Quick Question on Cello Range

Hi, just a quick question on cello range,

Samuel Adler's "The Study of Orchestration" says that the cello can only go up to the G above the treble stave before it must start using harmonics. I just want clarification from cellists on this forum: How high can a solo cello go before practically it becomes impossible to play without harmonics? I am trying not to write too high (although I am exploiting the upper register quite a bit) but I would like to go as high as the C above the treble staff (or higher) and I'm not sure if its possible. Some details: The notes up this high will most likely not be approached with large leaps (mostly with tones and semitones, max. minor 3rd), although I plan to have large leaps down off these notes.

I'm writing for a competition for piano trio by the way, and the cellist in the trio is very experienced.

Thanks in advance,

ClassicalSax

Hi, just a quick question on cello range,

Samuel Adler's "The Study of Orchestration" says that the cello can only go up to the G above the treble stave before it must start using harmonics. I just want clarification from cellists on this forum: How high can a solo cello go before practically it becomes impossible to play without harmonics? I am trying not to write too high (although I am exploiting the upper register quite a bit) but I would like to go as high as the C above the treble staff (or higher) and I'm not sure if its possible. Some details: The notes up this high will most likely not be approached with large leaps (mostly with tones and semitones, max. minor 3rd), although I plan to have large leaps down off these notes.

I'm writing for a competition for piano trio by the way, and the cellist in the trio is very experienced.

Thanks in advance,

ClassicalSax

Adler's range is the practical orchestral range of the Violoncello. Naturally, an experienced cellist can get much higher.

Stop talking like you know the cello, Corbin.

Technically, a cellist can go pretty close to two octaves higher than G5 - though at some point it gets so high and the distance between the notes gets so small that it is very wishy-washy.

Elgar's concerto is annoying and half the time the high E's are squawky AND are played as harmonics. For REAL music (and high notes therein) look at the Schumann and Dvorak concertos: plus, they're better works of music (in my opinion).

When it comes to orchestral music, I would be surprised to see something played past that G.

The Adler book is quite conservative in terms of the range and techniques on each instrument, I think, so I wouldn't be surprised if cello players can go higher than what Adler says (but I haven't worked with the cello enough to know myself, so.. :X).

Best thing, find a cellist who will play your piece and write it for them - even if cello players can generally go as high as you want to write, maybe the players around you can't, which will make a performance of the piece more unlikely :)

Yeah, I entirely agree with that. If you want a good performance of a difficult piece, work together with the performer. Since you know who the cellist in that trio is, why not just ask her/him? (Unless that's somehow against the terms of the competition.)

I always find it quite a difficult choice between taking the risk of a mediocre performance one one hand, or being more conservative and save yet limiting your musical imagination. One one hand I believe a composer should not be afraid to take risks and that always "playing save" tends to produce rather bland results, on the other hand, when you're getting a performance, it can be frustrating if because of technical difficulties the musicians are always struggling to play the right notes at the right time that they can't even get to "making music" and it just sounds bad. (Keep in mind that most professional musicians won't rehearse a new contemporary piece a lot, especially if it's from an unknown composer. And even more so if they feel the composer doesn't care about them. That's what makes it so important to speak to the performers and show them that you -do- care. It makes a huge psychological difference.)

Elgar's concerto is annoying [...] look at the Schumann and Dvorak concertos: plus, they're better works of music (in my opinion).

You musn't have heard Jacqueline Du Pr

Thanks for everyone's advice. I'll try to take everyone's advice into account when I'm writing. I will probably go above the G but I'll try not to do anything ridiculous. The cellist I'm writing for is (supposedly) very good, but I think overall it would probably be best to play it safe since I doubt they'll have a lot of rehearsal time (assuming it actually gets performed).

Thanks again everyone!

When writing for an individual person, consult the person you are writing for! That is the best way to do it.

A quick story... I once was part of an orchestra locally and the director was a bassist. He played the Bach double violin concerto with his wife in the written range on his double bass. No joke. It was more of an entertaining circus act, but he did it. So, anything must be possible, I guess.

:D Double basses have a really extreme range. It amazes me all the time.

It is true that the majority of a piece should be below the G.  However, sometimes it makes sense to write higher.  If you have a higher note in your brain, it is probably ok.  I would probably never write above F5 (fifth line of treble staff) without a harmonic.  But still be careful if you want to write that high.  I agree that Elgar's concerto is too high.

On 8/19/2018 at 9:48 PM, pianist7 said:

It is true that the majority of a piece should be below the G.  However, sometimes it makes sense to write higher.  If you have a higher note in your brain, it is probably ok.  I would probably never write above F5 (fifth line of treble staff) without a harmonic.  But still be careful if you want to write that high.  I agree that Elgar's concerto is too high.

 

wow someone responded 10 years later.