NOTATIO

Hello, all. I'm wondering if anyone can confirm if the cello passage (in bass clef) appearing in a manuscript (1.png) should be notated as in the typeset screenshot (2.png). I'm honestly not sure how this is expected to be played especially the "sul D" passage and so I would appreciate a brief explanation to a non-string-player.

What clef are we in?

Bass clef, sorry.

My uncertain interpretation (I learnt the cello to Grade VIII in my 1950s adolescence, although I became a trombonist): first pair, G as an octave harmonic plus D on open D string; next three pairs A, B, A on the D string, the D's all on the G string. However, I'm not certain, so a currently active cellist should be better informed. In any case, I suspect that this may not be the clearest notation for what is required.

Ah I had not considered that the zeros may be harmonic symbols. Would still be great to get other interpretations here.

Some context might help. Is this from an actual piece, or from an exercise? Who is the composer?

The o are harmonics for sure, as explained by David. But the following chords are so easily played on the D and A strings that I, a non-cellist, could play them. So I find it puzzling that they would be played any other way, except in an exercise.

We have a cellist, Neera, who is a regular contributor and hopefully will chime in at some point.

Hi John, yes this is an actual piece from a Swedish composer written in the 1920s. The scoring is for violin, cello, and harpsichord. This section where the excerpt was taken is effectively the "B" section of a faster movement where the composer wishes a character change. The violin moves to pizz. where previously it was arco, and the dynamic moves from forte to piano in the violin and pianissimo in the cello.

Thanks, czoller. Then it must be a special effect, or an avoidance of the open strings for some reason.

John Ruggero wrote: ↑15 Jul 2025, 12:43 We have a cellist, Neera, who is a regular contributor and hopefully will chime in at some point.

Here I am! The slowness in loading pages here slowed me down.
I will use Roman numerals from top to bottom note to explain what strings are being used (IV=C, III=G, II=D, I=A)

As David said, the first dyad is III/II (open D + half-string G harmonic).
The reason for not playing chords 2-4 this in strings I/II is that the A string sounds ~3x louder than the other strings with the same strength applied. Also, it is way too bright (unless you have an incredibly good and properly set-up cello, not really a common thing). So... chords 2-4 will be played in 4th position on II/III strings. Finger 1 flat on D-A, finger 3 playing B. The next 3.5 bars are straightforward.

When the composer writes A, we should transition to I/II strings with finger 2 (if C natural) in first position.
Then, keep the open D string and move forward with 4 and 1 (fourth position). Other fingerings are possible depending on what comes next.

Now, conventions: indicating strings with letters has luckily fade out of fashion in the XXI century, being replaced with Roman numerals.
Here's one thing I disagree with Gould: placing string numerals above staff is against all the training we receive. Fingerings should go above, string indicators below. Not a hill worth dying on but, still, confusing. I concede that, in contemporary music where the space below staff is overcrowded with dynamics, Gould's solution is the only viable way.
Harmonic circles have dedicated glyphs and zeroes should be reserved to open strings.

I hope this helped. For any further question, ask away!

Hello, Neera, and THANK YOU so much for your clear and thorough explanation. This was exactly what I needed to know as a poor old woodwind player.

Finally, if you were writing this today, how would suggest it be notated? Regardless of above or below staff, would your recommendation just be to replace string letters with Roman numerals?