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0:00
Between you and me, you know that cello is the best instrument, right?
0:41
It is explosive.
0:41
Hello, I'm Yo-Yo Ma.
0:41
I'm here to answer your questions on Twitter.
0:41
This is Cello Support.
0:41
Let's see what you got.
0:41
This is from @stalebread.
0:41
Why do cellists play Suite Number One in every movie?
0:41
You mean?
0:41
I think that movement represents the infinitude of what we have in the natural world.
0:41
So you think of flowing water, sunlight sparkling on leaves of trees on a fall day.
1:01
We all can imagine something that is both constant and always changing.
1:07
This music actually helps in films to actually set a tone for what that movie is trying to say.
1:16
That music can help people get to a certain state of mind.
1:18
At Ashley Emmerich, do cellists have to take a course on expressing emotions through eyebrows?
1:26
What, does that magically happen when you pick up the bow?
1:29
How about, do you have to take a course on showing emotion when you're happy to see your friend?
1:36
I rest my case.
1:36
Toughcar420, why are cellos so hard to tune?
1:36
Cellos are hard to tune if you use the big pegs, but there are fine tuners that go much more subtle.
1:36
I hate to tune on stage.
1:36
When someone goes out on stage, they can tune off stage.
1:36
There's not that much to adjust.
1:36
I play out of tune anyway, so if I tune and if it's in tune, it actually gives me even less of an excuse.
1:36
At Illuminus, how the hell do cello players differentiate the frets?
2:17
Guess what, there are no frets.
2:23
I can play a sliding cello.
2:29
If I had frets, it would sound for 60 years.
2:30
I've been moving between this space and that space, and I'm still trying to get it right because my fingers have to figure out where I need to be in order to get the right sounds out.
2:45
At Inikolu, what does vibrato mean?
2:49
So here's a note without vibrato.
2:55
This is with vibrato.
2:57
You can hear the vibrations.
2:57
It's like a sine wave.
2:59
It can go as wide as you want.
3:05
The idea is you give warmth to the sound by moving, but hopefully not always using the exact same amplitude, which is sort of like focusing a light beam as a laser, so that when you go higher up, you can use a tighter beam and you go to lower, you can use a wider amplitude, and all these variations allow you to choose what kind of emotion, what kind of expression you want.
3:36
Sometimes that's an expressive thing.
3:38
Sometimes it's just a technical thing, so it just gives you lots and lots of things to play with.
3:42
At Wrapper, why do cellos all move their heads about all over the place?
3:47
Is it possible to play it and just sit still like lots of other musicians do?
3:52
The idea of being a musician is that you're there to transcend technique in order to express.
3:57
The worst thing you can do is to play, don't move your head, and no expression comes out.
4:08
That's the worst of all possible choices.
4:10
But if you have to move in order to actually pull the sound out, so to play takes a lot of energy in order to get something out.
4:25
Hooray to people who don't need to, but just remember that's great only if you are being maximally expressive.
4:33
Motion is about communicating energy.
4:36
Too much motion, you become less efficient in actually producing the sound that you're doing.
4:43
But there's a physical aspect that needs to be considered in conjunction with how much expression you want to give.
4:56
At 287's, why are cellos the most beautiful instrument?
4:56
That is, of course, your opinion.
4:58
I try and tell cellists, and especially young cellists, between you and me, so you know that cello is the best instrument, right?
5:10
I love the cello.
5:10
It's an instrument that has a lot of versatility.
5:10
I can play bass lines, I can play melodic stuff, I can play fast, I can play slow, I can play melodically, I can play bass lines, I can play rhythmic grooves, I can actually imitate vocal sounds.
5:10
That's why I love it, because I can do a lot of different types of music on it, and I can explore lots of different musics with it.
5:10
At The Feet of God, why are cellos so expensive?
5:10
A good maker can make maybe one or two cellos a year.
5:10
So how do you bend wood and shape it and glue it under pressure?
5:54
It's that kind of pressure that actually allows air molecules inside the instrument to get excited, so it creates more energy, and that creates the big sound that an acoustic cello can make over what an acoustic guitar can make where the table is flat.
6:15
So the curve you bend carefully over heat, you do it so that it doesn't break, and it takes a long time and takes strength.
6:25
It takes time and obviously expertise.
6:28
The kind of wood that a lot of modern makers use are old wood.
6:33
This is usually maple and the flame goes this way, and the spruce goes this way.
6:37
Why?
6:37
Because the maple is harder wood.
6:41
The air molecules go to the back of the wood, the harder wood, it bounces back out, just the way that if you bounce a basketball off of a backboard, it bounces back.
6:52
The harder the wood, the easier it will bounce.
6:55
So expensive?
6:57
Yes.
6:57
Time takes a long time.
7:03
If you make it by a machine, it's less expensive.
7:03
At Dawn Ship, what are cello strings made of these days?
7:06
The higher strings are thinner.
7:09
They're made of steel.
7:10
The lower strings, it's steel wound possibly on nylon.
7:14
Strings used to be made with gut.
7:17
The gut is actually quite strong, makes a very warm sound.
7:21
Gut, as you might imagine, it's made out of, you know, animal material, it stretches.
7:33
So you have to constantly tune these gut strings, and the steel actually is stronger and more stable, so you tend to, if you break in a new string, it's easier to break it in than a gut string, which may take a week for it to actually maintain its stable length.
7:33
The people who use gut strings tend to be the historic-minded people who are playing like historic instruments.
7:55
And I think the best strings are made in Scandinavia or Northern Europe.
7:59
At Eileen Bejan, can cellists get cello elbow?
8:09
So I assume is this like tennis elbow?
8:09
Yes, people actually get tendinitis, tendinitis of the elbow, the hands, fingers.
8:09
Part of what we do is very athletic.
8:09
For all of you cellists that are in danger of getting cello elbow, I have just one piece of advice.
8:25
Stretch.
8:26
And you can stretch by going like this, which stretches your muscles this way.
8:30
Go in a wall, and you can see this actually really hurts.
8:32
And if you stand and you kind of rotate on your foot, if you go in a circle, you're stretching everything from here to there.
8:44
When you're young, you're first of all immortal.
8:47
You think you live forever.
8:49
Knowing yourself, knowing your body is maybe the first role of being a musician.
8:57
Being in touch with how you feel, how you think, how your body moves, head, heart, and hands, make them work together and you'll be fine.
9:10
At Levante Carson, you could do a collaboration with a rap artist, who would it be?
9:14
When I was working in Chicago, a guy who did so much for the community and for education was Common, and I actually have a friend who played in the Civic Orchestra who was a violist, and she worked with Common and loved it.
9:30
So I would love to first of all be able to thank him for what he's done for the community, and secondly, I would love to be able to do something with him.
9:30
At SD Monroe, do string players attend a plucking class?
9:30
I once asked my parents, both professional musicians, that got a flat stare.
9:30
The reason it's harder to pluck on instruments that have a curvature versus on a guitar where you actually have a flat plane, it's a little harder to pick and actually pluck with the same rapidity that you can on a guitar.
9:30
There are people that do this unbelievably well.
9:30
I would go to one of those people.
9:30
Berklee School of Music is a great place where you can kind of find people that will teach you, you know, fiddling techniques and plucking techniques.
9:30
It's kind of a sub-specialty that is certainly worth pursuing, and if you can do it, hey, that's a very cool thing.
9:30
At Sydney Christie, is the cello hard to learn?
9:30
The cello itself is not hard to learn.
9:30
The most important thing is about pulling and pushing a bow, making sure that you find the right spot on the strings.
9:30
If it gives you pleasure, if learning gives you pleasure and you can get pleasure from the physical sound and from the vibrations, you're in, you can progress.
10:49
If you say it's really hard to learn and it's difficult and you're all tight and trying to make it happen, then it will be hard.
10:57
So it really depends partly on your attitude and then also on how resilient you are to figuring out what you need to do to create a sound that is pleasing.
11:08
That's it.
11:16
At Wayne Marx Stumps, how do cellists play the Six Cello Suite without crying out for joy?
11:16
I love that question because it is explosive and it just goes and goes and goes and never ends.
11:36
And it gets more explosive, it gets more celebratory and the skies open up.
11:42
And you're right, it is incredibly joyous.
11:45
You cannot play that music without actually being in that same state of mind.
11:51
Maybe that's why we love music, because it actually puts you into different states of mind.
11:55
That makes me feel like I'm floating somewhere up in the sky from the clouds.
12:01
You're soaring above the tree line, you see vistas.
12:04
It takes you places.
12:07
Music is a mode of transportation that takes us from one reality into an imagined.
12:13
The reason I'm not crying out for joy is because I'm hopefully crying out for joy through the sounds that are coming from the cello.
12:27
I just want to thank you all for your questions.
12:27
Very often there are no right answers, but I think for me the best questions are the questions that make us ask even more questions, and that brings out I think the best of what is in us.
12:27
So thank you very much.