Gevaert | Figures
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Gevaert, 1885
This page contains all the figures from the cello chapter — with new captions explaining each one — from Gevaert’s 1885 Nouveau traité d’instrumentation
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 53
Summary of Figure: An example showing the tuning of each string on the cello.
Exemplification of: cello tuning
Gevaert, 1885, p. 53 [Note: An example showing the tuning of each string on the cello.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 53
Summary of Figure: An example from Schumann's Piano Quartet in which the lowest string of the cello is detuned by a whole tone in order to play an octave double stop on Bb.
Exemplification of: cello tuning, double stops
Composer and Work: Schumann, Robert. Quartet in E-flat major, op. 47, for violin, viola, cello, and pianoforte <1842> Andante
Gevaert, 1885, p. 53 [Note: An example from Schumann's Piano Quartet in which the lowest string of the cello is detuned by a whole tone in order to play an octave double stop on Bb.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 54
Summary of Figure: An example showing fingerings on the D string of the cello.
Exemplification of: cello fingerings
Gevaert, 1885, p. 54 [Note: An example showing fingerings on the D string of the cello.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 54
Summary of Figure: An example showing first position fingerings on each string of the cello.
Exemplification of: cello fingerings
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 54
Summary of Figure: An example showing first position fingerings for C and F major scales on the cello.
Exemplification of: cello fingerings
Gevaert, 1885, p. 54 [Note: An example showing first position fingerings for C and F major scales on the cello.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 54
Summary of Figure: An example showing first position fingerings for C and F major scales on the cello.
Exemplification of: cello fingerings
Gevaert, 1885, p. 54 [Note: An example showing first position fingerings for D major and minor scales on the cello.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 54
Summary of Figure: An example showing second and third position fingerings on the cello, and demonstrating the impossibility of playing a complete scale in a single position.
Exemplification of: cello fingerings, positions
Gevaert, 1885, p. 54 [Note: An example showing second and third position fingerings on the cello, and demonstrating the impossibility of playing a complete scale in a single position.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 54
Summary of Figure: An example showing the combination of positions needed to play an E major scale on the cello, according to the method of Duport.
Exemplification of: cello fingerings, positions
Gevaert, 1885, p. 54 [Note: An example showing the combination of positions needed to play an E major scale on the cello, according to the method of Duport.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 55
Summary of Figure: An example showing cello fingerings for chromatic scales in first position.
Exemplification of: cello chromatic fingerings
Gevaert, 1885, p. 55 [Note: An example showing cello fingerings for chromatic scales in first position.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 55
Summary of Figure: An example showing the notation for the use of thumb fingering on the cello.
Exemplification of: cello fingerings, thumb position
Gevaert, 1885, p. 55 [Note: An example showing the notation for the use of thumb fingering on the cello.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 55
Summary of Figure: An example from Haydn's Symphony No. 88 demonstrating the use of the high register for melodic purposes. Editor: The treatise identifies this work as "Symphony No. 13," but it is now known as No. 88.
Exemplification of: cello high register, clefs, cello melody
Composer and Work: Haydn, Franz Joseph. Symphony No.88, G major II. Largo
Gevaert, 1885, p. 55 [Note: An example from Haydn's Symphony No. 88 demonstrating the use of the high register for melodic purposes. Note: the treatise identifies this work as "Symphony No. 13," but it is now known as No. 88.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 55
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, solo cello cadenza
Composer and Work: Beethoven, Ludwig van. Prometheus, op.43 (Die Geschöpfe des Prometheus) <1800–1801> Act 2
Gevaert, 1885, p. 55 [Note: An example from Beethoven's "Prometheus" demonstrating the use of the high register (up to G4) in a solo cello cadenza.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 55
Summary of Figure: An alternate notation of the previous example, using treble clef in the extreme high register for increased ease of reading.
Exemplification of: cello high register, clefs, solo cello cadenza
Composer and Work: Beethoven, Ludwig van. Prometheus, op.43 (Die Geschöpfe des Prometheus) <1800–1801> Act 2
Gevaert, 1885, p. 55 [Note: An alternate notation of the previous example, using treble clef in the extreme high register for increased ease of reading.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 56
Summary of Figure: An example demonstrating the archaic custom of notating high cello passages in treble clef, an octave above sounding pitch.
Exemplification of: cello high register, clefs
Composer and Work: Beethoven, Ludwig van. String Quartet No.12, Op.127, E-flat major <1825>
Gevaert, 1885, p. 56 [Note: An example demonstrating the archaic custom of notating high cello passages in treble clef, an octave above sounding pitch.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 56
Summary of Figure: An example demonstrating the modern custom of notating high cello passages in tenor and treble clef at sounding pitch.
Exemplification of: cello high register, clefs
Composer and Work: Beethoven, Ludwig van. String Quartet No.12, Op.127, E-flat major <1825>
Gevaert, 1885, p. 56 [Note: An example demonstrating the modern custom of notating high cello passages in tenor and treble clef at sounding pitch.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 56
Summary of Figure: A series of examples showing the collection of double stops on the cello that are possible and convenient in an orchestral context.
Exemplification of: cello double stops
Gevaert, 1885, p. 56 [Note: A series of examples showing the collection of double stops that are possible and convenient in an orchestral context.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 57
Summary of Figure: A series of examples showing the collection of 3- and 4-note chords on the cello that are possible and convenient in an orchestral context.
Exemplification of: cello chords
Gevaert, 1885, p. 57 [Note: A series of examples showing the collection of 3- and 4-note chords that are possible and convenient in an orchestral context.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 57
Summary of Figure: An example from Hérold's "Le Pré aux Clercs" demonstrating cello pizzicato. This example also shows three different clefs being used in a cello part, independence of cello and bass parts, and doubling of cello with viola and violin.
Exemplification of: cello pizzicato, clefs, viola-cello and violin-cello doubling
Composer and Work: Hérold, Louis Joseph F. Le Pré aux clercs (The Field of Honor) <1832>
Gevaert, 1885, p. 57 [Note: An example from Hérold's "Le Pré aux Clercs" demonstrating cello pizzicato. This example also shows three different clefs being used in a cello part, independence of cello and bass parts, and doubling of cello with viola and violin.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 57
Summary of Figure: An example from Beethoven's Symphony No. 5 demonstrating the capacity of the cello to play fast, agile figures. As in this example, such figures are often slurred in orchestral music.
Exemplification of: cello agility, slurs
Composer and Work: Beethoven, Ludwig van. Symphony No.5, op.67, C minor <1807–1808> II. Andante con moto
Gevaert, 1885, p. 57 [Note: An example from Beethoven's Symphony No. 5 demonstrating the capacity of the cello to play fast, agile figures. As in this example, such figures are often slurred in orchestral music.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 58
Summary of Figure: An example from Beethoven's "Pastorale" Symphony demonstrating the capacity of the cello to play fast, agile figures. As in this example, such figures are often slurred in orchestral music.
Exemplification of: cello agility, slurs
Composer and Work: Beethoven, Ludwig van. Symphony No.6, op.68, F major (Pastorale) <1808> 5. Hirtengesang, frohe und dankbare Gefühle nach dem Sturm
Gevaert, 1885, p. 58 [Note: An example from Beethoven's Pastorale Symphony demonstrating the capacity of the cello to play fast, agile figures. As in this example, such figures are often slurred in orchestral music.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 58
Summary of Figure: An example from Rossini's "William Tell" demonstrating the capacity of the cello to play fast, agile figures. As in this example, such figures are often slurred in orchestral music.
Exemplification of: cello agility, slurs
Composer and Work: Rossini, Gioachino. Guillaume Tell (William Tell) <1829>
Gevaert, 1885, p. 58 [Note: An example from Rossini's William Tell demonstrating the capacity of the cello to play fast, agile figures. As in this example, such figures are often slurred in orchestral music.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 58
Summary of Figure: An example from Wagner's "Tannhäuser" Overture demonstrating the capacity of the cello to play fast, agile figures. As in this example, such figures are often slurred in orchestral music.
Exemplification of: cello agility, slurs
Composer and Work: Wagner, Richard. Tannhäuser, WWV 70: Overture <1843–1845>
Gevaert, 1885, p. 58 [Note: An example from Wagner's Tannhäuser Overture demonstrating the capacity of the cello to play fast, agile figures. As in this example, such figures are often slurred in orchestral music.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 58
Summary of Figure: An example from the Scherzo of Mendelssohn's "Midsummer Night's Dream" demonstrating passagework that outlines thirds. This size of leap or outline is idiomatic to the cello as it can sit comfortably in a single hand position.
Exemplification of: cello contour, leaps
Composer and Work: Mendelssohn, Felix. A Midsummer Night's Dream, op.61 <1843> Scherzo
Gevaert, 1885, p. 58 [Note: An example from the Scherzo of Mendelssohn's "Midsummer Night's Dream" demonstrating passagework that outlines thirds. This size of leap or outline is idiomatic to the cello as it can sit comfortably in a single hand position.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 58
Summary of Figure: An example from Beethoven's Symphony No. 8 demonstrating the use of cello arpeggiations as an accompanimental figure.
Exemplification of: cello arpeggiation, cello accompaniment
Composer and Work: Beethoven, Ludwig van. Symphony No.8, op.93, F major <1812> III. Tempo di menuetto
Gevaert, 1885, p. 58 [Note: An example from Beethoven's Symphony No. 8 demonstrating the use of cello arpeggiations as an accompanimental figure.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 59
Summary of Figure: An example from Weber's "Oberon" demonstrating the use of the cello's A string (or "chanterelle") for an expressive melody.
Exemplification of: cello chanterelle, a string, high register, cello melody
Composer and Work: Weber, Carl Maria von. Oberon, J.306 <1825–1826> Act 1
Gevaert, 1885, p. 59 [Note: An example from Weber's "Oberon" demonstrating the use of the cello's A string (or "chanterelle") for an expressive melody.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 59
Summary of Figure: An example from Meyerbeer's "Robert le Diable" demonstrating the rare occurance of an orchestral cello melody on the middle two strings. This example highlights the "creamy" quality of the register with a cantabile melody.
Exemplification of: cello g and d strings, middle register, cello cantabile melody
Composer and Work: Meyerbeer, Giacomo. Robert le Diable <1831> Act 3
Gevaert, 1885, p. 59 [Note: An example from Meyerbeer's "Robert le Diable" demonstrating the rare occurance of an orchestral cello melody on the middle two strings. This example highlights the "creamy" quality of the register with a cantabile melody.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 59
Summary of Figure: An example from Wagner's "Lohengrin" demonstrating the dark and mysterious character often given to the lowest string of the cello.
Exemplification of: cello c string, low register
Composer and Work: Wagner, Richard. Lohengrin <1846–1847> Act 2, night scene between Frederic and Ortrude
Gevaert, 1885, p. 59 [Note: An example from Wagner's "Lohengrin" demonstrating the dark and mysterious character often given to the lowest string of the cello.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 60
Summary of Figure: An example from the "Scene by a Brook" in Beethoven's Pastorale Symphony demonstrating the division of the cello section into two muted soloists and the rest of the section, which doubles the bassline. This example also features octave doubling between the solo cello lines and the 2nd violins and violas, respectively.
Exemplification of: cello mutes, cello solo divisi, octave doubling
Composer and Work: Beethoven, Ludwig van. Symphony No.6, op.68, F major (Pastorale) <1808> 2. Szene am Bach
Gevaert, 1885, p. 60 [Note: An example from the "Scene by a Brook" in Beethoven's Pastorale Symphony demonstrating the division of the cello section into two muted soloists and the rest of the section, which doubles the bassline. This example also features octave doubling between the solo cello lines and the 2nd violins and violas, respectively.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 60
Summary of Figure: A series of examples showing the collection of natural harmonics on the cello that are possible and convenient in an orchestral context.
Exemplification of: cello harmonics, natural
Gevaert, 1885, p. 60 [Note: A series of examples showing the collection of natural harmonics on the cello that are possible and convenient in an orchestral context.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 60
Summary of Figure: A series of examples showing the collection of artificial harmonics on the cello that are possible and convenient in an orchestral context. Asterisks indicate cases in which the resulting note is also achievable with a natural harmonic (from an open string).
Exemplification of: cello harmonics, artificial
Gevaert, 1885, p. 60 [Note: A series of examples showing the collection of artificial harmonics on the cello that are possible and convenient in an orchestral context. Asterisks indicate cases in which the resulting note is also achievable with a natural harmonic (from an open string).]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 61
Summary of Figure: An example showing the range of the cello with the low, middle, high, and extreme high registers indicated.
Exemplification of: cello range, register
Gevaert, 1885, p. 61 [Note: An example showing the range of the cello with the low, middle, high, and extreme high registers indicated.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 61
Summary of Figure: An example from Rossini's "William Tell" Overture demonstrating the almost complete use of the cello range in a solo cello.
Exemplification of: cello range, register
Composer and Work: Rossini, Gioachino. Guillaume Tell (William Tell): Overture <1829>
Gevaert, 1885, p. 61 [Note: An example from Rossini's "William Tell" Overture demonstrating the almost complete use of the cello range in a solo cello.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 61
Summary of Figure: An example from Beethoven's Symphony no. 5 demonstrating the cello in a melodic role, doubled at the unison by the violas.
Exemplification of: cello melody, viola-cello unison doubling
Composer and Work: Beethoven, Ludwig van. Symphony No.5, op.67, C minor <1807–1808> II. Andante con moto
Gevaert, 1885, p. 61 [Note: An example from Beethoven's Symphony no. 5 demonstrating the cello in a melodic role, doubled at the unison by the violas.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 61
Summary of Figure: An example from Beethoven's Symphony no. 7 demonstrating the cello in a melodic role, doubled at the unison by the violas.
Exemplification of: cello melody, viola-cello unison doubling
Composer and Work: Beethoven, Ludwig van. Symphony No.7, op.92, A major <1811–1812> II. Allegretto
Gevaert, 1885, p. 61 [Note: An example from Beethoven's Symphony no. 7 demonstrating the cello in a melodic role, doubled at the unison by the violas.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 61
Summary of Figure: An example from Beethoven's Symphony no. 9 demonstrating the cello in a melodic role, doubled at the unison by the violas.
Exemplification of: cello melody, viola-cello unison doubling
Composer and Work: Beethoven, Ludwig van. Symphony No.9, op.125, D minor (Choral) <1822–1824> IV. Presto - Allegro assai - Allegro assai vivace
Gevaert, 1885, p. 61 [Note: An example from Beethoven's Symphony no. 9 demonstrating the cello in a melodic role, doubled at the unison by the violas.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 61
Summary of Figure: An example from Beethoven's Symphony no. 6 demonstrating the cello in a melodic role, doubled at the unison by the violas and one bassoon.
Exemplification of: cello melody, bassoon-viola-cello unison doubling
Composer and Work: Beethoven, Ludwig van. Symphony No.6, op.68, F major (Pastorale) <1808> 2. Szene am Bach
Gevaert, 1885, p. 61 [Note: An example from Beethoven's Symphony no. 6 demonstrating the cello in a melodic role, doubled at the unison by the violas and one bassoon.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 62
Summary of Figure: An example from Beethoven's Symphony no. 6 demonstrating the cello in a melodic role, doubled at the unison by the bassoons.
Exemplification of: cello melody, bassoon-cello unison doubling
Composer and Work: Beethoven, Ludwig van. Symphony No.6, op.68, F major (Pastorale) <1808> 5. Hirtengesang, frohe und dankbare Gefühle nach dem Sturm
Gevaert, 1885, p. 62 [Note: An example from Beethoven's Symphony no. 6 demonstrating the cello in a melodic role, doubled at the unison by the bassoons.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 62
Summary of Figure: An example from Handel's "Alexander's Feast" demonstrating the use of the cello's melodic character to fill a solo obligato role in vocal music.
Exemplification of: cello solo obligato line
Composer and Work: Handel, George Frideric. Alexander's Feast, HWV 75 <1736> First part, "Softly Sweet" tenor aria
Gevaert, 1885, p. 62 [Note: An example from Handel's "Alexander's Feast" demonstrating the use of the cello's melodic character to fill a solo obligato role in vocal music.]
Chapter: 2. Instruments à cordes mis en vibration par l'archet: le violoncelle
Citation: Gevaert, 1885, p. 62
Summary of Figure: An example from Wagner's "Die Walküre" demonstrating the division of the cello section into 5 parts, the first being a solo cello part and the others having two players each.
Exemplification of: cello solo, soli, section divisi
Composer and Work: Wagner, Richard. Die Walküre, WWV 86b <1854–1856> Act 1, scene 1
Gevaert, 1885, p. 62 [Note: An example from Wagner's "Die Walküre" demonstrating the division of the cello section into 5 parts, the first being a solo cello part and the others having two players each.]