StringSection Blog

September, 2010

Concert at the Cadogan Hall for Soundaround

Saturday, September 25th, 2010

On Thursday night, a group of 10 players from Stringsection (including the Manor House String Quartet at the core) were booked to perform as part of a very special concert, held by the charity Soundaround who produce audio magazines for sight impaired people.

The music was conducted by the contemporary English composer Philip G. W. Henderson who we worked with last year recording ‘Magic Wood’ - a suite of atmospheric music for string ensemble.

The evening was formatted with pieces of music interspersed with interviews of the composer and performers who included Steve Hackett on guitar, singers Neil Latchman and Pia Sukanya and pianist Dhevdhas Nair.

Our performers included myself (Vaughan Jones) on violin, along with Louise Bevan, Gabrielle Painter, Judith Templeman and Ruth Funnell. The violas were played by Adrian Smith and Reiad Chibah, with Julia Graham and Emma Black on ‘Cellos. We were joined by double bassist Ben Russell who was great to work with.

As we had already rehearsed the quartet parts previously, the day was mainly focused on the works written for 10 piece string ensemble (the majority of the programme). The performances were a success with the group sounding very strong and every player having some intricate solos which emerged from the textures at various points.

We very much look forward to working with Philip again in the future!

When you don’t need strings…..

Monday, September 13th, 2010

Occasionally we receive enquiries from people who would like strings written or arranged for their track but on listening to the track, it sounds very full already without strings: in short, adding strings can just be one more thing that makes a song too ‘busy’ and risks overloading the listener with too much going on.

Although in many cases, strings can be written around melodies and other instrumentation to fill in, enhance, support or even add new counter melodies there are some songs that just won’t benefit from strings at all and if the string arranger has sound musical judgement, he or she may advise a client not to use their services at all.

So what type of song may not need strings at all?  Any track which is already heavily laden with guitar and percussion, vocals, keyboard and bass will need to have ‘room’ in it for strings - either as an instrumental break, or in a verse / chorus where things are quieter and the strings can come through. Strings can also be used to add a ’sheen’ of simple chords over the top of other instruments if there is already a lot going on. When a track sounds complete with a full range of notes already covered there may not be any benefit at all from including yet another group of instruments  (a string section) and the song can begin to feel cluttered or over the top.

Problems can arise when a band or songwriter have already produced a song then decide afterwards that they’d like to include strings as well on top of everything else. If the piece is written knowing that the strings will be coming in at some point, space can be left for them (a bit like designing the layout of a room and leaving space for a sofa rather than cramming it in somewhere as an afterthought!).

Saltando

Wednesday, September 8th, 2010

‘Saltando’ is an Italian musical term used when string players are being asked to play with a rapid, bouncing stroke in the middle of the bow - rather like sautille bowing. The speed at which this is executed allows the bow to bounce slightly off the string between each note of it’s own accord. The natural springiness of the bow gives the feeling that the bow is actually bouncing without intervention (although the reality is that it’s momentum which allows this to happen).

Saltando strokes, like Sautille strokes are both rapid forms of playing ’spiccato’ (a generic term meaning any bowing where there is a lift between each note).

From a players point of view, both saltando and spiccato seem to give the impression - both visually and by the sound they make - of a vertical bouncing of the bow. The reality is actually different, with the bow being encouraged to brush the string in a horizontal way, so there is only a fractional lift at the end of each stroke. When played loudly however, there can be a much more noticeable lift (for example in the final section of Sarasate’s ‘Zigeunerweissen’ which we have a sound clip of on the home page of the String Section website) which gives the sound an energy that lends excitement and dynamism to a string arrangement or composition.