Kling | Figures
Chapter: Stringed Instruments - A. Played with a Bow - 5. Violoncello
Citation: Kling, 1905, p. 19
Summary of Figure: An example showing the tuning of each string on the cello
Exemplification of: cello string tuning
Kling, 1905, p. 19 Note: An example showing the tuning of each string on the cello.]
Chapter: Stringed Instruments - A. Played with a Bow - 5. Violoncello
Citation: Kling, 1905, p. 19
Summary of Figure: An example showing the usable range of the cello for both orchestral and solo contexts.
Exemplification of: cello range
Kling, 1905, p. 19 [Note: An example showing the usable range of the cello for both orchestral and solo contexts.]
Chapter: Stringed Instruments - A. Played with a Bow - 5. Violoncello
Citation: Kling, 1905, p. 19
Summary of Figure: An example showing two of the most difficult bowing techniques on the cello: staccato and saltato, which is also known as martellato or "jumping bow."
Exemplification of: cello bowings, staccato, saltato, martellato, jumping bow
Kling, 1905, p. 19 [Note: An example showing two of the most difficult bowing techniques on the cello: staccato and saltato, which is also known as martellato or "jumping bow."]
Chapter: Stringed Instruments - A. Played with a Bow - 5. Violoncello
Citation: Kling, 1905, p. 20
Summary of Figure: An example showing various forms and bowings of arpeggios that are possible on the cello using three or four strings.]
Exemplification of: cello chords, arpeggios
Kling, 1905, p. 20 [Note: An example showing various forms and bowings of arpeggios that are possible on the cello using three or four strings.]
Chapter: Stringed Instruments - A. Played with a Bow - 5. Violoncello
Citation: Kling, 1905, p. 20
Summary of Figure: An example showing the notation for tremolo on the cello, using double stops and arpeggiated chords.
Exemplification of: cello bowing, tremolo, double stops
Kling, 1905, p. 20 [Note: An example showing the notation for tremolo on the cello, using double stops and arpeggiated chords.]
Chapter: Stringed Instruments - A. Played with a Bow - 5. Violoncello
Citation: Kling, 1905, p. 20
Summary of Figure: An example showing two double trills that are possible but very difficult on the cello.
Exemplification of: cello double stops, double trills
Kling, 1905, p. 20 [Note: An example showing two double trills that are possible but very difficult on the cello.]
Chapter: Stringed Instruments - A. Played with a Bow - 5. Violoncello
Citation: Kling, 1905, p. 20
Summary of Figure: An example showing some of the double, triple, and quadruple stops that are possible on the cello
Exemplification of: cello double stops, chords, triple stops, quadruple stops
Kling, 1905, p. 20 [Note: An example showing some of the double, triple, and quadruple stops that are possible on the cello.]
Chapter: Stringed Instruments - A. Played with a Bow - 5. Violoncello
Citation: Kling, 1905, p. 20
Summary of Figure: An example showing some of the patterns for broken chords that are possible on the cello.
Exemplification of: cello broken chords
Kling, 1905, p. 20 [Note: An example showing some of the patterns for broken chords that are possible on the cello.]
Chapter: Stringed Instruments - A. Played with a Bow - 5. Violoncello
Citation: Kling, 1905, p. 21
Summary of Figure: An example showing the notation of a high cello melody in treble clef, written an octave above sounding pitch (shown on the bottom stave). Kling presents this as a practice that (in 1905) is gradually becoming obsolete, and advises against using it in favour of notating at sounding pitch. Editor: The custom of writing in treble clef an octave above sounding pitch is now considered obsolete.
Exemplification of: cello clefs, treble clef
Composer and Work: Mozart, Wolfgang Amadeus | String Quartet No. 21, D Major, K. 575, "Prussian No. 1" <1789>
Kling, 1905, p. 21 [Note: An example showing the notation of a high cello melody in treble clef, written an octave above sounding pitch (shown on the bottom stave). Kling presents this as a practice that (in 1905) is gradually becoming obsolete, and advises against using it in favour of notating at sounding pitch. Editor: The custom of writing in treble clef an octave above sounding pitch is now considered obsolete.]
Chapter: Stringed Instruments - A. Played with a Bow - 5. Violoncello
Citation: Kling, 1905, p. 21
Summary of Figure: An example showing the common natural harmonics on each string of the cello, and the resultant sounding pitches.
Exemplification of: cello natural harmonics
Kling, 1905, p. 21 [Note: An example showing the common natural harmonics on each string of the cello, and the resultant sounding pitches.]
Chapter: Stringed Instruments - A. Played with a Bow - 5. Violoncello
Citation: Kling, 1905, p. 21
Summary of Figure: An example showing the notation of artificial (or "artistic") harmonics on the A string of the cello, and the resultant sounding pitches.
Exemplification of: cello artificial harmonics
Kling, 1905, p. 22 [Note: An example showing the notation of artificial (or "artistic") harmonics on the A string of the cello, and the resultant sounding pitches.]
Chapter: Stringed Instruments - A. Played with a Bow - 5. Violoncello
Citation: Kling, 1905, p. 22
Summary of Figure: An example from the beginning of Rossini's "William Tell" Overture demonstrating the division of the cello section into five solo cello parts.
Exemplification of: cello section solo divisi
Composer and Work: Rossini, Gioachino | Guillaume Tell (William Tell) <1829>
Kling, 1905, p. 22 [Note: An example from the beginning of Rossini's "William Tell" Overture demonstrating the division of the cello section into five solo cello parts.]
Chapter: Stringed Instruments - A. Played with a Bow - 5. Violoncello
Citation: Kling, 1905, p. 23
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>
Kling, 1905, p. 23 [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.]
Chapter: Stringed Instruments - A. Played with a Bow - 5. Violoncello
Citation: Kling, 1905, p. 23
Summary of Figure: An example from Act 4 of Meyerbeer's "Les Huguenots" demonstrating the melodic capacity of the cello. In this example, the cello line sits on the A string and is used to create an "echo" effect in imitation of the solo voice.
Exemplification of: cello melody, echo of solo voice melody
Composer and Work: Meyerbeer, Giacomo | Les Huguenots <1836>
Kling, 1905, p. 23 [Note: An example from Act 4 of Meyerbeer's "Les Huguenots" demonstrating the melodic capacity of the cello. In this example, the cello line sits on the A string and is used to create an "echo" effect in imitation of the solo voice.]
Chapter: Stringed Instruments - A. Played with a Bow - 5. Violoncello
Citation: Kling, 1905, p. 24
Summary of Figure: An example from the "Air de Ballet" of Massenet's "Scènes pittoresques" demonstrating a "graceful" melody in the cellos, doubled at the unison by both bassoons.
Exemplification of: bassoon-cello unison doubling
Composer and Work: Massenet, Jules | Suite No.4 (Scènes pittoresque)
Kling, 1905, p. 24 [Note: An example from the "Air de Ballet" of Massenet's "Scènes pittoresques" demonstrating a "graceful" melody in the cellos, doubled at the unison by both bassoons.]
Chapter: Stringed Instruments - A. Played with a Bow - 5. Violoncello
Citation: Kling, 1905, p. 24
Summary of Figure: An example of a solo cello cadenza provided by the cellist H. Holzmann.
Exemplification of: solo cello cadenza
Composer and Work: Holzmann, H.
Kling, 1905, p. 24 [Note: (1/2) An example of a solo cello cadenza provided by the cellist H. Holzmann.]
Chapter: Stringed Instruments - A. Played with a Bow - 5. Violoncello
Citation: Kling, 1905, p. 25
Summary of Figure: An example of a solo cello cadenza provided by the cellist H. Holzmann.
Exemplification of: solo cello cadenza
Composer and Work: Holzmann, H.
Kling, 1905, p. 25 [Note: (continued 2/2) An example of a solo cello cadenza provided by the cellist H. Holzmann.]
Chapter: Stringed Instruments - A. Played with a Bow - 5. Violoncello
Citation: Kling, 1905, p. 25
Summary of Figure: An example showing several common figures used to create pizzicato accompaniments with the cello in dance music.
Exemplification of: cello pizzicatos
Kling, 1905, p. 25 [Note: An example showing several common figures used to create pizzicato accompaniments with the cello in dance music.]