CELLO
• Written in bass, tenor and treble clef. Switch clefs to keep notation on the staff and to avoid
ledger lines, but do not make constant changes.
• Same strings as viola, pitched one octave lower.
• The four cello open strings:
• Strings can be chosen if their specific sound qualities are desired:
• Sul C: rich, sonorous.
• Sul G: rich, lighter, more veiled.
• Sul D: warm, gentle.
• Sul A: vibrant, brilliant, powerful, very expressive.
• Pizzicato: (cancel with arco). Very effective in cello. Limit to C4.
• Normal
• Snap pizz. (Bartok)
• Left hand pizz.
• Double, triple stops: easier if it involves an open string. In an orchestral setting, it´s
preferable to use divisi, unless a strong effect is desired.
• In double stop, the smaller the interval the more difficult, because the hand does
a bigger stretch.
• Avoid seconds and octaves unless one of the notes is an open string.
• Top note for double stops: C4. Better on 3rds and 6ths
• Top note limit for triple and quadruple stops: G3
• Translating triple and quadruple stops (chords) into broken chords is very
idiomatic in cello.
• Up/down bowing:
• Up bow: weak beats, crescendos, upbeats, p passages. ≤
• Down bow: strong beats, diminuendos, end notes, f passages. ≥
* cresc. and dim. Can be performed with opposite bows (up for dim., down for cresc.), but
not as naturally.
• Types of bowings (on the string and off the string—bouncing bow):
• Legato: played slurred and smoothly, a few notes per bow. On the string. Notation:
slurs.
• Detaché: each note played separately with an individual bow. On the string. Notation:
none.
• Staccato: detached, short bowed notes. Notes are performed in the same up or down
bow. On the string. Notation: dots.
• Louré/portato (“carried”): legato but with a slight separation between notes. On one
single bow stroke. On the string. Notation: slurred, tenuto marks.
• Martellato (Martelé, “hammered”): heavily accented, percussive, separated notes, on
one single bow. On the string. Notation: dots, marcato accents.
• Spiccato: very short notes, separated by a controlled, slightly bouncing bow. Off the
string. Notation: dots.
• Jeté (“thrown”)/ricochet: rapidly bouncing bow on several notes (two or three) in the
same bow direction. Some string players differentiate between jeté (controlled bounce)
and ricochet (uncontrolled bounce). Off the string. Notation: slurred, dots.
• Special effects:
• Harmonics: very effective in cello. Natural (up to fifth or sixth partial) or artificial.
• Natural: available partials on open strings. Write the result sound.
• Artificial: on stopped strings. Write the note, the node on the fourth, and the result
sound (two octaves higher).
* To notate a harmonic, first find out if it is available as a natural harmonic of one of
the four open strings (check harmonic series). If it is, write it as such. If not, select
the desired pitch, write the note two octaves below, and write a diamond note a
fourth above this one.
• In practice, you may write all of them as natural, even if they don´t exist, and let the
performer figure out the best way to achieve the required sound. Some performers may
prefer this.
• Harmonics combined with sul tasto or sul ponticello are not very effective.
• Going from the bridge (sul pont) to the fingerboard (sul tasto) the natural sound of the
instrument gradually diminishes. Unless specifically indicated by the composer (i.e.
“poco sul pont”, etc.), the performer decides to which degree he will apply the effect:
• Sul ponticello: near the bridge (bowed or pizz.). A more textural effect. Metallic,
harsh, in f. Nasal, glassy, in p. Mostly combined with bowed tremolo, often in
harmonics. Played with a slow bow.
• Sul tasto/flautando: over the fingerboard. A more melodic nuance. Soft, mellow,
veiled, flute-like sound. Don´t write long slurs, because flautando needs a lot of
bow. Do not use over mf.
• Behind the bridge: (between bridge and tailpiece). Harsh, unidentifiable pitch.
• Punta d´arco: light force at the tip of the bow, especially in light, high bowed tremolo,
often combined with sul ponticello.
• At the frog/au talon: extreme force at the frog of the bow, especially in successive down
bows.
• Bariolage: play a passage alternating between strings (open and stopped) for a change
in color, usually playing the same note. Or playing fast broken chords up and down.
• Col legno: bowing with the wood of the bow. Can be arco (col legno tratto) or pizz (col
legno batutto). Do not abuse, unless you are certain the performers have spare bows.
• Mute(d)/con sord.: Very effective in viola. Always allow at least one bar to put or remove
mute (cancel with open or senza sord.). Mutes do not only soften the sound, they alter
the color.
• Glissando/Portamento: Glissando connects two notes by making the bow glide over
the string. Portamento does the same thing, but starting to glide a bit later. For
example:
C4 (taken from a 4th above the bottom note)
F3 C4 (taken from the bottom note)
Portamento: C3
Glissando: C3