StringSection Blog

Posts Tagged ‘string arrangements’

Recording strings at Voltaire Road Studios (Clapham)

Monday, July 16th, 2012

A couple of weeks ago, I was hired to record some live strings on 5 tracks by a band from Louisiana who are having their album recorded and produced here in the UK. The files for the string arrangements were all sent to me in advance so that they could be checked and any adjustments made before the recording date itself – this is always a good idea as it can save a considerable amount of studio time on the day.

The string parts (for violins and violas) had been written to add impact to the tracks so a powerful and committed sound was required. As such, the particular violin that I chose to use on the day is one with a really strong, focused sound. This is something worth considering, as stringed instruments can vary so much from one another. For example, one of my other violins which I regularly use to record with has a mellower, warmer sound with possibly more tonal variety, but for this particular job didn’t seem appropriate – I would be more likely to use that one for music which required a slightly gentler, more lilting feel.  Interestingly, both of these two violins are made by the same luthier – Martin McClean of Northern Ireland, both are fantastic instruments, yet each has its own distinct personality.

Recording Session at RAK Studios

Tuesday, April 3rd, 2012

Yesterday, we popped into RAK Studios in St John’s Wood to record string quartet parts for a band who wanted to enhance their track with live strings. The string arranger had introduced a “Bollywood” style to the writing, so there were plenty of glissandi throughout the parts. These were very effective and gave the music an extra dimension, adding a slightly mournful quality to the strings. This style of writing was reminiscent of some of the later Beatles string arrangements, using a classical Indian influence to great effect.

As various countries and cultures have their own distinct style of writing and orchestrating for strings, some arrangers and bands can choose to utilise this to add interest to a track. By writing a western pop or rock track and asking the string arranger to compose parts with a middle Eastern, Scandanavian or Celtic flavour, the whole feel of a track can be altered to suggest a fusion of influences. In the same way, a string arranger could be approached with the brief of writing parts in the style of various decades – for example 1960′s ‘easy listening’ strings or something highly classical in nature.

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!

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, asking a string player to 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 string arrangements. Plucked strings can be soft and subtle or really dramatic.