Posts Tagged ‘Orchestrating for strings’
Monday, August 30th, 2010
Earlier this year, I completed a string arrangement for a client who commented that he liked the way that every ‘verse’ of the strings had changes and variations in it. He said that many string arrangements he’d heard had made use of ‘cut and paste’ with the same string parts returning in an identical way later in the track. This struck me as quite odd as it hadn’t occurred to me to ‘cut and paste’ anything in a composition or arrangement - when you have a 3 or 4 minute pop song, the whole thing grows naturally and will benefit greatly from variety in all of the writing, a theme can develop with variation and add real interest to the track, even if it’s low down in the mix. Changes between sections can be subtle but ideally need to keep some continuity (rather than introducing a brand new melody every time).
In classical music, a composer would usually take the opportunity when a melody returns later in a piece, to transform it with different use of instrumentation but retaining the clear melody or theme which had occurred earlier on. The idea of a later section being ‘cut and pasted’ has an anti-climactic feel for the listener - if this technique is used too often, the music becomes predictable and unmemorable.
With modern music writing software, there can be a tendency to simply highlight a given area and with the click of a mouse, repeat it later on in an unchanged form. Although that might seem like an easy option, it may not be using the full potential of the strings which could have enhanced the track far more with a little creativity.
Tags: adding strings to a pop track, creative string parts, cutting and pasting music, music notation, Orchestrating for strings, string arranger, String Arranging, Vaughan Jones string arranger, writing for strings
Posted in String Arranging | No Comments »
Friday, July 23rd, 2010
Although some clients who require string parts arranging for their tracks just give the string arranger ‘free rein’ to compose the parts in their own way and send the file over for approval or amendments, there are many people who already have some idea of how they’d like the strings to sound and have started to put together some strings for their track using Logic or other software. When this happens, I am usually sent the finished track with some ‘guide strings’ in and asked to notate these ready for studio recording (a relatively simple job), or to make them sound more natural by adding some movement or spacing the chords to allow the strings to sound fuller and more rich. When synth strings have been played in on a keyboard, it’s always a challenge to give them the characteristic feel of a real string orchestra because fingers going down on a keyboard cannot move in the same way as fingers naturally move up and down a stringed instrument. There are also clients who simply send the basic chord progression that they’d like and ask me to create something more elaborate with the strings, rather like producing an elegant frame for a painting - simply embellishing the existing ideas with the finishing touches. An example of this could be a track where the strings have all been programmed in the mid range on sampled synths and listening to the balance of the track overall, the range of the strings could be expanded. Extending the range can give the whole track a feeling of a ‘lift’ and lend it a sense of climax that it couldn’t have achieved with synthesised strings in the middle register. It’s also a matter of taking into account where the range of existing instruments and vocal lines are, then putting the strings in the ‘gaps’, weaving harmonies around what is already there.
Tags: getting the most out of live strings, notating for strings, notating from a midi, notating string parts, Orchestrating for strings, professionally arranged strings, programming synth strings, string arrangements, string arranger, transcribing synth strings to real instruments, Vaughan Jones string arranger
Posted in String Arranging | No Comments »
Friday, May 21st, 2010
The viola (like the cor anglais) is one of those often neglected instruments that has such a unique tone in it’s own right that it’s a surprise that it is not written for more often. It’s sound is warm, mellow, thick and less penetrating than the violin. A viola is also capable (in the right hands!) of being immensely passionate and powerful and not just an instrument to ‘fill out’ the quartet sound or provide chords whilst a violin or cello gets all the glory.
Sometimes when we are approached by clients to arrange strings, they ask for ‘violins and cellos’ and seem to be oblivious to the many possibilities which are opened up by using a viola effectively. Just like a violin, a viola can be played virtuosically with rapid scales and arpeggios, or with double stops such as octaves, thirds and sixths. Up on the A string (this is the highest string with the D, G and bottom C string below it) the viola can soar with a beautiful, high register that despite only being a fifth below the violin nevertheless takes on a completely different quality.
As a string arranger, if I were looking to create a thick sound that shared most of the range of a violin but could sing out in a slightly lower register I would write primarily for the viola (or viola section) with the other strings in more of an accompanying role. The secret to good writing, whether it be a string quartet or string orchestra is the constant interplay between the various instruments - if one instrument has the melody throughout, it soon becomes slightly monotonous but if there is a constant exchange and ‘conversation’ between all of the parts, this adds a much greater texture and sense of interest to a piece. Rather than being static, when all the instruments are exchanging melodies within the ensemble, the music becomes much more fluid and alive.
So, let’s banish the days where the violin is the ‘king’ of the string section and bring forward the viola for a gentler but no less distinguished sound!
Tags: Arranging for strings, hire a string section, hiring a string section, live strings for a track, Orchestrating for strings, session musicians, session viola, string arrangements, string arranger, string section, studio musicians, studio violin, viola, viola player, violin, violinist, violist
Posted in String Arranging | 2 Comments »
Friday, May 7th, 2010
Congratulations this week to the Granite Shore who have just sent us the final mix of two songs which we have provided strings for. As these two songs ‘Flood of Fortune‘ and ‘Highway Code‘ are to be released on an independent label ‘Occultation‘, our brief was to arrange and record strings to a high standard yet keep within a budget. The strings on Flood of Fortune were written for a large scale string orchestra whereas Highway Code is more simply scored for string quartet.
Both tracks are to be released on vinyl and should be available from June onwards, but preview clips can already be heard on the Granite Shore website. It’s always very satisfying to hear a final mix back (as we only really get to hear the string parts at the end of a recording session!), and we wish the band all the best of luck!
Tags: Flood of Fortune, Granite Shore, Highway Code, Occultation, Orchestrating for strings, Scoring for strings, String orchestra for song, Strings for a track, writing for string section, Writing for stringed instruments
Posted in Recording Projects | No Comments »
Monday, March 22nd, 2010
Marcato (from the Italian for ‘marked’) is an umbrella term that can apply to all instruments and therefore not a specific string instruction (like spiccato or sautille would be). In general terms, it is a stroke started with a fp (fortepiano) or sfz (sforzando) with a rest at the end of the stroke, meaning a note which starts with a bold attack, rapidly dying away with a gap before the next note. This can either be performed rapidly or slowly, but when performed slowly, there are big gaps between the notes. Marcato is a stroke where the bow does not leave the string in between notes and therefore is classified as a staccato bowing (as opposed to a spiccato bowing where the bow leaves the string in between notes).
My understanding is that the Martele stroke is the nearest to a true Marcato, in brief this stroke often performed in the upper half of the bow starts with a pressure (that brings the hair closer to the wood of the bow) and a rapid bow stroke with a simultaneous release of pressure. At the end of a stroke, there is a gap and the whole thing starts again!
A string arranger or composer would use marcato when they wanted to create a percussive sound with gaps in between. Slightly confusingly, an orchestrator could write dots underneath the notes to make them short - and this could be interpreted by a string player as lifting the bow off the string in between every note and could potentially be light in character. Marcato can also be written with a dot underneath the note, but on the other hand there is usually an accent with it and the length of the note is twice as long as the note is intended to be played (with the second half of the note being silence). To put it in context, Marcato is a heavier stroke and does not require the bow to leave the string. The analogy is that the spiccato can be like skipping or running and the marcato would be more like stamping or treading heavily, so a professional string player would usually know from the feel of the piece which stroke the composer intended.
Up until the mid 19th century, marcato was notated by a small downward v above the note, so if you come across very old sheet music that’s what it might be! It is less commonly used than spiccato.
As in all directions for bowings, context is everything and if written with a knowledge of what string instruments do, the players will always know exactly what stroke applies to a certain passage.
Tags: accented notes, arranging string parts, Marcato, marked bowing, martele, notating string parts, off the string bowing, on the string bowing, Orchestrating for strings, percussive string sound, sautille bowing, spiccato
Posted in String Arranging | No Comments »
Monday, March 15th, 2010
The literal definition of the Italian word ‘Rubato’ is ‘robbed time’, which doesn’t seem to be a particularly attractive way of describing something that adds such emotional meaning to a piece of music. In essence, it is where music is slowed down or speeded up to create an expressive effect. When done with artistry and musical sensitivity, rubato can subtly ebb and flow but without distorting the rhythmic pulse. What is taken away is always added back, rubato would never slow a pulse down and then not regain it later on, it is in a sense elastic.
In the studio, the only way of effectively playing rubato in an ensemble is through playing ‘live’, where all the musicians are actively listening to each other and making minute adjustments as they play. It would not be possible to achieve a natural ‘pulling up’ or quickening with a click track. A click track is frequently used in recording situations, especially where string parts are to be added over existing instruments or vocals - it takes the form of a metronome beat heard only in the headphones of the session musicians who are working on the track. A click can be speeded or slowed to suit the beat of the music players are working on and can even accelerate or slow down, but this rarely sounds very natural.
When music is of a metronomic nature (such as rock or pop music), then a click track can be highly effective and when used well, will not be betrayed in the end result. Recordings can sound perfectly natural where a click track has been used and often can have a tightness and accuracy that could only be achieved with a lot of rehearsing. Of course, if multiple overdubs are used then a click track is an essential tool and will cut down the studio time needed.
In more sophisticated music which is ever changing, the use of a click track can be more of a hindrance than a help and in that situation, musicians opt to use their ensemble skills and the end result will hopefully be far more natural.
Tags: Arranging for strings, Click Track, composing for strings, Live strings, Orchestrating for strings, Robbed time, Rubato, session musicians, session string players, string arranger, String Arranging, String orchestra, studio musicians, studio strings, Writing for stringed instruments
Posted in Recording Projects | No Comments »
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!
Tags: Adding string parts, adding strings to a dance track, arranging for violin, Large string sound, Orchestrating for strings, SAE, session musicians, session string players, studio musicians, studio strings, writing for string orchestra, writing for string section
Posted in Recording Projects | No Comments »
Wednesday, July 29th, 2009
A tremelo can be defined as being a ‘trembling’ or ‘quivering’ effect - this usually takes one of two forms. One is where a single note is rapidly bowed repeatedly and the other is a a fast oscillation between two notes (rather like a trill) - with the gap between the two notes being wider than a trill.
A tremelo might be rhythmically even, or unmeasured (which can also be written as tremolando). The unmeasured version would be used where a composer or arranger instructs the notes to be simply played as quickly as possible - this technique is used often when adding strings to pop and rock tracks and can add a feeling of tension to a piece of music. Tremeloes can also be given an accent at the beginning (which means the first note of the tremelo is emphasised to give it a ‘kick’) - this can convey a feeling of tension even further and is particularly effective with a full string section rather than writing for single strings.
In string arranging, a tremolando can also be used very quietly - and if the whole of the string section are playing this way at the same time, it can give a rumbling feeling of something imminently about to happen - so instead of having a chord held, it can lend a sense of anticipation and of course add all important variety to a string arrangement.
Tags: Orchestrating for strings, rapid bowing, scoring for violins, string arranger, String Arranging, tense strings, tremolando, Tremolo, tremoloes, using string orchestra to create tension, writing for string section, Writing for stringed instruments
Posted in String Arranging | 1 Comment »
Monday, June 29th, 2009
Many of the jobs that we’ve worked on have been for clients who have sent us string parts they’ve written themselves from a midi file. Scoring from midi requires no knowledge of music theory or written notation and often involves the composer playing parts into a keyboard and then printing off the results.
Whilst this is a useful tool in many situations, it rarely produces results that sound convincing for string players once we’re in the studio. Here’s an example: If the composer has little knowledge of the different musical clefs then a cello part can be printed off in a treble clef. As the range of the cello extends lower than the treble clef can accommodate, we’ve been handed parts with about 10 ledger lines at the bottom of the stave, the notes overlapping the stave below - almost impossible to read. The other problem with playing chords in via a keyboard is that it ends up quite ‘fixed’ with no ‘feel’ and the inner parts don’t have a satisfying musical line - therefore so much of the potential from using live strings is lost.
Writing for any collection of instruments is all about the individual line of each instrument. If the parts are moving in chords, each part sounds best when it is playing a melody that harmonises with the rest of the parts in the piece or track.
Very often, expensive studio time can be wasted whilst session musicians sit around re-writing scored midi parts until they are both readable and playable, so as a matter of course we now do ask clients to send through midi-created parts so that we can tidy them up before the session, and save everyone time and money. We charge a nominal fee of £40 per hour for this - the same fee as for string arranging from the original track in the first place.
Although it might seem cheaper to create parts using a midi, it can be just as quick and economical to hire a string arranger to score the parts properly for strings in the first place - and results will be more effective with creative harmonies and melodic lines written in to add richness. As an example, paying a string arranger £40 per hour to spend a couple of hours correctly notating and orchestrating will potentially save hours in the studio and the musicians will be able to go in and just play everything right first time from a properly written score, using each instrument to it’s full potential.
Tags: Adding string parts, chords for strings, cost of a string arranger, creating a score from midi, midi strings, notation fees, Orchestrating for strings, orchestration fees, orchestrator, scoring from midi, session musicians, session string players, string accompaniment, string arrangement costs, string arranger, string arranger fees, String Arranging, studio musicians, studio strings, writing for string section, Writing for stringed instruments
Posted in String Arranging | No Comments »
Tuesday, June 9th, 2009
One of the most wide ranging techniques on a bowed stringed instrument is what is commonly referred to as staccato. In essence, staccato is where the notes are short and spiky - this can be achieved in different ways. The Martele (pronounced mart -el-lay) bow stroke is where the bow is gently pressed to the string and released rapidly to create a little ‘kick’ or accent at the beginning of each note. It can be played rapidly or slowly and there is generally a small gap between each note. Whereas this would be rarely applied for a commercial string session on a pop or rock track, it could be used in a more classical sound - perhaps for a film soundtrack or television production.
The spiccato bow stroke is what is commonly referred to as ‘off the string bowing’ because the bow leaves the string at the end of each stroke. This gives the music a distinctive sound which can be used in a variety of different context as it’s so versatile. Spiccato bowing is great for rapid scales and will create a ‘brilliant’ effect (as in bright) or could be applied in a slower and heavier passage to add drama.
Adding variety with spiccato and martele bowings can accentuate the strings by using the whole section, or just one group of instruments (for example, only violas) and both are widely used ways of adding interest or energy when orchestrating for strings.
Tags: Adding string parts, dramatic string parts, martele bowing, Orchestrating for strings, orchestration, orchestrator, session musicians, session string players, spiccato bowing, spiky string parts, string arranger, String Arranging, studio strings, violinist, writing for string section, Writing for stringed instruments
Posted in String Arranging | 1 Comment »
