I'm writing a piece that includes a cello and am unsure about the use of harmonics on the cello as opposed to on the violin or viola. Can you use harmonics on the cello and if so does it produce the same kind of glassy sound that you get on the violin?

Hi Cecilia,

I have waited in deference in case anyone with first hand knowledge wanted to answer your question. Since they haven't, I have two comments:

( i ) If you post the same question on 8notes cello forum (find it on google) you might get some answers - there's rather more activity in there.

( ii ) Walter Piston in his excellent book "Orchestration" says the following:

"The following glissando, up to the twelfth harmonic on the D-string, can be taken as reaching the upper limit in the production of natural harmonics on any string.

Stravinsky - L'Oiseau de Feu

[There is then an extract marked "con sord gliss. sul D legato" in treble clef in 7 flats, although every note is accidentalised.
The notes (all natural unless stated otherwise) are D above middle C, A, D, Fsharp, A,C,D,E,Fsharp,G,A and down again.
For some reason which I can't fathom the same glissando is shown beneath in the book, this time without any accidentals marked.]

"This is intended as a coloristic effect, the success of which does not require that every one of the notes shall be sounded by each individual player. The series is possible because of the progressive approach to the high notes. Ordinarily the eighth harmonic is rarely exceeded, and the 'cellist may prefer to play even that as an artificial harmonic from the fundamental two octaves below. The seventh harmonic is usually avoided as being too flat.

[There is then an extract from Mahler symphony No 1, VC div in 3, sempre ppp, middle line A above the treble clef, top line A an octave above that, bottom line A above middle C. All long tied notes with the top line resting first after 9 beats.]

"On the 'cello the greater string length of the upper partials allows them to sound with more security than can be had on the violin or viola. The harmonic node a minor third above the nut can be used, although few instances of its notation are to be found.

[There are then some extracts from Ravel's Piano Concerto, Casella Pupazzetti, and Ravel's Rapsodie Espagnole, which I won't describe because they don't add much information to the text.]

"Ravel's indication of the actual pitch of the tone produced is an octave too low. The E sounded is the sixth harmonic, two octaves and a fifth above the fundamental A.
Artificial harmonics are played with the thumb and third finger throughout the range of the 'cello, upwards from the low Db on the C string. The third finger touches the node a perfect fourth above the fundamental stopped by the thumb. The harmonic sounded is two octaves higher than the thumb note.
The artificial harmonic from the node a perfect fifth above the thumb can be sounded on the cello but is infrequently used, that of the fourth being easier to produce and of better quality."

It would seem from reading the above that there are some similarities with harmonics on other stringed instruments - after all the principle of cutting out the main tone and all overtones except the one consistent with the stopped node is the same, and there must be some similarity in the effect that has on the sound.
However it would appear that because of the lower register of the cello, and because of the longer strings and resultant greater security of harmonics, that there is a wider scope for use of harmonics in cello playing (and presumably double bass) than in other stringed instruments. Why not listen to the Firebird or some of the other pieces above, and see what the harmonics sound like in that?

Hope this helps,

David

Thanks David, I was rather wondering when someone would help me out!

QUOTE (zoda @ Sep 29 2004, 10:15 AM)

It would seem from reading the above that there are some similarities with harmonics on other stringed instruments - after all the principle of cutting out the main tone and all overtones except the one consistent with the stopped node is the same,  and there must be some similarity in the effect that has on the sound. However it would appear that because of the lower register of the cello,  and because of the longer strings and resultant greater security of harmonics,  that there is a wider scope for use of harmonics in cello playing (and presumably double bass) than in other stringed instruments.

I agree with your point about the long strings and your assessment of the 'cello, but on the double bass you have to consider how far your player can stretch if you want "made" (as contrasted with open string) harmonics. Made harmonics are not impossible, especially if the player is secure with his/her left thumb on the string, but they have to be higher harmonics (certainly not first octave) and probably not from near the nut.

blimey, I never thought of that Kenm - what a stretch!

Cecilia - thank you for thanking me! I often wonder when I have responded to a question whether the person who originally asked the question ever hung around for an answer!

QUOTE

thank you for thanking me

Hee hee... you're welcome!

harmonics sound lovely on cello !!!!

harmonics are beatifull!
the good thing is you can move your left hand and the harmonic will ring on for as long as you want (or until you run out of bow...)