Prout | Chapter IV | Figures

Jul 17

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Prout (1899), The Orchestra — Vol. I

Chapter IV. — Stringed Instruments
The Violoncello and Contrabasso

This page contains all the figures — with new captions explaining each one — from Chapter IV of Prout’s 1899 treatise.

Illustration
Tuning
Clefs
Fingerings
Chords
Pizzicato
Divisi

Chapter 4: Stringed Instruments: The Violoncello and Contrabasso: The Cello

Citation: Prout, 1899, p. 51

Summary of Figure: An illustration showing the appearance of the cello.

Exemplification of: cello illustration

Prout, 1899, p. 51 [Note: An illustration showing the appearance of the cello.]

Chapter 4: Stringed Instruments: The Violoncello and Contrabasso: The Cello

Citation: Prout, 1899, p. 51

Summary of Figure: An example showing the tuning of each string on the cello

Exemplification of: cello string tuning

Prout, 1899, p. 51 [Note: An example showing the tuning of each string on the cello.]

Chapter 4: Stringed Instruments: The Violoncello and Contrabasso: The Cello

Citation: Prout, 1899, p. 64

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

Prout, 1899, p. 64 [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 4: Stringed Instruments: The Violoncello and Contrabasso: The Cello

Citation: Prout, 1899, p. 51

Summary of Figure: A tenor clef

Exemplification of: cello clefs

Prout, 1899, p. 51 [Note: A tenor clef.]

Chapter 4: Stringed Instruments: The Violoncello and Contrabasso: The Cello

Citation: Prout, 1899, p. 51

Summary of Figure: A treble, or G clef.

Exemplification of: cello clefs

Prout, 1899, p. 51 [Note: A treble, or G clef.]

Chapter 4: Stringed Instruments: The Violoncello and Contrabasso: The Cello

Citation: Prout, 1899, p. 52

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 written in treble clef

Prout, 1899, p. 52 [Note: An example demonstrating the archaic custom of notating high cello passages in treble clef, an octave above sounding pitch.]

Chapter 4: Stringed Instruments: The Violoncello and Contrabasso: The Cello

Citation: Prout, 1899, p. 52

Summary of Figure: An example demonstrating the modern custom of notating high cello passages in tenor clef

Exemplification of: cello written in tenor clef

Prout, 1899, p. 52 [Note: An example demonstrating the modern custom of notating high cello passages in tenor clef.]

Chapter 4: Stringed Instruments: The Violoncello and Contrabasso: The Cello

Citation: Prout, 1899, p. 64

Summary of Figure: An example from Beethoven's "Christ on the Mount of Olives" showing the notation of the original edition. This version used the archaic custom of notating high cello passages in treble clef, an octave above sounding pitch.

Exemplification of: cello written in treble clef

Prout, 1899, p. 64 [Note: An example from Beethoven's "Christ on the Mount of Olives" showing the notation of the original edition. This version used the archaic custom of notating high cello passages in treble clef, an octave above sounding pitch.]

Chapter 4: Stringed Instruments: The Violoncello and Contrabasso: The Cello

Citation: Prout, 1899, p. 52

Summary of Figure: An example showing cello fingerings for a C major scale in first position

Exemplification of: cello 1st position fingerings

Prout, 1899, p. 52 [Note: An example showing cello fingerings for a C major scale in first position.]

Chapter 4: Stringed Instruments: The Violoncello and Contrabasso: The Cello

Citation: Prout, 1899, p. 52

Summary of Figure: An example showing cello fingerings for a D major scale in first position.

Exemplification of: cello 1st position fingerings

Prout, 1899, p. 52 [Note: An example showing cello fingerings for a D major scale in first position.]

Chapter 4: Stringed Instruments: The Violoncello and Contrabasso: The Cello

Citation: Prout, 1899, p. 53

Summary of Figure: : An example showing cello fingerings for chromatic scales.

Exemplification of: cello chromatic fingerings

Prout, 1899, p. 53 [Note: An example showing cello fingerings for chromatic scales.]

Chapter 4: Stringed Instruments: The Violoncello and Contrabasso: The Cello

Citation: Prout, 1899, p. 53

Summary of Figure: The note C5, which is accessible on the first string of the cello in seventh position.

Exemplification of: cello positions

Prout, 1899, p. 53 [Note: The note C5, which is accessible on the first string of the cello in seventh position.]

Chapter 4: Stringed Instruments: The Violoncello and Contrabasso: The Cello

Citation: Prout, 1899, p. 53

Summary of Figure: An example from Beethoven's "Namensfeier" overture demonstrating cello chords containing open strings.

Exemplification of: cello chords

Prout, 1899, p. 53 [Note: An example from Beethoven's "Namensfeier" overture demonstrating cello chords containing open strings.]

Chapter 4: Stringed Instruments: The Violoncello and Contrabasso: The Cello

Citation: Prout, 1899, p. 54

Summary of Figure: An example from a duet in the second act of Weber's "Euryanthe" demonstrating the arpeggiation of cello chords in an accompanimental role.

Exemplification of: cello chord arpeggiation

Prout, 1899, p. 54 [Note: An example from a duet in the second act of Weber's "Euryanthe" demonstrating the arpeggiation of cello chords in an accompanimental role.]

Chapter 4: Stringed Instruments: The Violoncello and Contrabasso: The Cello

Citation: Prout, 1899, p. 55

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

Prout, 1899, p. 55 [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 4: Stringed Instruments: The Violoncello and Contrabasso: The Cello

Citation: Prout, 1899, p. 56

Summary of Figure: An example from Goetz's Symphony in F demonstrating the placement of cellos above the violas for the purpose of expressive contrapuntal middle-voice accompaniment.

Exemplification of: cello middle voice accompaniment

Prout, 1899, p. 56 [Note: An example from Goetz's Symphony in F demonstrating the placement of cellos above the violas for the purpose of expressive contrapuntal middle-voice accompaniment.]

Chapter 4: Stringed Instruments: The Violoncello and Contrabasso: The Cello

Citation: Prout, 1899, p. 57

Summary of Figure: An example from Brahms' second symphony in which the cello has a melodic, middle-voice role. This example also shows the pairing of cello and viola with the cello as the upper voice.

Exemplification of: cello middle voice melody, viola-cello doubling at third

Prout, 1899, p. 57 [Note: An example from Brahms' second symphony in which the cello has a melodic, middle-voice role. This example also shows the pairing of cello and viola with the cello as the upper voice.]

Chapter 4: Stringed Instruments: The Violoncello and Contrabasso: The Cello

Citation: Prout, 1899, p. 58

Summary of Figure: An example from Meyerbeer's "Robert le Diable" demonstrating a cantabile melody in the cellos with light accompaniment.

Exemplification of: cello cantabile melody

Prout, 1899, p. 58 [Note: An example from Meyerbeer's "Robert le Diable" demonstrating a cantabile melody in the cellos with light accompaniment.]

Chapter 4: Stringed Instruments: The Violoncello and Contrabasso: The Cello

Citation: Prout, 1899, p. 59

Summary of Figure: An example from Raff's first symphony in which the cello section is divided and plays both the melody and bassline.

Exemplification of: cello section divisi

Prout, 1899, p. 59 [Note: An example from Raff's first symphony in which the cello section is divided and plays both the melody and bassline.]

Chapter 4: Stringed Instruments: The Violoncello and Contrabasso: The Cello

Citation: Prout, 1899, p. 60

Summary of Figure: An example from Auber's "Marco Spada" demonstrating the rare unison doubling of violin 1 and cello in a melodic context.

Exemplification of: violin-cello unison doubling

Prout, 1899, p. 60 [Note: An example from Auber's "Marco Spada" demonstrating the rare unison doubling of violin 1 and cello in a melodic context.]

Chapter 4: Stringed Instruments: The Violoncello and Contrabasso: The Cello

Citation: Prout, 1899, p. 60

Summary of Figure: An example from Schubert's 9th symphony demonstrating doubling between viola and cello sections, which are both divided. The doubling occasionally breaks off with the violas going below the cello line, and they are accompanied by light pizzicati in the other string parts. Editor: the treatise identifies this work as "Symphony no. 7," but it is now known as no. 9.

Exemplification of: cello section divisi, viola-cello unison doubling

Prout, 1899, p. 60 [Note: (1/2) An example from Schubert's 9th symphony demonstrating doubling between viola and cello sections, which are both divided. The doubling occasionally breaks off with the violas going below the cello line, and they are accompanied by light pizzicati in the other string parts. Editor: the treatise identifies this work as "Symphony no. 7," but it is now known as no. 9.]

Chapter 4: Stringed Instruments: The Violoncello and Contrabasso: The Cello

Citation: Prout, 1899, p. 61

Summary of Figure: An example from Schubert's 9th symphony demonstrating doubling between viola and cello sections, which are both divided. The doubling occasionally breaks off with the violas going below the cello line, and they are accompanied by light pizzicati in the other string parts. Note: the treatise identifies this work as "Symphony no. 7," but it is now known as no. 9.

Exemplification of: cello section divisi

Prout, 1899, p. 61 [Note: (2/2) An example from Schubert's 9th symphony demonstrating doubling between viola and cello sections, which are both divided. The doubling occasionally breaks off with the violas going below the cello line, and they are accompanied by light pizzicati in the other string parts. Note: the treatise identifies this work as "Symphony no. 7," but it is now known as no. 9.]

Chapter 4: Stringed Instruments: The Violoncello and Contrabasso: The Cello

Citation: Prout, 1899, p. 61

Summary of Figure: An example from Cherubini's "Chant sur le mort de Joseph Haydn" demonstrating the division of the cello section into four muted parts.

Exemplification of: cello muting

Prout, 1899, p. 61 [Note: (1/2) An example from Cherubini's "Chant sur le mort de Joseph Haydn" demonstrating the division of the cello section into four muted parts.]

Chapter 4: Stringed Instruments: The Violoncello and Contrabasso: The Cello

Citation: Prout, 1899, p. 62

Summary of Figure: An example from Cherubini's "Chant sur le mort de Joseph Haydn" demonstrating the division of the cello section into four muted parts.

Exemplification of: cello section divisi

Prout, 1899, p. 62 [Note: (2/2) An example from Cherubini's "Chant sur le mort de Joseph Haydn" demonstrating the division of the cello section into four muted parts.]

Chapter 4: Stringed Instruments: The Violoncello and Contrabasso: The Cello

Citation: Prout, 1899, p. 62

Summary of Figure: An example from Wagner's "Siegfried" demonstrating the division of the cello section into four parts. The division of the accompanying double bass line is another unusual feature.

Exemplification of: cello section divisi

Prout, 1899, p. 62 [Note: (1/2) An example from Wagner's "Siegfried" demonstrating the division of the cello section into four parts. The division of the accompanying double bass line is another unusual feature.]

Chapter 4: Stringed Instruments: The Violoncello and Contrabasso: The Cello

Citation: Prout, 1899, p. 63

Exemplification of: cello section divisi

Prout, 1899, p. 63 [Note: (2/2) An example from Wagner's "Siegfried" demonstrating the division of the cello section into four parts. The division of the accompanying double bass line is another unusual feature.]

Chapter 4: Stringed Instruments: The Violoncello and Contrabasso: The Cello

Citation: Prout, 1899, p. 63

Summary of Figure: An example from Beethoven's "Christ on the Mount of Olives" demonstrating a cello section divisi in which a solo cello has the melody and the remaining cellos double the bassline with the double basses.

Exemplification of: cello section divisi with solo cello