Forsyth | Figures
Chapter: The Cello
Citation: Forsyth, 1935, p. 409
Summary of Figure: An example showing the tuning of each string on the cello.
Exemplification of: cello string tuning
Forsyth, 1935, p. 409 [Note: An example showing the tuning of each string on the cello.]
Chapter: The Cello
Citation: Forsyth, 1935, p. 409
Summary of Figure: An example showing the fingering on the cello for a sequence of three ascending notes consisting of two whole tones.
Exemplification of: cello G string, tone quality
Forsyth, 1935, p. 409 [Note: An example showing four notes on the G string of the cello which, according to Widor, are invariably "bad," with a "rough, harsh, incongruous, and uncertain" tone. Forsyth, however, considers this appraisal "rather too sweeping."]
Chapter: The Cello
Citation: Forsyth, 1935, p. 410
Summary of Figure: An example showing the fingering on the cello for a sequence of three ascending notes consisting of two whole tones.
Exemplification of: cello fingerings
Forsyth, 1935, p. 410 [Note: An example showing the fingering on the cello for a sequence of three ascending notes consisting of two whole tones.]
Chapter: The Cello
Citation: Forsyth, 1935, p. 410
Summary of Figure: An example showing the fingering on the cello for a sequence of three ascending notes consisting of a semitone and a whole tone.
Exemplification of: cello fingerings
![Forsyth, 1935, p. 410 [Note: An example showing the fingering on the cello for a sequence of three ascending notes consisting of a semitone and a whole tone.]](https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622427805737-Y2PJOZZ37IB5DWVSBUW3/FORSYTH-1935-410%2C2-cello-fingerings.png)
Forsyth, 1935, p. 410 [Note: An example showing the fingering on the cello for a sequence of three ascending notes consisting of a semitone and a whole tone.]
Chapter: The Cello
Citation: Forsyth, 1935, p. 410
Summary of Figure: An example showing the fingering on the cello for a sequence of three ascending notes consisting of a whole tone and a semitone
Exemplification of: cello fingerings
Forsyth, 1935, p. 410 [Note: An example showing the fingering on the cello for a sequence of three ascending notes consisting of a whole tone and a semitone.]
Chapter: The cello
Citation: Forsyth, 1935, p. 410
Summary of Figure: The note D4. Any scales or passages on the cello that go above this note involve shifting.
Exemplification of: cello fingerings, shifting
Forsyth, 1935, p. 410 [Note: The note D4. Any scales or passages on the cello that go above this note involve shifting.
Chapter: The cello
Citation: Forsyth, 1935, p. 411
Summary of Figure: The note B4. On the cello, passages above this note make use of the "thumb positions," in which the thumb is placed on the string and becomes an "artificial nut."
Exemplification of: cello fingerings, thumb position
Forsyth, 1935, p. 411 [Note: The note B4. On the cello, passages above this note make use of the "thumb positions," in which the thumb is placed on the string and becomes an "artificial nut."]
Chapter: The cello
Citation: Forsyth, 1935, p. 412
Summary of Figure: An example showing the notation for the use of thumb fingering on the cello.
Exemplification of: cello fingerings, thumb position
Forsyth, 1935, p. 412 [Note: An example showing the notation for the use of thumb fingering on the cello.]
Chapter: The cello
Citation: Forsyth, 1935, p. 412
Summary of Figure: An example demonstrating the possibility of using the thumb to finger the lower note of an octave double stop on the cello, when that note is not an open string. Though technically possible, this practice is not recommended by Forsyth, who deems all octave passages on the cello "too risky for orchestral use."
Exemplification of: cello fingerings, thumb position, double stops
![Forsyth, 1935, p. 412 [Note: An example demonstrating the possibility of using the thumb to finger the lower note of an octave double stop on the cello, when that note is not an open string. Though technically possible, this practice is not recommended by Forsyth, who deems all octave passages on the cello "too risky for orchestral use."]](https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622428042662-A8AULRMHOD9YWVUJFD8X/FORSYTH-1935-412%2C2-cello-thumbfingerings-doublestops.png)
Forsyth, 1935, p. 412 [Note: An example demonstrating the possibility of using the thumb to finger the lower note of an octave double stop on the cello, when that note is not an open string. Though technically possible, this practice is not recommended by Forsyth, who deems all octave passages on the cello "too risky for orchestral use."]
Forsyth, 1935, p. 413 [Note: An example showing cello fingerings for chromatic scales.]
Chapter: The cello
Citation: Forsyth, 1935, p. 413
Summary of Figure: An example showing cello fingerings for chromatic scales.
Exemplification of: cello chromatic fingerings
Chapter: The cello
Citation: Forsyth, 1935, p. 413
Summary of Figure: An example from Beethoven's Symphony no. 9 demonstrating a rare situation in which a fingered octave double stop in the cello part is reasonable in an orchestral context. In this example, the double stop is approached slowly and held for a long time, and the only intervening note (in bar 8 of the excerpt) is an open string that doesn't pose a fingering issue.
Exemplification of: cello double stops
Forsyth, 1935, p. 413 [Note: An example from Beethoven's Symphony no. 9 demonstrating a rare situation in which a fingered octave double stop in the cello part is reasonable in an orchestral context. In this example, the double stop is approached slowly and held for a long time, and the only intervening note (in bar 8 of the excerpt) is an open string that doesn't pose a fingering issue.]
Chapter: The cello
Citation: Forsyth, 1935, p. 413
Summary of Figure: An example showing the three octave double stops available on the cello that have an open string as the lower note. These are easy and convenient to play, even in an orchestral context.
Exemplification of: cello double stops
Forsyth, 1935, p. 413 [Note: An example showing the three octave double stops available on the cello that have an open string as the lower note. These are easy and convenient to play, even in an orchestral context.]
Chapter: The cello
Citation: Forsyth, 1935, p. 416
Summary of Figure: The note G4. When considering double stops where both notes must be fingered, this is the highest top note up to which perfect fifths, minor and major sixths, and diminished and minor sevenths can be safely used.
Exemplification of: cello double stops
Forsyth, 1935, p. 416 [Note: The note G4. When considering double stops where both notes must be fingered, this is the highest top note up to which perfect fifths, minor and major sixths, and diminished and minor sevenths can be safely used.]
Chapter: The cello
Citation: Forsyth, 1935, p. 420
Summary of Figure: An example showing the three minor seventh intervals possible as double stops on the cello with open strings as the lower note.
Exemplification of: cello double stops, sevenths
Forsyth, 1935, p. 420 [Note: An example showing the three minor seventh intervals possible as double stops on the cello with open strings as the lower note.]
Chapter: The cello
Citation: Forsyth, 1935, p. 419
Summary of Figure: An example showing three double stopped intervals of a second that are possible on the cello using open strings.
Exemplification of: cello double stops, seconds
Forsyth, 1935, p. 419 [Note: An example showing three double stopped intervals of a second that are possible on the cello using open strings.]
Chapter: The cello
Citation: Forsyth, 1935, p. 419
Summary of Figure: An examplae showing three double stopped intervals of a second that are possible on the cello using open strings.
Exemplification of: cello double stops, seconds
Forsyth, 1935, p. 419 [Note: An example showing three double stopped intervals of a second that are possible on the cello using open strings.]
Chapter: The cello
Citation: Forsyth, 1935, p. 419
Summary of Figure: An example showing the double stopped intervals of a third that are possible on the cello, up to C4/E4.
Exemplification of: cello double stops, thirds
Forsyth, 1935, p. 419 [Note: An example showing the double stopped intervals of a third that are possible on the cello, up to C4/E4.]
Chapter: The cello
Citation: Forsyth, 1935, p. 420
Summary of Figure: The notes Db2 and G2, which are possible as a double stop on the cello.
Exemplification of: cello double stops, fourths
Forsyth, 1935, p. 420 [Note: The notes Db2 and G2, which are possible as a double stop on the cello.]
Chapter: The cello
Citation: Forsyth, 1935, p. 420
Summary of Figure: The notes D2 and C4. Double stopped intervals of perfect or augmented fourths are possible on the cello if the lower note is within the range of these notes.
Exemplification of: cello double stops, fourths
Forsyth, 1935, p. 420 [Note: The notes D2 and C4. Double stopped intervals of perfect or augmented fourths are possible on the cello if the lower note is within the range of these notes.]
Chapter: The cello
Citation: Forsyth, 1935, p. 420
Summary of Figure: The fifth intervals of C2-G2 and A3-E4. All perfect fifth intervals within this range are possible as double stops on the cello.
Exemplification of: cello double stops, fifths
Forsyth, 1935, p. 420 [Note: The fifth intervals of C2-G2 and A3-E4. All perfect fifth intervals within this range are possible as double stops on the cello.]
Chapter: The cello
Citation: Forsyth, 1935, p. 420
Summary of Figure: An example showing the range within which major and minor sixth intervals are possible as double stops on the cello.
Exemplification of: cello double stops, sixths
Forsyth, 1935, p. 420 [Note: An example showing the range within which major and minor sixth intervals are possible as double stops on the cello.]
Chapter: The cello
Citation: Forsyth, 1935, p. 420
Summary of Figure: An example showing the range within which minor seventh intervals are possible as double stops on the cello.
Exemplification of: cello double stops, sevenths
Forsyth, 1935, p. 420 [Note: An example showing the range within which minor seventh intervals are possible as double stops on the cello.]
Chapter: The cello
Citation: Forsyth, 1935, p. 421
Summary of Figure: An example showing the three major seventh intervals possible as double stops on the cello with open strings as the lower note. These are also the only major seventh double stops recommended for use on the cello in an orchestral context.
Exemplification of: cello double stops, sevenths
Forsyth, 1935, p. 421 [Note: An example showing the three major seventh intervals possible as double stops on the cello with open strings as the lower note. These are also the only major seventh double stops recommended for use on the cello in an orchestral context.]
Chapter: The cello
Citation: Forsyth, 1935, p. 414
Summary of Figure: An example showing the three clefs used for the cello: bass (F) clef, tenor clef, and treble (G) clef.
Exemplification of: cello clefs
Forsyth, 1935, p. 414 [Note: An example showing the three clefs used for the cello: bass (F) clef, tenor clef, and treble (G) clef.]
Chapter: The cello
Citation: Forsyth, 1935, p. 414
Summary of Figure: The notes C4 and F4. In between these notes, the use of the tenor clef eliminates the need for ledger lines.
Exemplification of: cello clefs
Forsyth, 1935, p. 414 [Note: The notes C4 and F4. In between these notes, the use of the tenor clef eliminates the need for ledger lines.]
Chapter: The cello
Citation: Forsyth, 1935, p. 414
Summary of Figure: The notes A3 and A4. The tenor clef is often used to notate cello passages that lie in this general register.
Exemplification of: cello clefs
![Forsyth, 1935, p. 414 [Note: The notes A3 and A4. The tenor clef is often used to notate cello passages that lie in this general register.]](https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622428264758-RTV9YCGYHWBL4VG295ED/FORSYTH-1935-414%2C3-cello-clefs-A3A4.png)
Forsyth, 1935, p. 414 [Note: The notes A3 and A4. The tenor clef is often used to notate cello passages that lie in this general register.]
Chapter: The cello
Citation: Forsyth, 1935, p. 415
Summary of Figure: An example from Beethoven's String Quartet No. 12 demonstrating a passage in the cello's high register that is comfortably notated in treble clef at sounding pitch.
Exemplification of: cello high register, clefs
Forsyth, 1935, p. 415 [Note: An example from Beethoven's String Quartet No. 12 demonstrating a passage in the cello's high register that is comfortably notated in treble clef at sounding pitch.]
Chapter: The cello
Citation: Forsyth, 1935, p. 415
Summary of Figure: An example from Beethoven's String Quartet No. 12 demonstrating the archaic custom of notating high cello passages in treble clef, an octave above sounding pitch. The combination of tenor and octave-displaced treble clefs in this example creates a need for sixteen ledger lines, none of which are needed when the same passage is written in treble clef at sounding pitch.
Exemplification of: cello high register, clefs
Forsyth, 1935, p. 415 [Note: An example from Beethoven's String Quartet No. 12 demonstrating the archaic custom of notating high cello passages in treble clef, an octave above sounding pitch. The combination of tenor and octave-displaced treble clefs in this example creates a need for sixteen ledger lines, none of which are needed when the same passage is written in treble clef at sounding pitch.]
Chapter: The cello
Citation: Forsyth, 1935, p. 415
Summary of Figure: The note E5. Forsyth suggests this as a "reasonable upward-limit for orchestral writing" in cello parts.
Exemplification of: cello high register
Forsyth, 1935, p. 415 [Note: The note E5. Forsyth suggests this as a "reasonable upward-limit for orchestral writing" in cello parts.]
Chapter: The cello
Citation: Forsyth, 1935, p. 415
Summary of Figure: The note D5. This was the upper limit used by Haydn for cello writing in an orchestral context. Editor: This note is drawn from a work that the treatise identifies as "Symphony No. 13," but is now known as No. 88.
Exemplification of: cello high register
Forsyth, 1935, p. 415 [Note: The note D5. This was the upper limit used by Haydn for cello writing in an orchestral context. Editor: This note is drawn from a work that the treatise identifies as "Symphony No. 13," but is now known as No. 88.]
Chapter: The cello
Citation: Forsyth, 1935, p. 415
Summary of Figure: An example from Beethoven's "Prometheus" demonstrating the use of the high register (up to G5) in a solo cello cadenza.
Exemplification of: cello high register, clefs
Forsyth, 1935, p. 415 [Note: An example from Beethoven's "Prometheus" demonstrating the use of the high register (up to G5) in a solo cello cadenza.]
Chapter: The cello
Citation: Forsyth, 1935, p. 416
Summary of Figure: An example from Strauss' "Don Quixote" Variations demonstrating a technical passage for the solo cello reaching into the extreme high register of the instrument's range. This is an example of the type of high passage that would be inadvisable to write for a whole cello section.
Exemplification of: cello extreme high register
Forsyth, 1935, p. 416 [Note: An example from Strauss' "Don Quixote" Variations demonstrating a technical passage for the solo cello reaching into the extreme high register of the instrument's range. This is an example of the type of high passage that would be inadvisable to write for a whole cello section.]
Chapter: The cello
Citation: Forsyth, 1935, p. 417
Summary of Figure: The note C2, which is the lowest open string of the cello.
Exemplification of: cello chords, triple stops
Forsyth, 1935, p. 417 [Note: The note C2, which is the lowest open string of the cello.]
Chapter: The cello
Citation: Forsyth, 1935, p. 417
Summary of Figure: The notes Ab2 and A2, as played on the G string of the cello. These notes can be combined with any a fifth or sixth above, and the open C string to form a triple stop.
Exemplification of: cello chords, triple stops
Forsyth, 1935, p. 417 [Note: The notes Ab2 and A2, as played on the G string of the cello. These notes can be combined with any a fifth or sixth above, and the open C string to form a triple stop.]
Chapter: the cello
Citation: Forsyth, 1935, p. 417
Summary of Figure: An example showing three triple stops which are possible on the cello with the open C string.
Exemplification of: cello chords, triple stops
![Forsyth, 1935, p. 417 [Note: An example showing three triple stops which are possible on the cello with the open C string.]](https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622428647067-B40QFRWAK4BL7M2K6BXH/FORSYTH-1935-417%2C3-cello-chords-openC.png)
Forsyth, 1935, p. 417 [Note: An example showing three triple stops which are possible on the cello with the open C string.]
Chapter: the cello
Citation: Forsyth, 1935, p. 417
Summary of Figure: The note G2, which is the second-lowest open string of the cello.
Exemplification of: cello chords, triple stops
Forsyth, 1935, p. 417 [Note: The note G2, which is the second-lowest open string of the cello.]
Chapter: The cello
Citation: Forsyth, 1935, p. 417
Summary of Figure: An example showing the collection of notes on the D string of the cello which can be combined with a note a fifth or sixth above and the open G string to form a triple stop.
Exemplification of: cello chords, triple stops
Forsyth, 1935, p. 417 [Note: An example showing the collection of notes on the D string of the cello which can be combined with a note a fifth or sixth above and the open G string to form a triple stop.]
Chapter: The cello
Citation: Forsyth, 1935, p. 417
Summary of Figure: The note D3, which is the second-highest open string of the cello.
Exemplification of: cello chords, triple stops
Forsyth, 1935, p. 417 [Note: The note D3, which is the second-highest open string of the cello.]
Chapter: The cello
Citation: Forsyth, 1935, p. 417
Summary of Figure: An example showing the three triple stops involving the open D string which are possible and convenient on the cello in an orchestral context.
Exemplification of: cello chords, triple stops
Forsyth, 1935, p. 417 [Note: An example showing the three triple stops involving the open D string which are possible and convenient on the cello in an orchestral context.]
Chapter: The cello
Citation: Forsyth, 1935, p. 417
Summary of Figure: The note A3, which is the highest open string of the cello.
Exemplification of: cello chords, triple stops
Forsyth, 1935, p. 417 [Note: The note A3, which is the highest open string of the cello.]
Chapter: The cello
Citation: Forsyth, 1935, p. 417
Summary of Figure: An example showing the three triple stops involving the open A string which are possible and convenient on the cello in an orchestral context.
Exemplification of: cello chords, triple stops
Forsyth, 1935, p. 417 [Note: An example showing the three triple stops involving the open A string which are possible and convenient on the cello in an orchestral context.]
Chapter: The cello
Citation: Forsyth, 1935, p. 418
Summary of Figure: The note A4. In triple stops on the cello that don't contain any open strings, the top note should not go higher than this.
Exemplification of: cello chords, triple stops
Forsyth, 1935, p. 418 [Note: The note A4. In triple stops on the cello that don't contain any open strings, the top note should not go higher than this.]
Chapter: The cello
Citation: Forsyth, 1935, p. 418
Summary of Figure: The notes C2 and G2, which are the two lowest open strings of the cello.
Exemplification of: cello chords, triple stops
Forsyth, 1935, p. 418 [Note: The notes C2 and G2, which are the two lowest open strings of the cello.]
Chapter: The cello
Citation: Forsyth, 1935, p. 418
Summary of Figure: An example showing the pattern of fifths and sixths that can be used on the two upper strings of the cello in conjunction with the two open lower strings to form quadruple stop chords.
Exemplification of: cello chords, quadruple stops
Forsyth, 1935, p. 418 [Note: An example showing the pattern of fifths and sixths that can be used on the two upper strings of the cello in conjunction with the two open lower strings to form quadruple stop chords.]
Chapter: The cello
Citation: Forsyth, 1935, p. 418
Summary of Figure: The notes C4 and A4. When writing quadruple stops on the cello with the two open lower strings, the notes on the two higher strings should not go beyond these.
Exemplification of: cello chords, quadruple stops
Forsyth, 1935, p. 418 [Note: The notes C4 and A4. When writing quadruple stops on the cello with the two open lower strings, the notes on the two higher strings should not go beyond these.
Chapter: The Cello
Citation: Forsyth, 1935, p. 418
Summary of Figure: An example showing the pattern of notes that can be played on the three upper strings of the cello in quadruple stops that include the open C string.
Exemplification of: cello chords, quadruple stops
Forsyth, 1935, p. 418 [Note: An example showing the pattern of notes that can be played on the three upper strings of the cello in quadruple stops that include the open C string.]
Chapter: The cello
Citation: Forsyth, 1935, p. 418
Summary of Figure: The notes A3 and F#4. When writing quadruple stops on the cello with the open C string, the notes on the two highest strings should not go beyond these.
Exemplification of: cello chords, quadruple stops
Forsyth, 1935, p. 418 [Note: The notes A3 and F#4. When writing quadruple stops on the cello with the open C string, the notes on the two highest strings should not go beyond these.]
Chapter: The cello
Citation: Forsyth, 1935, p. 419
Summary of Figure: An example showing practically the only convenient model of four-note chords on the cello containing no open strings.
Exemplification of: cello chords, quadruple stops
Forsyth, 1935, p. 419 [Note: An example showing practically the only convenient model of four note chords on the cello containing no open strings.]
Chapter: The cello
Citation: Forsyth, 1935, p. 419
Summary of Figure: The notes A3 and F4. When writing quadruple stop chords with no open strings on the cello, the notes on the two highest strings should not go above these.
Exemplification of: cello chords, quadruple stops
Forsyth, 1935, p. 419 [Note: The notes A3 and F4. When writing quadruple stop chords with no open strings on the cello, the notes on the two highest strings should not go above these.]
Chapter: The cello
Citation: Forsyth, 1935, p. 421
Summary of Figure: The note G4. All major and minor triads and their inversions are possible on the cello up to the point where this note is the top note in the chord
Exemplification of: cello chords, triads
Forsyth, 1935, p. 421 [Note: The note G4. All major and minor triads and their inversions are possible on the cello up to the point where this note is the top note in the chord.]
Chapter: The cello
Citation: Forsyth, 1935, p. 421
Summary of Figure: An example showing the patterns for triads and their first and second inversions on the cello, using three or four strings.
Exemplification of: cello chords, triads
![Forsyth, 1935, p. 421 [Note: An example showing the patterns for triads and their first and second inversions on the cello, using three or four strings.]](https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622489628883-3FQEYSHIYAG83O18FFHO/FORSYTH-1935-421%2C3-cello-triads-inversions.png)
Forsyth, 1935, p. 421 [Note: An example showing the patterns for triads and their first and second inversions on the cello, using three or four strings.]
Chapter: The cello
Citation: Forsyth, 1935, p. 421
Summary of Figure: An example showing the six dominant seventh chords that are possible to play on the cello using triple stops.
Exemplification of: cello chords, dominant sevenths
Forsyth, 1935, p. 421 [Note: An example showing the six dominant seventh chords that are possible to play on the cello using triple stops.]
Chapter: The cello
Citation: Forsyth, 1935, p. 422
Summary of Figure: An example showing the only quadruple stop dominant seventh chord that is practical on the cello in an orchestral context.
Exemplification of: cello chords, dominant sevenths
Forsyth, 1935, p. 422 [Note: An example showing the only quadruple stop dominant seventh chord that is practical on the cello in an orchestral context.]
Chapter: The cello
Citation: Forsyth, 1935, p. 422
Summary of Figure: An example showing the only two dominant ninth chords possible on the cello.
Exemplification of: cello chords, dominant ninths
Forsyth, 1935, p. 422 [Note: An example showing the only two dominant ninth chords possible on the cello.]
Chapter: The cello
Citation: Forsyth, 1935, p. 422
Summary of Figure: An example showing the two easiest partial diminished seventh chords possible on the cello. This pattern may also be used for chords without an open string, where the lowest note is stopped by the first finger, but these are much more difficult to play.
Exemplification of: cello chords, diminished sevenths
Forsyth, 1935, p. 422 [Note: An example showing the two easiest partial diminished seventh chords possible on the cello. This pattern may also be used for chords without an open string, where the lowest note is stopped by the first finger, but these are much more difficult to play.]
Chapter: The cello
Citation: Forsyth, 1935, p. 422
Summary of Figure: The note G4. This is the recommended upper limit for the highest note of any partial diminished seventh chord on the cello following the pattern of the previous example.
Exemplification of: cello chords, diminished sevenths
Forsyth, 1935, p. 422 [Note: The note G4. This is the recommended upper limit for the highest note of any partial diminished seventh chord on the cello following the pattern of the previous example.]
Chapter: The cello
Citation: Forsyth, 1935, p. 423
Summary of Figure: An example showing the pattern for augmented fifth chords on the cello using three or four strings
Exemplification of: cello chords, augmented fifths
Forsyth, 1935, p. 423 [Note: An example showing the pattern for augmented fifth chords on the cello using three or four strings.]
Chapter: The cello
Citation: Forsyth, 1935, p. 423
Summary of Figure: An example showing three models of chords that should not be used on the cello.
Exemplification of: cello chords
Forsyth, 1935, p. 423 [Note: An example showing three models of chords that should not be used on the cello.]
Chapter: The cello
Citation: Forsyth, 1935, p. 423
Summary of Figure: An example showing the approximate upper limits for artificial harmonics on the violin and viola.
Exemplification of: violin, viola artificial harmonics
Forsyth, 1935, p. 423 [Note: An example showing the approximate upper limits for artificial harmonics on the violin and viola.]
Chapter: The cello
Citation: Forsyth, 1935, p. 424
Summary of Figure: An example showing the approximate upper limit for artificial harmonics on the cello.
Exemplification of: cello artificial harmonics
Forsyth, 1935, p. 424 [Note: An example showing the approximate upper limit for artificial harmonics on the cello.]
Chapter: The cello
Citation: Forsyth, 1935, p. 424
Summary of Figure: An example showing all the notes that can be played with harmonics on the cello. The first three can only be played using natural harmonics, and the rest can all be played using artificial harmonics. Notes with crosses can be played either way.
Exemplification of: cello harmonics
Forsyth, 1935, p. 424 [Note: An example showing all the notes that can be played with harmonics on the cello. The first three can only be played using natural harmonics, and the rest can all be played using artificial harmonics. Notes with crosses can be played either way.]
Chapter: The cello
Citation: Forsyth, 1935, p. 424
Summary of Figure: An example from Humperdinck's "Hansel ünd Gretel" demonstrating the use of cello harmonics to form a chord. In this example, the cello section is divided and the harmonics are played by two solo cellos. Though the notation is the same for both, the upper line is actually played as a natural harmonic while the bottom can only be played as an artificial harmonic.
Exemplification of: cello artificial harmonics
Forsyth, 1935, p. 424 [Note: An example from Humperdinck's "Hansel ünd Gretel" demonstrating the use of cello harmonics to form a chord. In this example, the cello section is divided and the harmonics are played by two solo cellos. Though the notation is the same for both, the upper line is actually played as a natural harmonic while the bottom can only be played as an artificial harmonic.]
Chapter: The cello
Citation: Forsyth, 1935, p. 426
Summary of Figure: An example from Sullivan's "The Mikado" demonstrating the use of pizzicato in the middle register of the cello as a light accompanimental figure. The cellos also play the bass note on the first beat of each bar, and it is reinforced an octave below by the double basses.
Exemplification of: cello pizzicato
Forsyth, 1935, p. 426 [Note: An example from Sullivan's "The Mikado" demonstrating the use of pizzicato in the middle register of the cello as a light accompanimental figure. The cellos also play the bass note on the first beat of each bar, and it is reinforced an octave below by the double basses.]
Chapter: The cello
Citation: Forsyth, 1935, p. 427
Summary of Figure: An example from Sullivan's "The Yeomen of the Guard" demonstrating the use of pizzicato in the middle register of the cello as a light accompanimental figure. The cellos also play the bass note on the first beat of each bar, and it is reinforced at the same pitch by the double basses in every second bar.
Exemplification of: cello pizzicato
Forsyth, 1935, p. 427 [Note: An example from Sullivan's "The Yeomen of the Guard" demonstrating the use of pizzicato in the middle register of the cello as a light accompanimental figure. The cellos also play the bass note on the first beat of each bar, and it is reinforced at the same pitch by the double basses in every second bar.]
Chapter: The cello
Citation: Forsyth, 1935, p. 428
Summary of Figure: An example from the 3rd movement of Brahms' Symphony No. 1 demonstrating the use of cello pizzicato as both a bassline and accompanimental figure. This example also demonstrates its pairing with woodwinds and horns, as well as the subtle entries of the upper string and oboe parts.
Exemplification of: cello pizzicato
Forsyth, 1935, p. 428 [Note: An example from the 3rd movement of Brahms' Symphony No. 1 demonstrating the use of cello pizzicato as both a bassline and accompanimental figure. This example also demonstrates its pairing with woodwinds and horns, as well as the subtle entries of the upper string and oboe parts.]
Chapter: The cello
Citation: Forsyth, 1935, p. 429
Summary of Figure: An example from Act 3 of Humperdinck's "Hansel ünd Gretel" demonstrating a scalar pizzicato passage in the cello that reaches a high Bb (Bb4). This can be considered the upper limit for effective pizzicato on the cello
Exemplification of: cello pizzicato, range
Forsyth, 1935, p. 429 [Note: An example from Act 3 of Humperdinck's "Hansel ünd Gretel" demonstrating a scalar pizzicato passage in the cello that reaches a high Bb (Bb4). This can be considered the upper limit for effective pizzicato on the cello.]
Chapter: The cello
Citation: Forsyth, 1935, p. 430
Summary of Figure: An example from the end of Tchaikovsky's "Romeo and Juliet" Overture demonstrating the rare unison doubling of bassoon, violins, and cellos. In this example, they are supported by a pedal texture consisting of a timpani ostinato, a held note in the tuba, and pizzicatos in the double bass.
Exemplification of: cello strings, a
Forsyth, 1935, p. 430 [Note: An example from the end of Tchaikovsky's "Romeo and Juliet" Overture demonstrating the rare unison doubling of bassoon, violins, and cellos. In this example, they are supported by a pedal texture consisting of a timpani ostinato, a held note in the tuba, and pizzicatos in the double bass.]
Chapter: The cello
Citation: Forsyth, 1935, p. 431
Summary of Figure: An example from the last movement of Beethoven's Symphony No. 9 demonstrating the quality of the cello's D string that Forsyth calls "caressing reticence," "silky," and "capable of expressing the most poetical feelings."
Exemplification of: cello strings, d
Forsyth, 1935, p. 431 [Note: An example from the last movement of Beethoven's Symphony No. 9 demonstrating the quality of the cello's D string that Forsyth calls "caressing reticence," "silky," and "capable of expressing the most poetical feelings."]
Chapter: The cello
Citation: Forsyth, 1935, p. 431
Summary of Figure: An example from Wagner's "Lohengrin" demonstrating the quality of the cello's lower strings that Forsyth calls "straightforward" with a "mingled smoothness" and "austerity." The slurs in this example are not literal bowing indications, but a way of denoting a general legato quality for the passage.
Exemplification of: cello low and middle registers, legato, slurs
Forsyth, 1935, p. 431 [Note: An example from Wagner's "Lohengrin" demonstrating the quality of the cello's lower strings that Forsyth calls "straightforward" with a "mingled smoothness" and "austerity." The slurs in this example are not literal bowing indications, but a way of denoting a general legato quality for the passage.]