The Trill (also known as The Shake for some reason…) is a musical device which is common to most instruments as well as more accomplished vocalists. It is written as the letters ‘tr’ followed by a wiggly line directly above the note or notes to be trilled and is performed by rapidly alternating the written note with the note immediately above it in the musical scale. If the trill is to oscillate to a note foreign to the key signature, an accidental (sharp, flat or natural sign) would be notated above the note in question. Apart from this, trills are generally diatonic (meaning the interval between the two notes would be in accordance with the key of the piece) and therefore some trills are likely to be semitones and some full tones. If a composer or orchestrator requires a note to be trilled downwards (i.e. with the note below it), this would generally be written a note lower and start with a grace note above (e.g. if a composer wished to trill downwards between the notes C and B then he or she would write a grace note on the note C followed by a written B with the trill symbol directly above it).
For stringed instruments, trills almost always tend to be played slurred. This means that the fingers rapidly alternate notes as the bow continues it’s stroke. It is very rare for a trill to be bowed separately (i.e. the bow changing direction as each note changes). If this was ever required, generally the composer would have to write out the notes in full rather than applying the trill symbol.
Trills can be highly effective in pieces of music written for solo instruments as well as those composed for larger sections of stringed instruments and provide a graceful and often dream-like character to a passage. They are also associated strongly with the 17th and 18th centuries and therefore can often conjure up an antiquated and charming feel to a piece which will evoke associations with an older style.
Although to the listener it would appear that trills require an advanced level of co-ordination to play, in effect they are slightly more straightforward in that generally the upper finger does the trilling whilst the lower finger remains on the lower note. It is also possible to trill between an open string and a first finger.
If a composer or string arranger would like a player to trill between an interval greater than a tone and a half (e.g. a trill symbol could be applied to the note C and by the use of an accidental could enable a trill with a D#, giving a tone and a half), then like the separate bows, this would usually be notated in full. Depending on the speed of the piece, this could be written with demi semi quavers all slurred in the same bow.
This is a technique reserved for the most skillful players and when executed rapidly and cleanly, up and down bow staccato can have a mesmerising effect. It is different from normal staccato in that the bow in effect scoops several times in an up or down direction with a gap in between each note. Slowed down, the bow presses into the string (like the martele) and then releases as the bow travels before stopping - and then the whole process starts again. The movements and distances involved are minute and many players find that stiffening the bow arm is a way of playing this effectively.
Up and down bow staccato is notated as a series of notes with dots above the note heads all slurred together, often as many as 24 notes in one bow. This is exactly the same notation as for an up or down spiccato passage and it is up to the players judgement as to which technique to use. As an example, in Sarasate’s Zigeunerweisen there are many such passages but as they are notated so rapidly, they cannot be played as staccato at such a high speed and therefore must be spiccato whereas in Wieniawski’s second violin concerto (first movement), there are passages of semi quavers that are written at a speed where an up bow spiccato wouldn’t be impressive, but an up bow staccato would wow the audience!
In a string arrangement, it would probably only be written at a very slow speed - perhaps accented to create an attacking or percussive feel with the strings. Only in a string concerto that was designed to show off the talents of a virtuosic performer would the rapid up or down bow spiccato be written.
It may well be that putting a passage of rapid up (or down) bow staccato in front of a group of studio musicians could cause a few raised eyebrows and would generally be written for a solo instrument (where the player was warned in advance!)
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!
Left Hand Pizzicato is a specialised technique which is generally employed in more virtuosic string music and involves the fingers of the left hand actually plucking at the string, often with another finger ’stopping’ the string to create the pitch. It differs in sound from a normal pizzicato because of the place on the string where the plucking occurs. Normally, a pizzicato would happen within two or three inches of the top of the fingerboard whereas by it’s nature, left hand pizzicato occurs much further down, a few inches from the ’start’ of the string, near the nut (raised area at the bottom of the strings).
When the strings are plucked in normal usage, the sound is fulsome and (depending on the string) will take a slight amount of time to die away, whereas in L.H pizzicato, the sound is much tinnier and has a thin, pecking sound. Paganini uses it in his 24th Caprice to great effect by alternating it with ‘up bows‘ which have a similar sonority.
In L.H Pizzicato, the strength of fingers is important and those string players with well developed finger muscles will find it easier to perform than those with weaker fingers. Like normal pizzicato, the string is plucked sideways with the finger applying lateral pressure in a ‘dragging’ motion followed by a rapid release.
Most importantly of all, it is marked by a cross (+) above a note. The effect of L.H Pizzicato is a surprising one and gives a very flashy touch to a piece. It very rarely occurs in orchestral music but appears more in the solo repertoire.
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.
When a string compsoser or arranger wishes to create a specifically warm or hazy sound, they may well write in the direction ‘Sul Tasto’ meaning ‘on the touch or on the fingerboard’. In effect this means bringing the bow further away from the bridge until it is over the end of the finger board. Here, the string has less tension as it is further from the point of suspension on the bridge and therefore has less resistance, so cannot take as much pressure. Generally Sul Tasto is used for a softer dynamic (such as p or pp) and like a harmonic, a faster, gentler bow is utilised.
Yehudi Menuhin defines it as giving “….a velvety and cooing sound. The string is soft, not as resistant, and cannot take any pressure….”
When a full string section players Sul Tasto, the effect can be of a very soft sheen with any surface noise absorbed by having so many players. In a solo instrument, recording with a close microphone can pick up some of the surface noise (the bow against the string), but it has a lilting, ethereal quality, not unlike a flute.
The phrase ‘Sul Ponticello’ written in a score means ‘play near to the bridge’. When string players play, the bow is continually making tiny adjustments, resulting in it moving nearer or further away from the bridge, according to what sonority or strength of sound is required. In Sul Ponticello however, the direction is for the bow to be as near to the bridge as possible - and this creates a harsh, metallic sound, unlike the normally warm and rich tones produced by the instrument.
A string arranger could very well write in Sul Ponticello if they wanted the effect to sound chilly, or tense. Often Sul Ponticello is written as a tremolando (rapidly repeated note) which gives the music a sinister quality and lends itself well to film or television music of a suspense / horror genre.
On a solo instrument, Sul Ponticello can sound scratchy and unpleasant, but in a whole section the effect is of a blending of sounds, resulting in an eerie and uncomfortable feel - which may well be what is required!
Counterpoint is the art of writing individual parts that have complete melodic independence from one another yet work in harmony and compliment each other perfectly. It is a skill that comes from an advanced understanding of harmony and an innate grasp of what will sound correct. If done with imagination and flair, counterpoint can completely transform any piece of music into something rich and complex.
Fortunately, there is no computer (as yet!) that can automatically write counterpoint - it is an art that comes from a human beings inspiration.
There have been many sessions that we have been asked to provide strings on where the string parts have been sustained in nature and harmonically slightly empty (often travelling in octaves or unison with little texture in the middle). This can be appropriate where the other instruments are busy in the track but often it’s inappropriate and doesn’t fully utilise the presence of live strings in the studio. In this context, counterpoint in the form of a skillful counter melody or an interesting, moving part can provide a special feeling adding climax and interest to the string parts. When a composer is completely reliant on a keyboard and therefore bases much of the writing on blocks of chords, then the strings never really come alive. It is the presence of the individual strands which make up a beautiful, flowing whole - rather like a tapestry with different threads and colours woven through it.
If a string arranger is considering writing a counter melody (whether above the tune or in the middle register to add detail underneath), they can start by playing around with the three notes of the triad in the existing chords (in the instance of a 7th chord, this may be 4 notes). Before long, a melody will start to unfold based on these notes and eventually the shape of the melody will emerge, often through passing notes which allow it to effortlessly travel from one chord to another in a smooth succession.
Here’s an example of a string arrangement I wrote for string quartet - based on the traditional Christmas tune ‘I Saw Three Ships’. Although many carol books suggested which chords to put with it, I was happier experimenting until it felt right.
Violins: Vaughan Jones and Louise Bevan, Viola: Adrian Smith, Cello: Tony Woollard
As an example of a counter melody, at around 16 seconds in, the second violin begins a counter melody to the same rhythm as the first violin. At 29 seconds in, the viola and cello have the same motif, an octave lower whilst the upper strings have a pizzicato figure to add rhythm and life. All the lines sound pleasing when played individually. The rhythm and tune is moved around between different instruments to add interest whilst the pizzicato bridge section builds up in thickness as well as volume to add climax. At 1 minute, a new counter melody is introduced like another layer being added in the second violin, whilst violin 1 and cello are in octaves. At 1 minute 20, the tune from the second violin breaks into the first violin part to dominate the piece with the main theme becoming secondary but still discernible. At around 1 minute 40 seconds, a totally new melody emerges that now replaces the main melody all together, yet is it is still in the same style and fits the chords harmoniously. At 1 minute 56, a canon in four parts is begun where part of the theme is treated fugally, passing from one instrument to another but always overlapping and building up a busy counterpoint which ends with the cello repeating a two bar phrase. The distinctive rhythm is kept going from 2 minute 15 onwards in the cello part whilst the second violin gets the melody and the first violin has an intricate and showy folk type accompaniment - this builds up to a climax before the two violins have an identical one bar phrase in sequence and the whole piece ends with the rhythm played by the viola in an echo of the opening of the piece.
Generally writing or arranging for strings does not always have to be this busy or intricate (unless they are required to be a real focal point!) but when strings are required to stand up in their own right (without additional instruments in a track), they need to really come alive!
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.
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.
