My Cello Make A Weird Metallic Sound After Playing A Note

What are all the possible reasons for a scratchy sound when playing the violin? How do you prevent them?

Every violinist struggles with bad sound at times.Tone production is complicated. Generally scratchiness is from the following factors:Playing too close to the bridge. In general moderate pressure close to the end of the fingerboard is a safe way to not produce offensive sound.Too much pressure, not enough bow.Not enough pressure so the hair is slipping instead of vibrating the string.Bow not parallel to bridge (doesn’t have to be perfect, but very bad angles can hurt sound production)Not enough rosin or worn out bow hair so it’s not grabbing bow well.Playing in the wrong part of the bow, e.g. if you’re stuck trying to play a slow soft passage near the frog, usually the sound will deteriorateA bow grip that is too rigid. Really this is the most important thing about bowing a violin. It may be the most important thing PERIOD about violin technique. You need to develop a strong right hand and learn how to hold the bow very softly and flexibly. (yet securely). Strength=flexibility=grip that feels effortless and natural. You must hold the bow as softly as a baby bird or an eggshell. Your fingers and thumb cannot be rigid, they must be like soft springs, soft pillows at all times. That built in cushioning means your attacks will be true and not harsh or scratchy.Worn out strings or cheap strings. Good strings, not expensive but mid-price — will make it easier to produce good sound. If you’re a beginner, I’d recommend steel core wound strings because they vibrate easily. If you play regularly, change your strings at least once a year.Poorly adjusted violin. Have a luthier adjust your violin every two years at least and if you play regularly, every year.The best way to have a good sound is to learn how to make a good sound, and then NEVER accept a poor sound, even in your practice.Always require of yourself that you play with as beautiful a sound as you can produce.People I know who play scratchy just do it by habit and after years of playing that way, they don’t even KNOW they play scratchy.If you want to know more, there are tons of great YouTube videos. But if you’re a beginner you should really take some lessons because nothing will teach you how to make a beautiful sound as well as a live teacher.

Do you play an instrument?

Oh yes, I do.I scoured my phone's gallery and this photo of me playing cello is the only photo I found that I deemed good enough to post here (…and yes, that's my *game* face ;þ )I play cello, though currently I am not playing it as routinely as I did during the undergraduate study. At least I still remember the first, second positions at least ;þ (and after that I can still trace it down… though good pitch production is not guaranteed D': ), not sure about my sound production though, it might get horrendous as I stay longer away from playing cello :(, and speaking of sound production, my main problem was that it often sounded a bit too loud and rough, not smooth and rounded enough (though sometimes I think I could play like that, depending on the piece/part I got ;þ). The up side is, at least I never got a problem of playing too softly in volume, I could always play as loud as needed when necessary/on the request of the conductor (PS: I still know my dynamics, folks, I always attempted to play it from ppp to fff, not f to ffffff).I too got the off-pitch problem when playing notes, especially when I first started playing it, but compared to other people in the university orchestra club who also started playing cello in college, my pitch production improved rather quickly (though I still got problems comparing pitch whenever we started tuning the instruments at the start of each practice session).Are there still any other problem? I couldn't play as fast as I'd like to be. Granted that you, as an amateur cellist, seldom get a cello part where you need to play fast (well that depends on your skill level too though, mine is certainly not that high ^^’ ), but being able to play fast when and how I like to is simply nice, especially when your sound production stays exquisite.Other than cello, I learned to play piano and violin. During elementary school I played pianica, though I must say that the very first instrument that I learned to play was harmonica (my father taught me how to play it :D)

What scale do you use to create a creepy and evil sound?

What scale do you use to create a creepy and evil sound?You can create your own scale. Here is how I would go about it.The tritone is the most evil sounding interval. It must be in the scale. It could either the fourth or fifth of the scale.The minor sixth (b6) is a mainstay of doom and gloom music and it wants to resolve to the fifth (a perfect fifth above the root).So we can have a perfect fifth, the tritone will be the fourth degree of the scale, an augmented fourth (#4).A minor second is doom and gloom in a similar way to the minor sixth. It resolves to the tonic.A minor seventh would soften the sound too much. I would suggest a major seventh. This is the leading tone and wants to resolve to the tonic.These half steps that want to resolve are great, because the longer you hold them without resolving them the more tension you create.This leaves the third. You could try minor or major. Wide leaps create tension, so I would suggest a major third.This gives 1 m2 M3 A4 P5 m6 M7 P8 = C Db E F# G Ab B CTriads:C E G = C majorDb F# Ab = Db sus4E G B = E minorF# Ab C = Ab C Gb = Ab7th (fifth missing)G B Db = GMajb5 (creepy chord)Ab C E = Ab aug (creepy chord)B Db F# = Bsus2Although many of these chords are not creepy by themselves, try moving between them. The progressions are unexpected and probably very creepy.Play with it. If you find ways to make it creepier, go for it. Make it your own.If you want to know more about this scale:This is a double harmonic scale with an augmented fourth. It is probably called the lydian double harmonic or it could have the name of the ethnic group it is associated with. For example, Hungarian, Freygish, Ukrainian are all names of scales based on the people who it is most associated with.Other ideas:You could compose dodecaphonically (12-tone serialism). See Twelve-tone techniqueCreate a creepy chord progression by leaping around the circle-of-fifths. One of mine involves moving a minor chord either up or down by minor thirds. For example, C min, Eb minor, Gb minor, Bbb minor (A minor) etc.Circle of fifths: If you start at 12:00 which is C and go counter-clockwise skipping every other one, you get my chord progression above: C min, Eb min, Gb min, A min