StringSection Blog

Posts Tagged ‘orchestration’

Grace Notes

Sunday, March 13th, 2011

Grace Notes fall into the category of ‘ornamentation’ as they are embellishments which help to give life and energy to a phrase. They are not unique to strings and may have originated in the late baroque period when used as a keyboard ornament and can be performed on almost every orchestral instrument.

A Grace Note is written in notation smaller than the standard size of a note on the stave and often has a diagonal line struck through it. It is a brief note which has no measured time allotted to it and is basically played as rapidly as possible before the main note itself. In folk music, this note is often referred to as a flick and it helps to give a note or phrase a sprightly, dancing quality. Often a string arranger may add grace notes if a phrase is repeated in an identical fashion, so by adding these notes (also known as appoggiaturas) it helps to give colour and variety to a phrase that would otherwise be a bland repetition. There is nothing worse than a ‘cut and paste’ approach to arranging where phrases are repeated without any variety giving the impression of an unvarying theme.

Interestingly, the term ‘acciaccatura’ is often wrongly applied to grace notes. This term actually  means a ‘crushed’ note where two notes are played simultaneously and the dissonant note released immediately rather than being an independent note performed before the main note - again this happens a lot in folk and traditional music. So when a string arranger is writing string parts for a folk track, this could also be a technique to be made good use of.

A clear way of working….

Sunday, November 14th, 2010

Yesterday evening we worked with a talented vocalist and composer who had written his own string parts to compliment a song he is releasing as a demo. I had assisted by notating the music a few weeks ago and therefore when we started working in the studio, he was eager to resolve some timing issues which were difficult to notate as they were to do with ‘feel’ in certain phrases and were therefore a little too subtle to have discerned from the original midi strings. The string parts had been scored for viola, violin 2 and violin 1 so we laid down one track of each from my notation so that the composer could then easily identify which parts needed a different emphasis with timing and bar numbers as a reference point. Once we found the small phrases which needed to be changed, he was able to sing the phrase as required and easily convey what he intended - I quickly notated this on manuscript and we were then able to proceed without a hitch.

This was a very good example of how written notation sometimes needs to be augmented by verbal instructions. The convention among orchestrators is to write an Italian phrase underneath the stave which clearly tells the musician what the composer would like - the alternative is for the composer to be present in the recording studio and to instruct the session musicians of the ‘feel’ of certain passages.

String Parts for a Singer Songwriter

Wednesday, July 28th, 2010

This weekend, we were asked to record the strings on two songs for a talented singer songwriter who is producing her own album of melodic ballads. As over the previous two weeks I had been arranging the strings on both tracks in collaboration with the artist, I was really looking forward to recording them and hearing how they would sound on live strings. Although the Sibelius software that I use for arranging can give me a pretty good idea of how the parts will sound, it can’t really add any of the feeling and sensitivity that we do when we’re playing on acoustic instruments.

The arranging had been done to a brief and a couple of Sibelius versions had gone back and forward via email until our client was happy. One of the tracks required intricate writing with a view to having an 8 piece string ensemble (like a string quartet but thickened to two players per part). The other song already had synthesised strings in the mid range which needed to be replaced with the real thing and expanded to really open the song out. In this second song, it was important for the string parts to really enhance the track without getting in the way of the melody or other instrumentation, so as I was writing for a 48 piece string orchestra, the arranging had to have a very light touch with the ability to have richness and power where necessary.

We started the recording session at 4pm and didn’t finish until after midnight! Although the session had taken longer than anticipated, the results sounded stunning and we’re very much looking forward to hearing the final mix.

Up and Down Bows

Saturday, March 20th, 2010

Really, I don’t like the term ‘up and down bow’ very much because the motion of a bow is very fluid and when played artfully, gives a seamless, warm, glowing sound - nothing to do with ‘up’ or ‘down’ which sounds very rigid. My violin teacher (Kato Havas) says that all a bow going ‘up and down’ does is iron the music flat, so to get to the essence of the music the player should try and achieve a naturalness of phrasing which transcends the bow.

Nevertheless, there are instances when composers or string arrangers purposefully write a certain bow direction to attain a musical effect. For example, Stravinsky wrote several down bows (travelling in a downward motion repeatedly, lifted from the string in between notes) in a row to create an aggressive, percussive effect. An example of ‘up bows’ is in Paganini’s 24th Caprice where he alternates left hand pizzicatos (a future blog entry!) with ‘up bows’ played near the tip of the bow - the effect is of a whipping, pecking sound that goes well when alternated with the pizzicato.

Symbols are added to a score to indicate when there is a particular ‘up or down’ direction to the bowing. In 18th and 19th century music, this was often left to the discretion of the individual player but increasingly in the 20th century composers began to specify up and down bow markings more, frequently seeking the advice of professional string players on how best to ‘bow’ the piece.

In a live orchestral performance, bowings are marked into the parts in advance to enable each section to play with synchronised bows travelling in the same direction together - although Leopold Stokowski’s Philadelphia Orchestra were famous in using ‘free bowing’ which the conductor felt achieved a more glossy sound, even though it didn’t look as impressively uniform.This leads onto the phrase ’staggered bowing’. This is where longer notes which would require more than one bow direction to keep sustained are bowed in such a way that members of a string section change in different places, this gives a smooth and continuous effect so that the change in bowing is inaudible.

Spiccato and Martele bowings

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.