StringSection Blog

Posts Tagged ‘arranging for violin’

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!

Embellishing a dance track

Tuesday, October 6th, 2009

Yesterday we were booked to provide a large string sound for a dance track being produced by someone studying recording technology in Oxford. As the rest of the track was just drums and vocals, it gave us plenty of scope to add some inventive strings, scored for violin, viola and cello parts - the final arrangement ended up being scored for cello, viola, violin 2, violin 1 and an additional violin part which repeated the opening hook to help the cohesion of the track.  Because the track was in the key of F minor, (with four flats), tuning had to be really precise. The session ran smoothly and the final track sounded powerful and detailed - all that remains is for it to be mixed and mastered!

Pizzicato (plucked strings)

Tuesday, May 26th, 2009

Pizzicato is simply a technique where the strings are plucked rather than bowed (arco). It is a great tool to add variety to a piece and can enhance the rhythmic vitality of a section. As the tension of violin strings is higher than that on guitars, plucked notes tend to give an immediate response with a slightly ‘tight’ sound and a rapid decay.
When used in a full string section, pizzicato can cut through other textures without sounding abrasive, but can also be used to add a touch of humour or quirkiness to a song. Often single notes can be picked out or plucked as part of a counter melody, or if a single chord needs to be struck, 2, 3 or even 4 notes can be simultaneously plucked. In this instance, a knowledge of the tuning of stringed instruments is needed as the spacing of the chord is unique to the string family (being tuned in fifths). A string arranger has to take into account that on a given chord, there is a big spread of notes and it’s important to know which finger takes each string so that the chord ends up being playable by your session musicians.
When writing for stringed instruments, it’s always important to keep in mind how the four strings are tuned unless the lines are very simple. If the parts have been written on a keyboard, they may not necessarily be playable on a violin, viola or cello so unless the composer is a professional string arranger, having a string player check them through is advisable before entering the studio.
Although usually used sparingly, adding some pizzicato effects can be a great way to bring some bounce and life to a string arrangement. Plucked strings can be soft and subtle or really dramatic.

Con Sordino (With Mutes….)

Wednesday, May 20th, 2009

Adding a mute to a stringed instrument has a very different effect from muting a brass instrument. Although by definition, a mute does take off a little of the volume, rather than just making the violin quieter, it can make the sound more mellow and add a subdued quality. Adding a mute is an excellent tool where the harmonies are complex and slow moving - or where the arranger would like a wash of strings to add a special ambiance.
A mute is a small piece of either plastic or wood which sits between the strings and the tailpiece of the instrument - it can be slid up on top of the bridge to restrict the vibration - thus creating a less piercing sound. The Italian musical term for adding a mute is ‘Con Sordino’ and the instruction ‘Senza Sordino’ means to take the mute off again.
When scoring for strings and using mutes, it’s important to allow a few seconds either side of adding or removing one so that the player has a chance to move the mute on or off.
Although it’s possible to just mute some of the instruments in the section, the effect is more striking if all the strings are muted simultaneously - this can really add interest, variety and a whole different sound to the strings.

Spacing of Chords

Tuesday, April 28th, 2009

One of the most common ways in which strings are added to a track is through the provision of chords. There are in essence three basic ways of using a chord in music.

One is called a ‘root’ chord, the others are a ‘first’ or ’second’ inversion of a chord. If the chord in question is in C major and the note C is placed at the bottom, then this is a ‘root chord’ of C. If the next note in the chord (E) is placed at the bottom, this is a ‘first inversion’ and if the third note of the chord (G) is at the bottom, this is a ’second inversion’ of the chord.

When arranging for strings, inversions add variety to the harmony and give the opportunity for all the parts to move in a musical way. What this means is that you can have an inner part (viola or second violin) moving in step so that when the session musicians play just that part, it has a logical and satisfying musical line to it and doesn’t just jump around randomly.
This is crucial when writing a bass line as it underlines the entire harmony and has to flow as a line of music in it’s own right (as well as fitting with the individual chords).

Sometimes, chords may all be grouped quite close together with the parts low in their register - this is when the rest of the track may have a ‘hole’ in that register which needs filling by the strings. In other situations, the gaps between the individual notes of the chord might be very wide and spaced apart - when a more sparse texture is needed. It’s always possible to thicken or thin out the texture of the strings by doubling notes in different registers (a careful use of double stops), or by not using all the notes in the chord.

A double stop is where two notes are played simultaneously on any given instrument. As the celli, violas and violins are all tuned in fifths, the interval of a fourth, fifth, sixth and octave can all work well. When it comes to thirds, these work better in the violin and viola parts than they do with a cello, but your studio musicians won’t thank you if both the notes in the third are written on the same string!

Other chords which require more than three notes in them are seventh chords (again in the chord of C this would be C, E, G and a Bb on the top), or diminished chords - which are a succession of minor thirds spaced one on top of another.

Jazz chords are a whole area in themselves where the arranger needs to have a good knowledge of harmony and be able to hear the chords in order to arrange around them.

In the next blog entry, I’ll be writing about the effective use of pedal notes.

Use of chords in string arranging

Tuesday, April 7th, 2009

Sometimes when we’re just booked to turn up and play on a session, we are handed parts where all the notes seem to be in unison, (meaning all the instruments are playing the same note or are spaced octaves apart). Although the composer or band may have envisaged this sounding full and orchestral, it doesn’t really bring out the best qualities of a string section.

The spacing of chords is very important, and often string arrangements fall down because the notes of a chord are distributed either in the wrong inversion or with too large a gap between them.

Bearing in mind that the violins are in the same register, with the viola five notes below them and the ‘cello an octave below the viola, very often the upper strings can cover three notes of a chord with the ‘cello providing an anchor or counter melody underneath - generally making sure all three notes of the chord are there (or all four notes in the case of a 7th chord).

By using ‘double stops’ (using different strings to play more than one note simultaneously), this can help the chord to sound much fuller with the cello part never straying too far from the root of the chord.

Of course, context is everything - if we’re writing string parts for a solo voice with guitar, it’ll be composed in a totally different way than if we need to arrange a much more orchestral piece to accompany drums, guitar, brass and piano.