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How would you interpret this? The score I'm looking at calls for 10 cellos, and shows one staff for all of them. In some places it shows 4 quarter notes to be played at once, over ranges of up to two octaves. Unlike other parts of the same score, there are not notes or symbols providing any further details. The only two options I can come up with is that all cellos play all notes but have to arpeggiate the notes, or that the notes should be arbitrarily allocated to the 10 cellos. What would the normal interpretation be?

In all orchestral scoring I've ever seen or done, if you want a section to divide you indicate that as a divisi and generally make it clear how it's to be divided among the players (a2, a3, a10, etc.). If, OTOH, there is no indication and it appears that there is one unified musical phrase that is being represented, then I would say all the members of the section should be playing the same thing.

If you can post a little piece of that section it might be easier to determine the intent, but based on your description, I'd say all play the phrase as written.

OK, thanks, that makes sense. Here's the start of the phrase. Just before that is a brief unison arco phrase, and just before that is a brief unison pizzicato phrase. Below it is the bass line. This is about 170 bpm.



The second part of the question: I assume a cello player can't play four notes in perfect unison, and would have to do a fast arpeggio. In the second and sixth par, the fingering would result in the same notes being played on the top two strings. Make sense?

Those are all multiple stops played unis by the complete section. No, you can't play all 4 notes at once, like a piano or separate instruments, held for the same time. On String instruments 2 notes (on adjoining strings) can be played as a chord. Beyond that you get into broken or rolled chords - usually broken from the bottom up (although you can specify direction if you wish). Often it creates a ka-ching sound of bottom note(s) and then the rest. Listen to solo string music (eg Bach cello suites) and you'll see/hear this all the time so you can catch what they do in isolation. Or ask a player to demo.The tempo will make these less a roll/arp. And more a percussive, brilliant ka-Ching. Hth!

Thanks Joel. I'll listen for it in the cello suites. I guess it will help to use a longer than usual release time on these notes?

Are those unisons in mm. 2 & 6? If so, this would lead me to believe a divisi intended. Personally, I don't know what the f#$% the intent is based on the score.

No problem! Glad to help. Now that I'm at a real keyboard versus my phone... Any solo (or sonata/duo) string piece will give you a sense of how they will break the chords. Whether it's violin, viola, or cello. I suggested the Bach since this is cello. Listening to a Beethoven or Dvorak Symphony - where this happens all of the time - won't help you as much as it's too hard to hear the actual section, let alone instrument in isolation. Usually these chords are scored this way for emphasis and impact. They are a kind of accent. If the composer wanted full, held 3-4 part chords to sound they'd have specified divisi as MLC said. If you delve deeper you start to get a sense of how it works with the 4 strings, how the player might break them in pairs (2 & 2) or 1 and then 3, and what strings are open etc. The 1st chord is clearly open G and D strings and then the B on the A. Real easy. The open strings will ring. It would probably come across as a grace note on the G just before the downbeat and then the D-B played as a double stop. Think 1+2. The 2nd chord is a bit different in that there is a unison on the open A plus the A on the D string. That A will ring over a bit and have a different timbre. I'd have to think about whether it would be played as a double stop F-C on the C-G strings (2 &2) and then the A's or the F and then the upper 3 notes like the 1st chord (1 & 3). I'd listen to some examples and then just fudge it on the keyboard to get the "ricochet" up effect. You won't hear those bottom notes sustained throughout, only as part of the attack at the beginning as the player rolls up the chord (unless they're open strings and then they'd resonate). So the upper notes will come a bit later and hang a bit longer (that's the "ka-ching") probably with some vibrato. It might help to think of the motion of a slightly concave bow in your right hand with the tip pointing to the left and a bit down rolling outwards to the right over the convex set of 4 strings low-to-high. Your right elbow gently comes into your side as you go up. Kinda crazy! BTW: I'm not s truing player, just a humble composer who LOVE writing for them. But, you do pick up a few things from experience writing for, and working with them!

joelfriedman wrote:...I'm not s truing player

Who of us is? LOL I tried to learn the s truing but the k soringer was just too f harding. I can't help myself when there's an opportunity for humor. This is why Shooshie should be happy I skim some posts. hee hee

I'm obviously not a typist either!!

Thanks again Joel. The details give me a sense of how to approach it. Your suggestions make sense in light of similarities with guitar techniques.

Before this thread becomes a review of typing, there's one more thing in this score that baffles me: can I ask what the instruction "desk 2" means? Can't find it in my theory book, and google wants to sell me a desk for musicians.



The tutti in measure 8 suggests that the previous 6 measures are not played by everyone? Maybe just two players?

1st desk (or desk 1) would be the two players on the 1st stand of that string section. 2nd desk would be the two players on the 2nd stand of that string section, etc.

Great. Thanks again.

hwat ee dsaid!

The twin unison A tell you that this is a divisi but it should have been made clear in the conductor score. If it was meant to be arped, there would be a bow marking in the parts.

I was a conductor, cellist and bassist once upon a time.

Agree.