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.
Posts Tagged ‘string arrangements’
Glissando and Portamento
Saturday, August 29th, 2009The word ‘Glissando’ comes from a French verb ‘to slide’ and applies to any passage where one note slides rapidly up or down to another. On the piano this is done by drawing the finger quickly up or down the keys and the technique is often used in music written for harp, trombone or any of the string family.
On a stringed instrument, this glissando effect can be achieved by simply sliding from one note to another on the same finger on the same string - it can be used to give a slightly ‘folky’ feel (swooping up to a note as in bluegrass or Celtic fiddle music) or could be used more slowly to add tension or suspense to an arrangement. A common use of glissando is in horror films or psychological dramas when anticipation of something sinister is being built up. One well known pop song which utilised glissando effectively in the strings was ‘Day in the Life’ by the Beatles and it features quite widely in quite a few tracks by ELO.
Although Portamento seems quite similar to glissando in the fact that it’s a gliding from one note to another, it is different in the fact that it doesn’t tend to connect the two notes with the slide but is more of a gentle sliding at one end of the interval or the other. For example, a violinist could go from say, a D to the same note an octave higher, with the portamento providing a shorter slide at the beginning of the interval, before landing accurately on the higher D - or it could leave the first note, then land a little bit early and swoop up to the upper D. This gives an expressive slide but without the two notes being completely connected. In its’ best use, writing in portamento can add real character and feeling to a phrase, making it full of character and adding interest / life to the strings.
Including both glissando and portamento in a string arrangement can work well for solo instrumentation or a full string section, adding either one skilfully can liven up strings and add excitement or expression.