi

   Glissandi are notes 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, discernable steps.

Harmonics

   Harmonics are produced by lightly touching, but not fully depressing,
   the string with the finger at certain places, and then bowing (or even
   plucking) the string. For example, the halfway point of the string will
   produce a harmonic that is one octave above the unfingered (open)
   string (in effect doubling the frequency of the open string). There are
   also artificial harmonics, in which the player depresses the string
   with one finger while touching the same string lightly with another
   finger (at certain intervals, mostly of a perfect fourth higher). This
   technique produces a distinctive sound effect, resembling the flute.
   Artificial harmonics are performed routinely with the thumb (pressed
   fully) and the third finger (lightly touching the same string, a fourth
   higher).

Right hand technique

   In cello playing, the bow is much like the breath of a wind instrument
   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 over along the strings in the
   area between the fingerboard and 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.
   The shape of the hand should resemble that of its relaxed state, with
   all fingers curved, including the thumb. The transmission of power from
   the arm to the bow happens through the pronation (inward rotation) of
   the underarm, thus pushing the index finger and to a lesser degree the
   middle finger onto the bow. The necessary counterforce is provided by
   the thumb. The little finger controls the angle to the string and the
   balance of the bow when it is lifted off the string (see spiccato). The
   shoulder remains relaxed, as well as the arm. On a "down-bow", the bow
   is drawn to the right of the player, moving the hand by first using the
   upper arm, then the forearm, then the wrist (turning slightly inward)
   in order to maintain a straight stroke. On an "up-bow", the bow is
   drawn to the left way, moving first the forearm, then the upper arm,
   then the wrist (pushing slightly upward). The bow is always held
   perpendicular to the string being played. In order to perform string
   changes the whole arm is either lowered or lifted, with as little wrist
   movement as possible in order to maintain the angle to the string.
   However, a certain flexibility of the wrist is necessary when changing
   the bow direction from up-bow to down-bow and vice versa. For very fast
   bow movements, the wrist is used to accomplish the horizontal movement
   of bow. For longer strokes, the arm is used as well as the wrist.

   Tone production and volume of sound depend on a combination of several
   factors. The three most important ones are: bow speed, pressure applied
   to the string, and point of contact of the bow hair with the string. A
   good player will be capable of a very even tone, and will counter the
   natural tendency to play with the most force with the part of the bow
   nearest to the frog or heel, and the least force near the tip. The
   closer to the bridge the string is bowed, the louder and brighter the
   tone, with the extreme (sul ponticello) producing a metallic, shimmery
   sound. If bowing closer to the fingerboard (sul tasto), the sound
   produced will be softer, more mellow, and less defined.

Additional right hand techniques

Double stops

   Double stops 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. Triple and quadruple stops may also be played
   (in a "broken" fashion), but are difficult to sustain.

Pizzicato

   In pizzicato playing, the string is plucked with the right hand
   fingers, or very rarely those of the left hand, and the bow is simply
   held away from the strings by the rest of the hand or even set down. A
   single string can be played pizzicato, or double, triple, or quadruple
   stops can be played. Occasionally, a player must bow one string with
   the right hand and simultaneously pluck another with the left. This is
   marked by a "+" above the note. Strumming of chords is also possible,
   in guitar fashion.

Col legno

   Col legno is the technique in which the player taps the wooden stick of
   the bow on the strings, which gives a percussive sound that is quite
   often used in contemporary music. A famous example is the opening of
   'Mars' from Gustav Holst's 'Planets' suite, where the entire string
   section of the orchestra plays Col legno.

Spiccato

   In spiccato, or "bouncy bow" playing, the strings are not "drawn" by
   the bow but struck by it, while still retaining some horizontal motion,
   to form a more percussive, crisp sound. It may be performed by using
   the wrist to "dip" the bow into the strings. Spiccato is usually
   associated with lively playing. On a violin, spiccato bowing comes off
   the string, but on a cello, the wood of the bow may rise briskly up
   without the hair actually leaving the string.

Staccato

   In staccato, the player moves the bow a very short distance, and
   applies greater pressure to create a forced sound.

Tuning and range

   The cello has four strings referred to by their standard tuning, which
   is in perfect fifth intervals: the A-string (highest sounding),
   D-string, G-string, and C-string (lowest sounding). The A-string is
   tuned to the pitch A3 (which is three semitones lower than middle C),
   the D-string a fifth lower at D3, the G-string a fifth below that at
   G2, and the C-string tuned to C2 (two octaves lower than middle C).
   Some pieces, notably the 5th of Bach's 6 Suites for Unaccompanied
   Cello, require an altered tuning of the strings, known as scordatura;
   another well-known example is Zoltán Kodály's Solo Cello Sonata. Many
   believe that the 6th of Bach's 6 Suites for Unaccompanied Cello was
   actually written for a five string "violoncello piccolo", a smaller
   cello with a high E-string above the A-string, that is no longer
   commonly used. Unlike five string violins, violas and basses, five
   string acoustic cellos are difficult to find. However, many electric
   cello models can have five or even six strings.

   While the lower range of the cello is limited by the tuning of the
   lowest string (typically C2, two octaves below middle C, although in
   many pieces this must be adjusted to hit occasional low notes), the
   upper range of the cello varies according to the skill of the player,
   and length of the fingerboard. A general guideline when writing for
   professional cellists sets the upper limit at C6 (two octaves above
   middle C), although even higher pitches are possible, up to one extra
   octave. Because of the enormous range of the instrument, written music
   for the cello frequently alternates between the bass clef, tenor clef,
   and treble clef. Some romantic composers (notably Dvořák) also wrote
   notes in treble clef, but intended them to be played an octave lower
   than written; this technique was more common during the 18th century.

Sizes

   Standard-sized cellos are referred to as "full-size". However, cellos
   come in smaller (fractional) sizes, from "seven-eighths" and
   "three-quarter" down to "one-sixteenth" sized cellos (e.g. 7/8, 3/4,
   1/16). The smaller-sized cellos are identical to standard cellos in
   construction, range, and usage, but are simply 'scaled-down' for the
   benefit of children and shorter adults.A "half-size" cello is not
   actually half the size of a "full-size", It is just slightly smaller.
   The same goes for other sizes. Many smaller cellists prefer to play a
   "seven-eighths" cello as the hand stretches in the lower positions are
   less demanding. Although rare, cellos in sizes larger than four-fourths
   do exist. Cellists with unusually large hands may play a slightly
   larger than full-sized cello. The cellos of the 17th- and 18th-century
   masters (e.g. Stradivarius and Guarneri) tend to be slightly smaller
   than what is today considered full-sized.

Accessories

   There are many accessories to the cello, (some more essential than
   others).
     * Cases are used to protect the cello and bow when traveling, and for
       safe storage.
     * Rosin, made from conifer resin, is applied to the bow hairs to
       increase the effectiveness of the friction and allow proper sound
       production.
     * Rockstops "Black Holes" or endpin straps keep the cello from
       sliding if the endpin does not have a rubber piece on the end (used
       on wood floors).
     * Wolf tone eliminators are sometimes placed on cello strings between
       the tailpiece and the bridge in order to eliminate noises known as
       wolf tones or "wolfs".
     * Mutes are used to change the sound of the cello by removing
       overtones. Practice mutes (made of metal) reduce significantly the
       instrument's volume (they are also referred to as "hotel mutes").
     * Metronomes provide a steady tempo by sounding out a certain number
       of beats per minute. Many models can also produce a tuning pitch of
       A4 (440 Hz), among others.
     * Humidifiers are used to control and stabilize the humidity around
       and inside the cello.
     * Tuners are used to tune the instrument.

Current use

Orchestral

   Cellos are part of the standard symphony orchestra. Usually, the
   orchestra includes eight to twelve cellists. The cello section, in
   standard orchestral seating, is located on stage left (the audience's
   right) in the front, opposite to the first violin section. However,
   some orchestras prefer secondary orchestral seating, where the cello
   section is placed in the middle front, between the first violins and
   second violins. The principal, or "first chair" cellist is the leader
   of the cello section who determines bowings for the section in
   conjunction with other string sections, and plays solos. In standard
   orchestra seating, he/she sits nearest to the conductor and the
   audience. In secondary orchestra seating, he/she sits nearest the
   conductor and stage left in comparison to the cellist next to him/her
   (the cellist sitting "second chair").

   The cellos are a critical part of orchestral music; all symphonic works
   involve the cello section, and many pieces require cello soli or solos.
   Much of the time, cellos provide part of the harmony for the orchestra.
   On many occasions, the cello section will pick up the melody of the
   piece for a brief period of time, before returning to the harmony.
   There are also cello concertos, which are orchestral pieces in which a
   featured, solo cellist is accompanied by an entire orchestra.

Solo

   There are numerous cello concertos, notably by Vivaldi, C.P.E. Bach,
   Haydn, Boccherini, Schumann, Saint-Saëns, Edward Elgar, and Dvořák,
   where the cello is accompanied by an orchestra. Beethoven's Triple
   Concerto for Cello, Violin and Piano and Brahms' Double Concerto for
   Cello and Violin are also part of the concertante repertoire although
   in both cases the cello shares solo duties with at least one other
   instrument. Moreover, several composers wrote large-scale pieces for
   cello and orchestra. While these works are not concertos, they
   nonetheless deserve mention. The most important are Richard Strauss'
   tone poem Don Quichotte, Tchaikovsky's Variations on a Rococo Theme,
   Ernest Bloch's Schelomo and Max Bruch's Kol Nidreï.

   In the 20th century, the cello repertoire experienced an unprecedented
   growth. This was largely due to the influence of virtuoso cellist
   Mstislav Rostropovich who inspired, commissioned and/or premiered
   dozens of new works. Among these, Prokofiev's Symphonia Concertante,
   Britten's Cello Symphony and the concertos of Shostakovich, Lutosławski
   and Dutilleux have already become part of the standard repertoire. In
   addition, Elgar, Hindemith, Barber, Walton and Ligeti also wrote major
   concertos for other cellists (notably Gregor Piatigorsky and Siegfried
   Palm).

   There are also many sonatas for cello and piano. Those written by
   Beethoven, Mendelssohn, Chopin, Brahms, Grieg, Rachmaninoff, Debussy,
   Shostakovich, Prokofiev and Britten are the most famous.

   Finally, there are also several unaccompanied pieces for cello, most
   notably J.S. Bach's Unaccompanied Suites for Cello, (arguably the cello
   repertoire's cornerstone), Zoltán Kodály's Sonata for Solo Cello and
   Britten's Unaccompanied Suites for Cello.

Quartet/Ensembles

   The cello is a member of the traditional string quartet. In addition,
   cellos are also usually part of string quintets, sextet or trios. There
   have been several pieces written for a cello ensemble of up to twenty
   or more cellists. This type of ensemble is often called a 'cello
   choir'. The Twelve Cellists of the Berlin Philharmonic Orchestra (or
   "the Twelve" as they are called) are a prime example of a cello choir.
   They play and record pieces written especially for twelve cellos
   including adaptations of well-known Beatles songs.

Pop Music

   Though the cello is less common in popular music than in "classical"
   music, it is sometimes featured in pop and rock recordings. The cello
   is rarely part of a group's standard lineup (though like its cousin the
   violin it is becoming more common in mainstream pop).

   The Beatles pioneered the use of a cello in popular music, in songs
   such as " Eleanor Rigby" and " Strawberry Fields Forever". In the
   1970s, the Electric Light Orchestra enjoyed great commercial success
   taking inspiration from so-called "Beatlesque" arrangements, adding the
   cello (and violin) to the standard rock combo line-up.

   Established non-traditional cello groups include Apocalyptica, a group
   of Finnish cellists best known for their versions of heavy metal songs,
   Rasputina, a group of two female cellists committed to an intricate
   cello style intermingled with Gothic music, and Break of Reality. These
   groups are examples of a style that has become known as cello rock. The
   crossover string quartet bond also includes a cellist.

   The well known Seattle grunge band Nirvana was known to have used
   cellos. The Nebraskan band Cursive also used a cello to make their
   guitar/cello harmonies in their album, " The Ugly Organ". So-called
   "chamber pop" artists like Kronos Quartet and Margot and the Nuclear So
   and So's have also recently made cello common in modern alternative
   rock. Heavy metal band System of a Down has also made use of the
   cello's rich sound, most prominent in the beginning of their single
   Aerials.

   Also, the band Oasis used a cello in their hit "Wonderwall". Even in
   the music video for "Wonderwall" one can see the cello being performed,
   however the cellist's identity is not shown.

   As a refinement on the traditional fiddle used in much of Americana
   music the Albuquerque, New Mexico band Edith Grove incorporates cellist
   Suzanne Shelton as an integral part of their music performance. The
   cello is featured prominently in the bluegrass/newgrass/folk band
   Crooked Still, with Berklee College of Music graduate Rashad Eggleston
   taking cello fiddling to new heights.

   The cello is also used in the Post-Rock style of popular music. The
   Icelandic group Sigur Rós records and tours with the Icelandic string
   quartet Amiina; the quartet's cellist, Sólrún Sumarliðadóttir, is known
   for her haunting cello undertones.

Makers / Luthiers

   A violin maker or luthier is someone who builds or repairs stringed
   instruments, ranging from guitars to violins. Some well known cello
   luthiers include:
     * Nicolo Amati
     * Nicolò Gagliano
     * Matteo Gofriller
     * Giovanni Battista Guadagnini
     * Giuseppe Guarneri
     * Domenico Montagnana
     * Stefano Scarampella
     * Antonio Stradivari
     * David Tecchler
     * Carlo Giuseppe Testore
     * Jean Baptiste Vuillaume

Cellists

   A person who plays the cello is called a cellist. For a list of notable
   cellists, see the list of cellists. See also Category:Cellists.
   Retrieved from " http://en.wikipedia.org/wiki/Cello"
   This reference article is mainly selected from the English Wikipedia
   with only minor checks and changes (see www.wikipedia.org for details
   of authors and sources) and is available under the GNU Free
   Documentation License. See also our Disclaimer.
