Calling all string players!!

A distressed fellow cellist and musician here!How is it possible to play a really strong hellraising pizzicato chord without it sounding weak or banjo-like! I've tried so many different ways,but my efforts always prove futile! Any suggestions?

Viva cello might have been a better place for this post.

But, I amnot one to ever leave someone in distress, (being a violinist - but Im sure the principle is the same??) try putting your finger flat on the string/s and pulling it towards you as strongly as possible.

I suspect the person to best answer this question is Kenm.

Until then, as a bit of a guess only - have you tried plucking further down over the fingerboard (away from the bridge)?

Also it might be time to give "when I'm cleaning windows" a rest.

QUOTE (Subatomic_Star @ Jan 11 2005, 07:20 PM)

Viva cello might have been a better place for this post. But, I amnot one to ever leave someone in distress, (being a violinist - but Im sure the principle is the same??) try putting your finger flat on the string/s and pulling it towards you as strongly as possible.

You are so kind.

QUOTE (Student @ Jan 11 2005, 11:47 AM)

QUOTE (Subatomic_Star @ Jan 11 2005, 07:20 PM) Viva cello might have been a better place for this post. But, I amnot one to ever leave someone in distress, (being a violinist - but Im sure the principle is the same??) try putting your finger flat on the string/s and pulling it towards you as strongly as possible. You are so kind.

Me? Why? Wuh?

You said that you are not the one....

QUOTE (Student @ Jan 11 2005, 12:03 PM)

You said that you are not the one....

I am not the one?

Am I just being slow here?

who leave someone in distress.You are really slow.No offense.

QUOTE (Student @ Jan 11 2005, 12:09 PM)

You are really slow.No offense.

Oh none taken. *arches eyebrow sarcastically*
I have a reason for being slow I have just done an AS level psychology exam that melted by brain and have already pretty much failed it.

QUOTE (zoda @ Jan 11 2005, 11:21 AM)

I suspect the person to best answer this question is Kenm.

What?

QUOTE

Until then,  as a bit of a guess only - have you tried plucking further down over the fingerboard (away from the bridge)?

Advice from a mediocre but experienced bass player, for what it's worth:

1) Yes, keep your fingers well away from the bridge. Even a small amount of grease on the rosin will stop it working correctly next time you want arco. Exactly where you pluck will change the sound, but anywhere clear of the rosin as far as halfway along the string may give you the timbre you want.

2) I once played in an orchestra whose leader (IIRC he also led the NYO) recommended plucking obliquely, not at right angles to the string. I couldn't understand why this should help, but you could try it.

3) Especially for chords, stopped notes may need more LH finger pressure than when bowed.

4) Plucking fingers need to come away from the strings quickly, so as not to damp the vibrations.

5) On bass, I prefer one plucking finger per string or arpeggiating downward, partly for balance but also because arpeggiating upward has to be done with the thumb: always less precise and sometimes totally disastrous.

If there's a long pizzicato passage then I would rather prefer to throw my bow away and pluck like double bass players in a jazz group. If you pluck strong enough maybe it'll hurt but a good sound can be produced.

I once received an arrangement from someone whose arrangements were always unusual, sometimes impossible and he asked the cellists to play pizzicato for 10 bars or so, with a fast speed and.....instant arco without any rests! Of course, I chose to do that without my bow.

QUOTE (DGA @ Jan 12 2005, 10:56 AM)

If there's a long pizzicato passage then I would rather prefer to throw my bow away and pluck like double bass players in a jazz group. If you pluck strong enough maybe it'll hurt but a good sound can be produced. I once received an arrangement from someone whose arrangements were always unusual, sometimes impossible and he asked the cellists to play pizzicato for 10 bars or so, with a fast speed and.....instant arco without any rests! Of course, I chose to do that without my bow.

I suggest you divide the section, some doing pizz holding bows, the rest putting down and picking up.

The men in the second group could sing the next arco until they had picked their bows up

QUOTE (DGA @ Jan 12 2005, 10:56 AM)

I would rather prefer to throw my bow away

At the brass section, I would hope.

QUOTE (DavidMusic @ Jan 12 2005, 11:51 AM)

QUOTE (DGA @ Jan 12 2005, 10:56 AM) I would rather prefer to throw my bow away At the brass section, I would hope.

ouch!

QUOTE (kenm @ Jan 12 2005, 11:50 AM)

QUOTE (DGA @ Jan 12 2005, 10:56 AM) If there's a long pizzicato passage then I would rather prefer to throw my bow away and pluck like double bass players in a jazz group. If you pluck strong enough maybe it'll hurt but a good sound can be produced. I once received an arrangement from someone whose arrangements were always unusual, sometimes impossible and he asked the cellists to play pizzicato for 10 bars or so, with a fast speed and.....instant arco without any rests! Of course, I chose to do that without my bow. I suggest you divide the section, some doing pizz holding bows, the rest putting down and picking up. The men in the second group could sing the next arco until they had picked their bows up

Well, guess what: I was the only cellist in that practice. It was a small ensemble rather than an orchestra.

QUOTE (clarinetlover @ Jan 14 2005, 09:46 PM)

QUOTE (DavidMusic @ Jan 12 2005, 11:51 AM) QUOTE (DGA @ Jan 12 2005, 10:56 AM) I would rather prefer to throw my bow away At the brass section, I would hope. ouch!

ouch ouch!!

*glares at DavidMusic*

QUOTE (DGA @ Jan 16 2005, 11:18 AM)

QUOTE (kenm @ Jan 12 2005, 11:50 AM) QUOTE (DGA @ Jan 12 2005, 10:56 AM) [...] I once received an arrangement from someone whose arrangements were always unusual, sometimes impossible and he asked the cellists to play pizzicato for 10 bars or so, with a fast speed and.....instant arco without any rests! Of course, I chose to do that without my bow. I suggest you divide the section, some doing pizz holding bows, the rest putting down and picking up. The men in the second group could sing the next arco until they had picked their bows up Well, guess what: I was the only cellist in that practice. It was a small ensemble rather than an orchestra.

Do you sing well?

QUOTE (kenm @ Jan 16 2005, 02:57 PM)

QUOTE (DGA @ Jan 16 2005, 11:18 AM) QUOTE (kenm @ Jan 12 2005, 11:50 AM) QUOTE (DGA @ Jan 12 2005, 10:56 AM) [...] I once received an arrangement from someone whose arrangements were always unusual, sometimes impossible and he asked the cellists to play pizzicato for 10 bars or so, with a fast speed and.....instant arco without any rests! Of course, I chose to do that without my bow. I suggest you divide the section, some doing pizz holding bows, the rest putting down and picking up. The men in the second group could sing the next arco until they had picked their bows up Well, guess what: I was the only cellist in that practice. It was a small ensemble rather than an orchestra. Do you sing well?

Well, I've never really thought about my singing seriously. My mother says it's better for me to take singing lessons after my voice has really changed. It's changing now: I can't sing high notes or very low either, but at least people don't think of me as female on the phone!

QUOTE (DGA @ Jan 17 2005, 06:40 AM)

[...] QUOTE (kenm @ Jan 16 2005, 02:57 PM) Do you sing well? Well, I've never really thought about my singing seriously. My mother says it's better for me to take singing lessons after my voice has really changed. It's changing now: I can't sing high notes or very low either, but at least people don't think of me as female on the phone!

If you continue to do a little singing from time to time, you may develop a controlled falsetto along with your baritone or whatever. This can be very useful. I first played for Andrew Parrott (who used to sing with Electric Phoenix) in a string orchestra. He could sing any of the parts, if they went wrong, and my recollection was that he sang even the violin parts at pitch; not the double bass part, however.