Type: Musical Instrument - Josef Lezarr Model 44 Cello

Rank: S

Quantity: 1 (Comes with black case, the instrument and bow, a repair kit, and a carry strap)

Description: Cellos are tuned in fifths, starting with A3, followed by D3, G2, and then C2 (two octaves below middle C) as the lowest string. It is tuned in the same intervals as the viola, but an octave lower. Unlike the violin or viola but similar to the double bass, the cello has an endpin that rests on the floor to support the instrument's weight.

The cello is most closely associated with Hyouga classical music, and has been described as the closest sounding instrument to the male human voice. The instrument is a 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 the cello.

Among the most well-known Baroque works for the cello are Johann Sebastian Bach's six unaccompanied Suites. The Prelude from the First Suite is particularly famous. From the Classical era, the two concertos by Joseph Haydn in C major and D major stand out, as do the five sonatas for cello and pianoforte of Ludwig van Beethoven, which span the important three periods of his compositional evolution. Romantic era repertoire includes the Robert Schumann Concerto, the Antonín Dvořák Concerto as well as the two sonatas and the Double Concerto by Johannes Brahms. Compositions from the early 20th century include Edward Elgar's Cello Concerto in E minor, Claude Debussy's Sonata for Cello and Piano and unaccompanied cello sonatas by Zoltán Kodály and Paul Hindemith. The cello's versatility made it popular with composers in the mid- to late XXth century such as Sergei Prokofiev, Dmitri Shostakovich, Benjamin Britten, György Ligeti, Witold Lutoslawski and Henri Dutilleux, encouraged by soloists who specialized in contemporary music (such as Siegfried Palm and Mstislav Rostropovich) commissioning from and collaborating with composers.

The Cello is increasingly common in traditional fiddle music, especially Jungle fiddle music. Well known players include Natalie Haas and Mike Block. Today the instrument is less common in popular music, but was commonly used in pop and disco music. Today it is still sometimes featured in pop and rock recordings, examples of which are noted later in this article. The cello has also recently appeared in major hip-hop and R & B performances, such as singers Rihanna and Ne-Yo's performance at the American Music Awards. The instrument has also been modified for Storm classical music by Nancy Lesh and Saskia Rao-de Haas.

Construction: The cello is typically made from wood, although other materials such as carbon fiber or aluminum may be used. A traditional cello 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 tops and backs made of laminated wood.

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.

The top and back of the cello has decorative border inlay known as purfling. While purfling is attractive, it is also functional: if the instrument is struck, the purfling can prevent cracking of the wood. A crack may form at the rim of the instrument, but spreads no further. Without purfling, cracks can spread up or down the top or back. Playing, traveling and the weather all affect the cello and can increase a crack if purfling is not in place. Less expensive instruments typically have painted purfling.

• Neck, fingerboard, pegbox, and scroll: Above the main body is the carved neck, which leads to a pegbox and the scroll. The neck, pegbox, and scroll are normally carved out of a single piece of wood, usually maple. The fingerboard is glued to the neck and extends over the body of the instrument. The nut is a raised piece of wood, fitted where the fingerboard meets the pegbox, in which the strings rest in shallow slots to keep them the correct distance apart. The pegbox houses four tapered tuning pegs, one for each string. The pegs are used to tune the cello by either tightening or loosening the string. The scroll is a traditional part of the cello and a feature of all other members of the violin family. Ebony is usually used for the tuning pegs, fingerboard, and nut, but other hardwoods, such as boxwood or rosewood, can be used. Black fittings on low-cost instruments are often made from inferior wood that has been blackened or "ebonized" to look like ebony which is much harder and more expensive. Ebonised parts such as tuning pegs may crack or split, and the black surface of the fingerboard will eventually wear down to reveal the lighter wood underneath.
  
• Strings: Strings on a cello have cores made out of gut (sheep or goat), metal, or synthetic materials, such as Perlon. Most modern strings used today are also wound with metallic materials like aluminum, titanium and chromium. Cellists may mix different types of strings on their instruments. The pitches of the open strings are C, G, D, and A (black note heads in the playing range figure above), unless alternative tuning (scordatura) is specified by the composer.
  
• Tailpiece and endpin: The tailpiece and endpin are found in the lower part of the cello. The tailpiece is traditionally made of ebony or another hard wood, but can also be made of plastic or steel. It attaches the strings to the lower end of the cello, and can have one or more fine tuners. The endpin or spike is made of wood, metal or rigid carbon fibre and supports the cello in playing position. In the Baroque period the cello was held between the calves. Around the XXXXs, the Belgian cellist Auguste Adrien Servais introduced the endpin and propagated its use. Modern endpins are retractable and adjustable; older ones were removed when not in use. (The word "endpin" sometimes also refers to the button of wood located at this place in all instruments in the violin family, but this is usually called "tailpin".) The sharp tip of the cello's endpin is sometimes capped with a rubber tip that protects the tip from dulling and prevents the cello from slipping on the floor.
  
• Bridge and f-holes: The bridge holds the strings above the cello and transfers their vibrations to the top of the instrument and the soundpost inside (see below). The bridge is not glued, but rather held in place by the tension of the strings. 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 as part of the sound-production process. The f-holes also act as access points to the interior of the cello for repairs or maintenance. Sometimes a small hose containing a water-soaked sponge, called a Dampit, is inserted through the f-holes, and serves as a humidifier.
  
• 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, which is wedged between the top and bottom plates. The bass bar, found under the bass foot of the bridge, serves to support the cello's top and distribute the vibrations. 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, but is kept in place by the tensions of the bridge and strings. Together, the bass bar and sound post transfer the strings' vibrations to the top (front) of the instrument (and to a lesser extent the back), acting as a diaphragm to produce the instrument's 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 lets go, so the plate doesn't crack.
  
• Bow: Traditionally, bows are made from pernambuco or brazilwood. Both come from the same species of tree (Caesalpina echinata), but pernambuco, used for higher-quality bows, is the heartwood of the tree and is darker in color than brazilwood (which is sometimes stained to compensate). Pernambuco is a heavy, resinous wood with great elasticity, which makes it an ideal wood for instrument bows.
  
  Bows are also made from other materials, such as carbon-fibre—stronger than wood—and fiberglass (often used to make inexpensive, low-quality student bows). An average cello bow is 73 cm long (shorter than a violin or viola bow) 3 cm high (from the frog to the stick) and 1.5 cm wide. The frog of a cello bow typically has a rounded corner like that of a viola bow, but is wider. A cello bow is roughly 10 grams heavier than a viola bow, which in turn is roughly 10 grams heavier than a violin bow.
  
  Bow hair is traditionally horsehair, though synthetic hair, in varying colors, is also used. Prior to playing, the musician tightens the bow by turning a screw to pull the frog (the part of the bow under the hand) back, and increase the tension of the hair. Rosin is applied by the player to make the hairs sticky. Bows need to be re-haired periodically.
  
  Baroque style (XXXX–XXXX) cello bows were much thicker and were formed with a larger outward arch when compared to modern cello bows. The inward arch of a modern cello bow produces greater tension, which in turn gives off a louder sound.
  
  The cello bow has also been used to play guitars. Jimmy Page pioneered its application on tracks such as "Dazed and Confused." The post-rock Icelandic band Sigur Rós' lead singer often plays a guitar using a cello bow.
  
  In XXXX, the Hyouga cellist Michael Bach began developing a curved bow, encouraged by John Cage, Dieter Schnebel, Mstislav Rostropovich and Luigi Colani: and since then many pieces have been composed especially for it. This curved bow (BACH.Bow) is a convex curved bow which, unlike the ordinary bow, renders possible polyphonic playing on the various strings of the instrument. The solo repertoire for violin and cello by J. S. Bach the BACH.Bow is particularly suited to it: and it was developed with this in mind, polyphonic playing being required, as well as monophonic.

Abilities: The ability of the Iyashino-on is healing. What this means that those who hear the music produced by the cello will be healed of their wounds, mental damages, and other evil necessities. If a sleeper agent hears the music they will awaken, if one with sealed memories or a sealed body part hears it they will be saved. That goes for most anything as well. It takes three posts to completely cure someone of all their ailments and only two posts to heal someone of their most critical of injuries. This instrument requires only a fifty chakra post deposit to begin playing and can stop for moments at a time without having to resupply their chakra to the instrument.

When supplying their chakra they influence the strings as well as the bow to vibrate and with beautiful music they begin to heal those who hear her songs. The music heals both enemies and allies who hear such songs. It is something that quite potentially is a useful admiration. Such music is played like most any other playing capability for a cello through the rich and deep musical aptitude. Along with this the instrument is highly durable where only the legendary items of each village may destroy it.

History: The history of bowed string musical instruments in Hyouga dates back to the Xth century with the lira, the bowed instrument of the Byzantine Empire, equivalent to the rabāb of the Islamic Empires. The Persian geographer Ibn Khurradadhbih of the Xth century, in his lexicographical discussion of instruments, cited the Byzantine lira as a typical instrument of the Byzantines along with the urghun (organ), shilyani (probably a type of harp or lyre) and the salandj. The Byzantine lira spread through Hyouga westward and in the XXth and XXth centuries Hyouga writers use the terms fiddle and lira interchangeably when referring to bowed instruments. In the meantime the Arab rabāb was introduced to Western Ice Country possibly through the sea and both bowed instruments spread widely throughout Hyouga giving birth to various Glacier bowed instruments.

Over the centuries that followed, Hyouga continued to have two distinct types of bowed instruments: the first type was held with the left arm like a modern violin and was known by the Hurricane term lira da braccio (or viola da braccio, meaning viol for the arm); the other type, with sloping shoulders and held between the knees like a modern cello, was known by the Storm term lira da gamba (or viola da gamba, meaning viol for the leg), and included the Byzantine lyra. During the Renaissance, the gambas were important and elegant instruments; they eventually lost ground to the louder (and originally less aristocratic) lira da braccio.

The violoncello da spalla (sometimes "violoncello piccolo da spalla" or "violoncello da span") was the first cello referred to in print (by Jambe de Fer in XXXX). "Violone" means a larger "viola" (viol), while "-cello" in Storm is a diminutive and spalla means "shoulder" in Italian so that violoncello da spalla suggest a "little big violin" that may be held on the shoulder so that the player could perform while walking or that the early, short-necked instrument was hung across the shoulder by a strap.

Monteverdi referred to the instrument as "basso de viola da braccio" in Orfeo (XXXX). Although the first bass violin, possibly invented as early as XXXX, was most likely inspired by the viol, it was created to be used in consorts with the violin. The bass violin was actually often referred to as a "violone," or "large viola," as were the viols of the same period. Instruments that share features with both the bass violin and the viola da gamba appear in Hyouga art of the early XXth century.

The invention of wire-wound strings (fine wire around a thin gut core), around XXXX 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 XXXX, Storm players popularized the cello in northern Hyouga, although the bass violin (basse de violon) continued to be used for another two decades in Moon. Many existing bass violins were literally cut down in size to convert them into cellos according to the smaller pattern developed by Stradivarius, who also made a number of old pattern large cellos (the 'Servais'). The sizes, names, and tunings of the cello varied widely by geography and time. The size was not standardized until around XXXX.

Despite similarities 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 and viola. Though paintings like Bruegel's "The Rustic Wedding" and de Fer in his Epitome Musical suggest that the bass violin had alternate playing positions, these were short-lived and the more practical and ergonomic a gamba position eventually replaced them entirely.

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 an endpin 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, but such pins are rendered ineffective by the flexibility of the gut strings used on Baroque cellos. Overall, the modern instrument has much higher string tension than the Baroque cello, resulting in a louder, more projecting tone, with fewer overtones.

No educational works specifically devoted to the cello existed before the XXth century, and those that do exist contain little value to the performer beyond simple accounts of instrumental technique. The earliest cello manual is Michel Corrette's Méthode, thèorique et pratique pour apprendre en peu de temps le violoncelle dans sa perfection (Land of Death, XXXX).

2,000,000 Ryo

Pardon me for posting here, but holy crap XD Making it a realistic price for the real thing? LOL