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 section 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 string 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!

Use of chords in string arranging

Tuesday, April 7th, 2009

Sometimes when we’re just booked to turn up and record live strings for 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.