Choosing the best cello solos necessitates considering the cellist’s ability to draw from the instrument. It’s also important to think about the instrument’s timbre and range. The solo’s location and audience are also crucial. Once a player has considered these factors, repertoire lists are a good place to start looking for solos.
When selecting cello solos, the first step is to determine the player’s skill level. Beginning cello solos, for example, may concentrate on specific bowing techniques or revolve around a single string. Advanced cello solos, on the other hand, may switch quickly from pizzicato (plucked) to arco (bowed) playing; they may also require easy string switching and have faster passages with more articulations.
Determine the location for the cello solos after selecting the player’s level. Solos that stay near the bottom of the cello range aren’t appropriate in certain spaces. Outdoor play, such as that which might occur at a wedding, is an example. Other environments, such as churches, are more resonant, allowing people to clearly hear even the lowest pitches.
The audience is linked to the venue. People who only know the cello as a classical instrument, for example, might expect something like Johann Sebastian Bach’s cello suites. Others may be unaware that the cello can be made “electric” or amplified, and that it is frequently used in pop and rock music. Audience members who attend a concert aimed at showcasing modern cello techniques may expect to hear techniques like harmonics and wah. Long solos may be difficult for young and old audiences to sit through.
Periods of rest are another factor to consider when choosing the best cello solos. The cello player can take a break in accompanied solos because the pianist or other supporting instrumentalists can play interludes between the cello’s showcase. This becomes more important as the solo becomes more difficult, as harder solos typically require more finger and arm control. The cellist in an unaccompanied cello does not have this opportunity to rest. Unaccompanied solos can be nerve-wracking for the player because he can’t hide behind his accompaniment, but they can also be excellent opportunities to focus attention on the cellist.
Examining the repertoire lists of other cellists provides clues as to specific solos to try once one knows what he is looking for in terms of playing level, venue, audience, and rest periods. Pieces performed frequently should be considered standard repertoire, whereas pieces performed infrequently may be more contemporary or have a higher level of difficulty. The more well-known a piece is, the more important it is for the player to perform flawlessly, as the audience will be able to spot mistakes more easily.