Cello Fingerboard Map: First to Seventh Position (Updated 2020 Version)

Whether you’re finding your way around first position or you’re venturing into the tenor and treble clef registers, an understanding of the note layout is essential. The more demanding your repertoire, the more you need a detailed internal ‘sat-nav’ to find your way effortlessly through challenging passages. The less you have to calculate your route map, the more you can focus on musical shaping, phasing and interpretation.

The map below is a visual aid to indicate the location and content of each position from first (including half) to seventh. You’ll notice that some positions go by 2 names (e.g. upper first/ lower second), and some of the notes on the fingerboard include enharmonic equivalents (different letter name for the same pitch). Positions are named according to the note names they accommodate. For example, the notes in upper first position on the A string are B#, C#, D and D# – predominantly the same letter names as those in first position, while lower second position – C, Db, D, Eb share the letter names of upper second position. As a rule, positions with the upper label tend to favour sharps, while those with the lower label favour flats.

Cello Fingerboard Map 2020

 

Further posts on cello positions:
An Overview of the Neck Positions
An Introduction to Stretch Position
An Introduction to the Three Finger Positions

Did you find this post useful? Please consider making a donation.

© D C Cello Studio

An Introduction to Chords in Music

This post is a diversion from Bowing Technique 101, which will continue soon. I recently gave an introductory harmony lesson and thought I’d share it here. Although this does not relate specifically to cello playing, I have always found that an understanding of harmony and chords greatly enhances the study of any repertoire, especially when it comes to the interpretive stage of learning the music.

This lesson deals with the triads and seventh chords found in the key of C major. The chord labels (based on the baroque system of figured bass or Basso continuo) are relevant to the triads and seventh chords of all major keys, making it a wonderfully diverse system. As the building blocks of music harmony, chords are best studied in their simplest form in order to understand their use in music. So without further ado, I present to you An Introduction to Chords in Music!

Cover Sheet

C major triads and inversions 1C major triads and inversions 2The Dominant 7th in C Major

Seventh Chords and Inversions in C Major 1 Seventh Chords and Inversions in C Major 2

2012 in review

A huge thank you to all my readers. Wishing you all an exciting and musical 2013!

The WordPress.com stats helper monkeys prepared a 2012 annual report for this blog.

Here’s an excerpt:

19,000 people fit into the new Barclays Center to see Jay-Z perform. This blog was viewed about 70,000 times in 2012. If it were a concert at the Barclays Center, it would take about 4 sold-out performances for that many people to see it.

Click here to see the complete report.

Minor keys and their scales Part 3

Melodic Minor Scales

I like to think of the melodic minor scale as the chameleon scale as it changes its colours. The ascending scale creates more tension by sharpening the sixth and seventh steps, and the descending scale relaxes that tension by flattening the seventh and sixth steps. The sequence of intervals for the ascending scale of A melodic minor is as follows:

Step 1 – 2 (a – b): whole tone

Step 2 – 3 (b – c): semitone

Step 3 – 4 (c – d): whole tone

Step 4 – 5 (d – e): whole tone

Step 5 – 6 (e – f#) whole tone

Step 6 – 7 (f#g#) whole tone

Step 7 – 8 (g# – a) semitone

The descending half of the melodic minor scale is identical to that of the natural minor scale:

Step 8 – 7 (a – g) whole tone

Step 7 – 6 (g – f) whole tone

Step 6 – 5 (f – e) semitone

Step 5 – 4 (e – d) whole tone

Step 4 – 3 (d – c) whole tone

Step 3 – 2 (c – b) semitone

Step 2 – 1 (b – a) whole tone

So the ascending scale shares its first five steps with the natural and harmonic minor scales, and its sixth to eighth steps with its major counterpart (note: the major key with the same keynote and NOT the relative major). As already mentioned, the descending melodic minor scale is identical to the descending natural minor scale. We now know that harmonic minor scales form the harmonic basis of minor keys, so it stands to reason (and the name suggests) that melodic minor scales form the melodic basis. The raised sixth step prevents the dissonant augmented second interval found in harmonic minor scales and the raised seventh provides a strong resolution from a leading tone to the tonic. Since descending passages don’t require the tension and definition provided by a leading tone, the descending melodic minor offers a sound truer to the overall minor structure.

The diagram below shows the structure of A melodic minor ascending on the keyboard:

Here’s a video diagram showing the lowest octave of A melodic minor ascending and descending on the cello.

Minor keys and their Scales Part 2

Harmonic minor scales

Now that we have studied the natural minor scale, we will look at and listen to the harmonic minor scale. The sequence of intervals in A harmonic minor is as follows:

Step 1 – 2 (a – b): whole tone

Step 2 – 3 (b – c): semitone

Step 3 – 4 (c – d): whole tone

Step 4 – 5 (d – e): whole tone

Step 5 – 6 (e – f) semitone

Step 6 – 7 (f – g#) augmented second¹

Step 7 – 8 (g# – a) semitone

The only difference between the structure of the harmonic minor scale and the natural minor scale is the seventh step, which is raised in the harmonic minor to create a leading tone². This means that there is an unusually large and dissonant interval between the sixth and seventh steps – an augmented second. For this reason the harmonic minor scale, true to its name is typically used as the harmonic foundation of minor keys. This means that it forms the foundation of the chords used to enrich melodic lines. The keyboard below shows the structure of a harmonic minor. The seventh step has been raised from the g natural found in the natural minor scale to g#. In spite of this the scale still shares its key signature with C major. The g# is shown as an accidental within the music. The same rule applies to all harmonic minor scales: the seventh step is raised and shown as an accidental within the music score, but never in the key signature.

¹Augmented second: an interval consisting of three semitones. An augmented second is the same size interval as a minor third but is spelt differently. If we were to spell the augmented second in a harmonic minor as a minor third we would spell it either as E# – G# or F – Ab.

²Leading note: the seventh step of a scale always a major seventh above or a semitone below the tonic. When the seventh step of a scale is a minor seventh from the tonic it is called a subtonic rather than a leading tone.

Here’s a video diagram showing the first ascending octave of A harmonic minor on the cello. The augmented second requires an unusual extension from the second to the fourth fingers.