StringSection Blog

February, 2010

Cadenza

Saturday, February 13th, 2010

To begin with, a Cadenza is not something a string arranger would usually write into an average 3 minute pop song or rock track but they can be added into other styles of music and apply to any instrument (not just strings!). A cadenza comes from the word ‘Cadence’ (a cadence is an ending either to a phrase or even section of a piece) and is essentially an ad libbed passage in a piece of music (usually at a Cadence) where a solo instrument breaks out from the rest into a flourish. In the baroque era, a singer would often embellish a cadence with an improvisation (normally near the end of an aria). Later, in the classical period the cadenza developed into an improvised solo at the end of the recapitulation section and before the coda of a first movement (normally a concerto). In this form, the soloist would take themes from the piece and develop them, often changing the form into something quite different yet still related to the original melody. Cadenzas became increasingly virtuosic, allowing the performer the chance to really demonstrate their skills on the instrument – and in many cases became quite a few minutes long. Nowadays, a cadenza is less commonly improvised and more often carefully composed before the performance to cleverly capture themes from the piece and gain the maximum impact whilst still feeling ‘improvised’. The performer has the complete attention of the audience during a cadenza so it’s important to ‘get it right’ and most cadenzas are carefully prepared beforehand.

In a string arrangement for a song, the length of the track will determine how long a cadenza might last but in modern pop or rock music it now takes the form of an instrumental break – where the vocalist and other instruments takes a pause and one of the instruments comes to the fore with a solo phrase or quick flourish, possibly only lasting a few seconds. An appropriate section could be at the end of the introduction, before the first verse begins. 

So how does a cadenza differ from say, a guitar solo? In a guitar solo the beat or pulse of the track continues underneath – sometimes the same chords repeat, allowing the guitar to float over the top with improvised runs. In a cadenza, the beat of the music stops completely (like a pause), allowing the instrument to provide a fill in until the music starts where it left off. A cadenza is usually a solo instrument, but there’s no reason why a whole section of instruments couldn’t play one!

Scordatura

Monday, February 8th, 2010

Now, I have to admit I don’t think I’ve used Scordatura more than a handful of times in my entire violin-playing life, but thought it worth writing about anyway as it could be an interesting compositional technique to experiment with in relation to a string arrangement. Scordatura comes from the word ‘Scordare’ which means to ‘mis tune’ and applies to any piece or passage where the normal tuning of the strings is altered. One famous example is the violin solo at the beginning of Saint Saens’ ‘Danse Macabre’ which de-tunes the perfect fifth of the A and E string to a diminished fifth (the E coming down to an E flat) – to represent the dissonant interval of the devil! Some violinists however prefer to simply play the passage with normal tuning so that they don’t have to fiddle around re-tuning the violin during the piece.
Apart from when you want your strings to represent the devil (!) there are other reasons for using Scordatura: one is to extend the range of the instrument down or upwards and the other is to change the tone colour of the instrument, either making it brighter by tuning upwards or mellower by tuning downwards (an example is Paganini’s violin concerto no. 1 in D major which the composer instructed should be played in the key of E flat major by tuning the entire violin up a semitone to create added brightness).
In terms of string playing, I am scratching my head to think of a single instance where I ever de-tuned my violin during a piece of orchestral music, but that’s not to say that an innovative or enterprising composer should be put off from trying it, to create an effect. With a whole section (e.g violas) having a string de-tuned, it could create some striking sonorities and would be well worth trying out if a suitable mood is required from the strings.

Vibrato

Sunday, February 7th, 2010

The word vibrato comes from the latin ‘vibrare’ meaning ‘to shake’ and it is a slight (and often rapid) wavering of the pitch for emotional effect. Many singers, whether classically trained or not naturally have a vibrato to their voices and in terms of string playing this is often an ever present feature of music making.

For music of the 16th and 17th century, only a small and refined vibrato is occasionally used (if that!). The phrasing and expression generally comes from the bowing rather than the motion of the finger on the string, although in 1751, the famous Italian violinist Geminiani advised vibrato to be used ‘as often as possible’ and there is documentary evidence to support the use of vibrato for music of this period.

When a composer or string arranger specifically wants a passage to be played without vibrato at all, the direction ‘senza vibrato’ would be written in the score. Particularly when combined with a Sul Tasto sound, the use of no vibrato can be very effective when applied to the entire string section in giving a very ‘pure’ and gentle, velvety feel to the sound.

On the other hand, adding a lot of vibrato tends to make the pitches sound less pure and for some reason, thickens up the entire sonority of the strings. This could also be indicated by a composer or arranger by the direction ‘molto vibrato’ and gives a very romantic expression to the strings, particularly effective when played loudly. The music could start softly without vibrato and build up in intensity as the vibrato increases.

Symphony Orchestra Size Sound

Saturday, February 6th, 2010

Occasionally we are approached by clients who are self financing a project or who are on a very restricted budget, yet are unhappy using samples and still would like to add real strings to their track. Often, it is a private project with a tight budget, which (without going overseas and potentially risking the quality of player) would make hiring a full string section and large enough recording studio out of the question. With modern technology, several options are open – either using a high quality sample string sound as a base and layering a few real players on top (to give a more realistic and convincing effect than samples alone), or hiring a handful of very good players who are able to overdub themselves accurately – subtly varying the bowing, level of vibrato and microphone positioning on each take to try and sound like different people.

Although we always recommend that when the budget is not an issue, as many players are used as possible to capture a natural sound - surprisingly overdubbing can work well as an alternative to synthesized strings – although requires great concentration and an attentive engineer to sound convincing. This week, we were asked to overdub to create the sound of  64 string players – which is more the scale of string section found in a large symphony orchestra. Because each section was divided into two separate harmonies (or lines of music), we had all in all 8 layers for each line of music. The parts were recorded to be one element of a track which had plenty of other instruments and effects going on, so the overall sound was more convincing than adding synthesized strings, yet didn’t break the bank.

Double Stopping

Monday, February 1st, 2010

‘Double Stopping’ is a term used to describe the simultaneous playing of two notes on a stringed instrument. It is a versatile technique which can encompass melodies, harmonies, accompaniments and can be played in a virtuosic fashion at high speed. In the context of a string quartet, it can have the effect of making the group sound as if it is playing up to 8 parts at any one time which can create (when skillfully written) the impression of a far larger ensemble.

In the context of a string orchestra, the individual parts can either play double stopping – giving the music a thick and full feel, gaining in energy and effort or can ‘divisi’ – this means that on every ‘desk’ (two players to a desk) the left hand player plays the lower note whilst the person sitting on the right plays the upper note. This can thicken the harmonies with less effort required from the players, potentially sounding more lyrical and flowing.

One problem with writing double stops into a string arrangement, particularly when composed by non string players or composers writing at a keyboard is that they can end up being awkward or unplayable. If two notes are written on the same string (such as an E and a G to be played on the D string of a violin), this is not necessarily impossible to play as the musician can play it in a higher position but could in context make it uncomfortable or impractical to play. Composers must have a good insight into how stringed instruments work in order to write passages containing many double stops that feel ‘right’ under the fingers.  Clients who have written their own arrangements, but who have less experience writing for strings are always welcome to send us through parts before a recording session. Sometimes it’s worth us spending a short amount of time re-notating some of the double stops so that they are written less awkwardly for the player – this saves time in the studio and gives a more natural feel to the music.