StringSection Blog

Posts Tagged ‘notation’

Sautille Bowing

Thursday, October 8th, 2009

In earlier blog entries, I wrote about how different bowing techniques can affect the sound of a violin or string section and how it can also help to create different moods or feelings within a string arrangement. Previously, I covered Martele, Spiccato and Marcato bowings and today I wanted to write something about Sautille bowing.

Sautille bowing is a form of spiccato which allows the natural bounce of the bow to create it’s own momentum and seems to allow the bow to bounce of it’s own accord. When the spiccato bowing is propelled at a fast speed, the amount of bow used becomes less and the area of the bow which touches the strings becomes further up (higher towards the tip of the bow). When this happens, the bow begins to spring with very little effort from the player.

In a string arrangement, this could be used for highly virtuosic passages where either a single note is repeated or the passage work is quick and furious. To write this in, an arranger would notate this the same as most other detached bow strokes with a dot at the top of the note head, but what would suggest to the player Sautille would be the rapid speed of the notes.

Sautille can be played at any dynamic or accented or double stopped to give real energy and flair to a string part.

Adding a solo violin part

Wednesday, August 19th, 2009

Recently we were approached to provide a strong violin solo on a large scale work - it was an elaborate solo over a multi-layered backdrop at the beginning of the piece and lasting approximately 2 minutes. As the composer had already written it for a midi file, all that was needed was a quick transcription to written notation, so that it was all set for the studio.

Because the violin part was to be the main focus, at the forefront of the mix, the sound had to be really strong with plenty of shading and a high level of accuracy. As such, we did 4 or 5 full length takes and chose the best one. In this way, we were able to capture a ‘live’ feel with all the spontaneity of an improvised solo.  It’s important to try to vary the sound and style of playing according to the style of music -  as this was a rock track the violin needed to sound bold and prominent with a little bit of ‘edge’.  The playing on the track was certainly a completely different sound than I would produce for a folk piece of pop ballad - and experienced session musicians have the ability to vary their playing to really suit the mood and style of the track they are recording for.

Sensitivity to the track….

Tuesday, April 14th, 2009

One of the first things to consider when beginning a string arrangement is how much strings will be needed in a particular track and when it can be potentially overwhelming.

By listening through a song a few times, a string arranger will start to hear places where the addition of string parts will really enhance the piece - and also places where they should fade into something less dominant, or perhaps be left out altogether.

With some songs, it’s definitely a case of ‘less is more’ - so for example if there are passages of beautiful solo piano, or bars where a single voice really stands out, adding orchestral string parts can make the track too busy, drowning out and detracting from what is already there.

Obviously having the power of a full scale string orchestra powering up a big rock number can make a huge impact, whereas a string quartet, or even a solo stringed instrument might be an ideal accompaniment to a soft folk piece or ballad.

Bringing in a wash of strings at key points can be more effective than having them all the way through, adding some harmonies and support to the song.

String parts can also work well as a bridge between verses - or by adding a counter melody, receding low into the mix when other instruments come to the fore.
If there are going to be other orchestral instruments, such as brass or woodwind, it’s probably best to allow one arranger to write all the parts so that they all work in harmony and don’t sound cluttered.

In essence it’s all about having sensitivity to the particular track and following the guidance of the songwriter as closely as possible. On the other hand, when an arranger is given free reign, there are several ways that string parts can be made more interesting… which I’ll be writing about in the next post.

Big string sound….

Saturday, April 11th, 2009

It’s always nice to tackle more involved projects requiring strings and this week we certainly got the chance to do just that with an intricate, 8 minute long track that needed a really large string sound.

I’d been asked to arrange the strings with a particularly epic climactic section which had a 5/4 beat but also triplets running through it - this had the feeling of two different time signatures simultaneously and I was concerned it might sound chaotic, but we took great care when recording and actually it worked really well. The parts were scored for 3 violin sections, often with double stopped notes to thicken out the chords - with the violas & celli adding a rhythmic base for the violins to bounce off. Some of the passages required different techniques such as tremeloes and powerful spiccato strokes with accents and once recorded, gave the impression of a much bigger string orchestra.

We’re looking forward to hearing the final result once all the post production & mastering has been done.