Widor | Figures
Learn About Orchestration | Treatises | Figures | Widor
The Technique of the Modern Orchestra
A Manual of Practical Instrumentation
Widor (1906)
This page contains all the figures from the cello chapter — with new captions explaining each one — from Widor’s manual.
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 175
Summary of Figure: The notes C2 and E5. These are respectively the lowest note possible on the cello, and the highest note recommended by Widor for use in an orchestral context.
Exemplification of: cello range
Widor, 1906, p. 175 [Notes: The notes C2 and E5. These are respectively the lowest note possible on the cello, and the highest note recommended by Widor for use in an orchestral context.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 175
Summary of Figure: An example from Widor's Cello Concerto demonstrating the possibility of writing solo cello lines much higher than the recommended upper limit for orchestral writing, in this case up to an E6
Exemplification of: solo cello range
Widor, 1906, p. 175 [Notes: An example from Widor's Cello Concerto demonstrating the possibility of writing solo cello lines much higher than the recommended upper limit for orchestral writing, in this case up to an E6.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 175
Summary of Figure: The notes C2 and A4. Within this range, each semitone is assigned a separate finger on the cello.
Exemplification of: cello fingerings
Widor, 1906, p. 175 [Notes: The notes C2 and A4. Within this range, each semitone is assigned a separate finger on the cello.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 175
Summary of Figure: An example showing cello fingerings for chromatic scales in first position.
Exemplification of: cello chromatic fingerings
Widor, 1906, p. 175 [Notes: An example showing cello fingerings for chromatic scales in first position.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 176
Summary of Figure: The note B4. This is the highest note on the cello for which the regular fingering method is used. Above this note, thumb positions are typically employed.
Exemplification of: cello fingerings
Widor, 1906, p. 176 [Notes: The note B4. This is the highest note on the cello for which the regular fingering method is used. Above this note, thumb positions are typically employed.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 176
Summary of Figure: An example showing the notation for octaves using thumb position on the cello.
Exemplification of: cello fingerings, thumb position, octaves
Widor, 1906, p. 176 [Notes: An example showing the notation for octaves using thumb position on the cello.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 177
Summary of Figure: n example showing a perfect fourth in first position on the C string of the viola. This is the largest interval possible within one hand position on a single string of the viola
Exemplification of: viola fingerings, positions
Widor, 1906, p. 177 [Notes: An example showing a perfect fourth in first position on the C string of the viola. This is the largest interval possible within one hand position on a single string of the viola.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 177
Summary of Figure: An example showing an augmented fourth in third position on the G string of the violin. This is the largest interval possible within one hand position on a single string of the violin.
Exemplification of: viola fingerings, positions
Widor, 1906, p. 177 [Notes: An example showing an augmented fourth in third position on the G string of the violin. This is the largest interval possible within one hand position on a single string of the violin.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 177
Summary of Figure: An example showing major thirds in first position on the C and D strings of the cello. This is the largest interval possible within one hand position on a single string of the cello.
Exemplification of: cello fingerings, positions
Widor, 1906, p. 177 [Notes: An example showing major thirds in first position on the C and D strings of the cello. This is the largest interval possible within one hand position on a single string of the cello.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 176
Summary of Figure: 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.
Exemplification of: cello G string, tone quality
![Widor, 1906, p. 176 [Notes: 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.]](https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217002270-LM4K86G4TP6BJWUDKL3L/WIDOR-1906-176%2C3-cello-Gstring-tonequality.png)
Widor, 1906, p. 176 [Notes: 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.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 177
Summary of Figure: An example demonstrating a pizzicato figure on the cello that alternates between the open A string and the octave above. The higher A (A4) is around Widor's suggested upper limit for pizzicato on the cello.
Exemplification of: cello pizzicato, upper limit, open strings
Widor, 1906, p. 177 [Notes: An example demonstrating a pizzicato figure on the cello that alternates between the open A string and the octave above. The higher A (A4) is around Widor's suggested upper limit for pizzicato on the cello.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 177
Summary of Figure: An example showing the ascending version of an arpeggiated pizzicato figure which is idiomatic to the violin in this direction but impossible to play in the descending form (following example).
Exemplification of: violin pizzicato, ascending arpeggio
Widor, 1906, p. 177 [Notes: An example showing the ascending version of an arpeggiated pizzicato figure which is idiomatic to the violin in this direction but impossible to play in the descending form (following example).]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 177
Summary of Figure: An example showing the descending version of an arpeggiated pizzicato figure which is impossible to play on the violin in this direction but idiomatic in the ascending form (previous example).
Exemplification of: violin pizzicato, descending arpeggio
Widor, 1906, p. 177 [Notes: An example showing the descending version of an arpeggiated pizzicato figure which is impossible to play on the violin in this direction but idiomatic in the ascending form (previous example).]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 178
Summary of Figure: An example showing an arpeggiated pizzicato figure. On the cello, unlike on the violin, this figure is equally playable in both its ascending and descending forms.
Exemplification of: cello pizzicato, ascending/descending arpeggio
Widor, 1906, p. 178 [Notes: An example showing an arpeggiated pizzicato figure. On the cello, unlike on the violin, this figure is equally playable in both its ascending and descending forms.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 178
Summary of Figure: An example showing several double stop intervals of a second that include open strings.
Exemplification of: cello double stops, seconds, open strings
![Widor, 1906, p. 178 [Notes: An example showing several double stop intervals of a second that include open strings.]](https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217241162-XAE4L3IXA0UNMTYD00QM/WIDOR-1906-178%2C2-cello-doublestops-seconds-openstrings.png)
Widor, 1906, p. 178 [Notes: An example showing several double stop intervals of a second that include open strings.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 178
Summary of Figure: A series of examples showing some of the thirds that are possible on each string of the cello as double stops.
Exemplification of: cello double stops, thirds
Widor, 1906, p. 178 [Notes: A series of examples showing some of the thirds that are possible on each string of the cello as double stops.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 178
Summary of Figure: An example showing thirds that are possible on the cello as double stops, but that are difficult in an orchestral context. Widor recommends that they be used only in fortissimo passages.
Exemplification of: cello double stops, thirds, dynamics, fortissimo
Widor, 1906, p. 178 [Notes: An example showing thirds that are possible on the cello as double stops, but that are difficult in an orchestral context. Widor recommends that they be used only in fortissimo passages.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 178
Summary of Figure: An example showing perfect and augmented fourths that are possible on the cello as double stops.
Exemplification of: cello double stops, fourths
Widor, 1906, p. 178 [Notes: An example showing perfect and augmented fourths that are possible on the cello as double stops.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 179
Summary of Figure: An example showing the range within which double stops of a perfect fifths are recommended for use on the cello.
Exemplification of: cello double stops, fifths
Widor, 1906, p. 179 [Notes: An example showing the range within which double stops of a perfect fifths are recommended for use on the cello.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 179
Summary of Figure: An example showing the range within which double stops of a major or minor sixth are recommended for use on the cello.
Exemplification of: cello double stops, sixths
Widor, 1906, p. 179 [Notes: An example showing the range within which double stops of a major or minor sixth are recommended for use on the cello.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 179
Summary of Figure: An example showing the range within which double stops of a minor seventh are possible on the cello.
Exemplification of: cello double stops, sevenths
Widor, 1906, p. 179 [Notes: An example showing the range within which double stops of a minor seventh are possible on the cello.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 179 [
Summary of Figure: An example showing the pattern and range used to play major and minor triads as triple stops on the cello.
Exemplification of: cello chords, triads
Widor, 1906, p. 179 [Notes: An example showing the pattern and range used to play major and minor triads as triple stops on the cello.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 179
Summary of Figure: An example showing the pattern and range used to play first inversion triads as triple stops on the cello.
Exemplification of: cello chords, triple stops, triads, first inversion
Widor, 1906, p. 179 [Notes: An example showing the pattern and range used to play first inversion triads as triple stops on the cello.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 179
Summary of Figure: An example showing the pattern and range used to play second inversion triads as triple stops on the cello.
Exemplification of: cello chords, triple stops, triads, second inversion
Widor, 1906, p. 179 [Notes: An example showing the pattern and range used to play second inversion triads as triple stops on the cello.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 179
Summary of Figure: An example showing the pattern and range used to play augmented fifth chords as triple stops on the cello.
Exemplification of: cello chords, triple stops, augmented fifths
Widor, 1906, p. 179 [Notes: An example showing the pattern and range used to play augmented fifth chords as triple stops on the cello.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 179
Summary of Figure: An example showing the pattern and range used to play major chords with diminished fifths as triple stops on the cello.
Exemplification of: cello chords, triple stops, diminished fifths
Widor, 1906, p. 179 [Notes: An example showing the pattern and range used to play major chords with diminished fifths as triple stops on the cello.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 180
Summary of Figure: An example showing the pattern and range used to play first inversion augmented fifth chords as triple stops on the cello.
Exemplification of: cello chords, triple stops, augmented fifths, first inversion
![Widor, 1906, p. 180 [Notes: An example showing the pattern and range used to play first inversion augmented fifth chords as triple stops on the cello.]](https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217636947-VPJI6JZ5FBL7NA602AKE/WIDOR-1906-180%2C1-cello-chords-augmentedfifths-firstinversion.png)
Widor, 1906, p. 180 [Notes: An example showing the pattern and range used to play first inversion augmented fifth chords as triple stops on the cello.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 180
Summary of Figure: An example showing the pattern and range used to play diminished triads as triple stops on the cello.
Exemplification of: cello chords, triple stops, diminished triads
Widor, 1906, p. 180 [Notes: An example showing the pattern and range used to play diminished triads as triple stops on the cello.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 180
Summary of Figure: An example showing the pattern and range used to play diminished triads in first inversion as triple stops on the cello.
Exemplification of: cello chords, triple stops, diminished triads, first inversion
Widor, 1906, p. 180 [Notes: An example showing the pattern and range used to play diminished triads in first inversion as triple stops on the cello.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 180
Summary of Figure: An example showing the pattern and range used to play dominant seventh chords as triple stops on the cello.
Exemplification of: cello chords, triple stops, dominant sevenths
![Widor, 1906, p. 180 [Notes: An example showing the pattern and range used to play dominant seventh chords as triple stops on the cello.]](https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217698057-ZJ5WN42K5OUX7FNP7NNO/WIDOR-1906-180%2C4-cello-chords-dominantsevenths.png)
Widor, 1906, p. 180 [Notes: An example showing the pattern and range used to play dominant seventh chords as triple stops on the cello.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 180
Summary of Figure: An example showing the pattern and range used to play root position and second inversion "leading seventh" or minor-minor seventh chords as triple stops on the cello.
Exemplification of: cello chords, triple stops, leading sevenths, minor-minor sevenths, inversions
Widor, 1906, p. 180 [Notes: An example showing the pattern and range used to play root position and second inversion "leading seventh" or minor-minor seventh chords as triple stops on the cello.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 180
Summary of Figure: An example showing the pattern and range used to play diminished seventh chords as triple stops on the cello.
Exemplification of: cello chords, triple stops, diminished sevenths
Widor, 1906, p. 180 [Notes: An example showing the pattern and range used to play diminished seventh chords as triple stops on the cello.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 180
Summary of Figure: A series of examples showing the patterns and ranges used to play different types of chords as quadruple stops on the cello: triads, their first and second inversions, augmented fifths, their first inversions, dominant sevenths, minor-minor sevenths, and dominant ninths.
Exemplification of: cello chords, quadruple stops, triads, inversions, augmented fifths, inversions, dominant sevenths, minor-minor sevenths, dominant ninths
Widor, 1906, p. 180 [Notes: (1/2) A series of examples showing the patterns and ranges used to play different types of chords as quadruple stops on the cello: triads, their first and second inversions, augmented fifths, their first inversions, dominant sevenths, minor-minor sevenths, and dominant ninths.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 181
Summary of Figure: A series of examples showing the patterns and ranges used to play different types of chords as quadruple stops on the cello: triads, their first and second inversions, augmented fifths, their first inversions, dominant sevenths, minor-minor sevenths, and dominant ninths.
Exemplification of: cello chords, quadruple stops, triads, inversions, augmented fifths, inversions, dominant sevenths, minor-minor sevenths, dominant ninths
Widor, 1906, p. 181 [Notes: (contined 2/2) A series of examples showing the patterns and ranges used to play different types of chords as quadruple stops on the cello: triads, their first and second inversions, augmented fifths, their first inversions, dominant sevenths, minor-minor sevenths, and dominant ninths.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 181
Summary of Figure: An example showing a bowing figure idiomatic to the cello whereby an up-bow is used to move from a lower string to a strong chord on several higher strings.
Exemplification of: cello bowings, chords
Widor, 1906, p. 181 [Notes: An example showing a bowing figure idiomatic to the cello whereby an up-bow is used to move from a lower string to a strong chord on several higher strings.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 181
Summary of Figure: An example showing the natural harmonics available on each string of the cello.
Exemplification of: cello natural harmonics, strings
Widor, 1906, p. 181 [Notes: An example showing the natural harmonics available on each string of the cello.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 182
Summary of Figure: An example showing the range within which artificial harmonics are recommended for practical use on the cello.
Exemplification of: cello artificial harmonics
![Widor, 1906, p. 182 [Notes: An example showing the range within which artificial harmonics are recommended for practical use on the cello.]](https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217859536-PNVPPZS5XXUQKH2JB9KF/WIDOR-1906-182%2C1-cello-artificialharmonics-range.png)
Widor, 1906, p. 182 [Notes: An example showing the range within which artificial harmonics are recommended for practical use on the cello.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 182
Summary of Figure: An example showing that on the cello, any note from Middle C (C4) to A5 is possible as a harmonic.
Exemplification of: cello harmonics
Widor, 1906, p. 182 [Notes: An example showing that on the cello, any note from Middle C (C4) to A5 is possible as a harmonic.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 183
Summary of Figure: An example from Borodin's Symphony No. 3 demonstrating a soft string texture without double bass. In this example, the cello supplies the bass note with a high A harmonic
Exemplification of: cello harmonics
Composer and Work: Borodin, Alexander | Symphony No.3, A minor <1882–1887>
Widor, 1906, p. 183 [Notes: An example from Borodin's Symphony No. 3 demonstrating a soft string texture without double bass. In this example, the cello supplies the bass note with a high A harmonic.]
Chapter: STRINGS - The Violoncello
Citation: Widor, 1906, p. 183
Summary of Figure: An example from Wagner's "Meistersinger" demonstrating a pianissimo string texture without double bass. In this example, the cello is the bass voice, and the string parts are played "sul ponticello" and tremolo.
Exemplification of: strings bowings, sul ponticello, tremolo, dynamics, pianissimo
Composer and Work: Wagner, Richard | Die Meistersinger, WWV 96 <1861–1862>
Widor, 1906, p. 183 [Notes: An example from Wagner's "Meistersinger" demonstrating a pianissimo string texture without double bass. In this example, the cello is the bass voice, and the string parts are played "sul ponticello" and tremolo.]