ARRORCH
ARRANGING
FOR
ORCHESTRA
ARRORCH
STRING WRITING I
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OVERVIEW
Introduction to String Writing I
String Instruments and Their Range
Violin
Viola
Cello
Double Bass
Open Strings
Double Stops
Possible Triple and Quadruple Stop Triads
Acoustic Bowing Techniques
Bowing and Dynamics
Choosing Bowings
Articulations
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INTRODUCTION TO STRING WRITING I
The String Section is the largest section of the orchestra, comprising of at least
60 players for a full symphony orchestra. The development of the construction of
the bowed string family—Violin, Viola, Cello, Double Bass—was already perfected
by 1700s. The family’s combined pitch range, homogenous timbre, dynamic
capability, and variety in articulation and effects make it the most used section in
the orchestra.
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INTRODUCTION TO STRING WRITING I
The homogeneous timbre is due to their similarity in construction. All consist of four
strings suspended over a wooden soundboard. The pitch of the note is
determined by the length and thickness of the vibrating string, while the wooden
body amplifies the resulting sound. To change the pitches, the player pushes the
string down to the fingerboard, changing the length of the vibrating string and
raising or lowering the pitch.
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CONSTRUCTION
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VIOLIN
The violin section comprises majority of the string section and is
the soprano of the string family. They are almost always given the
melody in a string ensemble. In the orchestra, the violins are further
subdivided into two sections, Violin I and Violin II.
Credit: UP Symphony Orchestra
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VIOLIN
The violin range starts at G3. And while its lower boundary is always the same, their
highest notes can vary from player to player. In orchestral writing, it is safe to write up
to E7. Note that for a soloist, you can write up to B7.
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VIOLIN
When playing pizzicato (plucking the strings), the strings tend to lose its resonance on
their higher register. Generally, the upper limit for pizzicato violin would be E6.
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VIOLA
The viola is usually the alto voice in the string family. It is slightly larger than a violin,
which means that their range can go even lower. Their larger body and thicker strings
make their timbre darker than the violin. The viola is usually used to play
countermelodies accompanying melodies, fill in harmonic voices, and present its own
melodic statement.
Credit: UP Symphony Orchestra
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VIOLA
The viola starts at C3. Like the violin, its highest note will depend from player to player
but in orchestral writing, it is safe to write until C6. As mentioned in the previous
meeting, the viola reads the alto clef, but in passages using their higher register, we
can switch to the treble clef. For pizzicato, they can go up to A5.
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CELLO
The cello takes both the tenor and bass parts of the string section.
Unlike the violin and viola, the cello is not held up on the shoulders and
supported by the chin. Rather, it is placed in between the knees while
the player is seated. Additional support is provided by the endpin.
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Credit: Manila Symphony Orchestra
CELLO
The cello has a very wide pitch range. Their lower register can be a foundation for
harmony, their middle register can be used to fill out the harmony or add
countermelody, and their high register can intensity a melodic presentation.
Credit: UP Symphony Orchestra
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CELLO
The cello range starts at C2 and can be as high as A5 in orchestral contexts. Their
parts are written using the bass clef, and like the viola, can switch to the tenor clef,
and even the treble clef for higher passages.
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DOUBLE BASS (CONTRABASS)
The double bass is the true bass of the string family, and is the
biggest string instrument. The double bass can be played standing up
or sitting on a stool. Like the cello, it also has an endpin for added
support.
Credit: UP Symphony Orchestra
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DOUBLE BASS (CONTRABASS)
Like the rest of the string family, the double bass typically has four strings, with its
lowest note being E1. However, some double basses today have a C-Extension that
can extend their range up to C1.
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DOUBLE BASS (CONTRABASS)
Like the rest of the string family, the double bass typically has four strings, with its
lowest note being E1. However, some double basses today have a C-Extension that
can extend their range up to C1.
The double bass is a transposing instrument, sounding an octave lower than the
written pitch.
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DOUBLE BASS (CONTRABASS)
When writing for the double bass, it is safe to have E1 as your lowest note, unless you
know that the player has a C-extension.
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OPEN STRINGS Violin
Open String refers the use of the full-length of the string
Viola
without pressing to alter the pitch. The violin, viola and
cello’s open strings are all tuned in perfect fifths (from the
lowest note), while the double bass’ is tuned in perfect Cello
fourths.
Double Bass
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OPEN STRINGS Violin
Things to note:
Viola
Open strings produce a lot of power since because
they are unpressed
But they lack warmth and vibrato (vibrato can only be
Cello
produced on pressed strings
Open strings can be used to play double, triple or
quadruple stops
Double Bass
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NOTATING STRING PREFERENCE
If you want a musician to play a passage on a specific string (as different strings
produce different timbres as well). you can mark the start of the passage with the
term “Sul” plus the letter of the string. Ex: Sul G, Sul D
Choosing to play on a particular string gives the orchestrator more control in the
piece’s timbre. Opting to play the passage on a lower string gives it a darker tone than
if played in their most convenient string position.
Note: Make sure that the passage is playable within the range of the particular string.
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NOTATING STRING PREFERENCE
Paganini: Cantabile for Violin and Guitar
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MULTIPLE STOPS
Playing two or more notes on adjacent strings simultaneously are
called multiple stops. Example of multiple stops are double, triple,
or quadruple stops.
On all strings, it is possible to play two notes on adjacent strings by
fingering the two pitches (or having one note on an open string) and
then drawing the bow across both strings.
Take into consideration how these stops will be played as you need
to play the notes on adjacent strings. In the next slides, you will see
double stops that are impossible to perform because they have to
be played on the same string.
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MULTIPLE STOPS
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MULTIPLE STOPS
When an open string note is utilized, you can create double stops
with intervals or 3rds, 6ths, 4ths, and 5ths
Double-stopped notes can be played simultaneously. However,
triple and quadruple-stopped notes cannot, due to the nature of
the bridge and the strings positioned on a curve, so they are most
likely played arpeggiated
Multiple stops also have to be played with more force since we’re
trying to play more than one note.
Multiple stops should be used sparingly and for specific situations.
Example: avoid writing lyrical lines with double-stop notes as
it will be difficult to execute.
Triple and quadruple stops are usually played on relatively
loud dynamics (because of the force needed)
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LISTENING: SERENADE FOR STRINGS:
TCHAIKOVSKY
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LISTENING: SERENADE FOR STRINGS:
TCHAIKOVSKY
Notes:
Most of the passage uses double-stops
Most of them are in intervals of 3rds, 6ths. 4ths, and 5ths
Despite only having 5 parts (Violin 1 & 2, Viola, Cello, Double Bass),
the piece sounds more harmonically rich because more notes
are being played
Double stops are played accented in relatively loud dynamics
(mf-fff)
Rolled (arpeggiated) quadruple stops on m.15
I will be providing a document with some possible multiple stop
notes :)
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ACOUSTIC BOWING TECHNIQUES
The bow is essentially what differentiates bowed string
instruments from the plucked string instruments.
Like the instrument body, the bow is constructed
similarly across all bowed string instruments
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ACOUSTIC BOWING TECHNIQUES
The bow is held at the Frog with the right hand. Moving
the bow from the frog to tip is called a down-bow,
moving the bow from the tip to the frog is called an up-
bow.
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ACOUSTIC BOWING TECHNIQUES
Typically, down-bows are preferred for stronger beats and up-bows
for weaker beats. Unless indicated to do otherwise, a string player will
naturally play the strong beats on a down-bow, and the weak beats
on an upbow.
Unless slurred, a string player will play individual notes with alternating
bowings.
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ACOUSTIC BOWING TECHNIQUES
The bow direction of the passage from the previous slide would
be something like this.
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ACOUSTIC BOWING TECHNIQUES
If the phrase starts on a weak beat (ie pickup), string players will
naturally begin with an up-bow.
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ACOUSTIC BOWING TECHNIQUES
Slurs/Legato bowing
Notes that are connected with a slur will be played using a
single bow direction
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ACOUSTIC BOWING TECHNIQUES
Slurs/Legato bowing
Schubert: Symphony No. 5 (start 07:27)
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ACOUSTIC BOWING TECHNIQUES
Détaché
Term used when bow direction changes with each note
Referred as “separate bows”
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Tchaikovsky: Romeo and Juliet (start 6:52)
ACOUSTIC BOWING TECHNIQUES
Staccato
Notes are more detached than in détaché
There is a separation between notes
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ACOUSTIC BOWING TECHNIQUES
Slurred Staccato
Playing multiple short notes on a single up or down-bow
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ACOUSTIC BOWING TECHNIQUES
Spiccato
Same notation as staccato (with a dot)
There is also separation between notes similar to staccato
Playing style differs from staccato
The bow bounces off the string with each note
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ACOUSTIC BOWING TECHNIQUES
Spiccato
Stravinsky: Dumbarton Oaks (start 03:46)
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BOWING AND DYNAMICS
When bowing near the frog, strings can exert more pressure on
the string, creating a louder dynamic (which is why down-bows
are used on strong beats).
As a result, accented notes with slight separation will be bowed
on a down-bow
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BOWING AND DYNAMICS
Notes that begin loud and decrescendo are usually played with a
down-bow, allowing the pressure (and consequently, dynamics) to
naturally decrease
Inversely, notes that begin quietly and crescendo will start with an
up-bow, gradually increasing pressure
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CHOOSING BOWINGS
You can always try possible bowings yourself or imagine a string
player doing it
But for orchestrators who are not familiar with the basics of
string writing, it is best to consult with a string player
Or, unless you are very specific with your bowings, you can opt
not to write the bowings altogether
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ADDITIONAL PLAYING TECHNIQUES
Tremolo
String players play a tremolo note by doing a quick up and
down-bow as fast as possible
Tremolo is marked by three diagonal lines on the stem
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ADDITIONAL PLAYING TECHNIQUES
Tremolo
Start: 10:37
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ADDITIONAL PLAYING TECHNIQUES
Portato
Legato bowing but separating the notes while the bow is
drawn across the string
Notated with both a dash over/under the note and a slur
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ADDITIONAL PLAYING TECHNIQUES
Portato
Handel: Messiah
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ADDITIONAL PLAYING TECHNIQUES
Ricochet/Jete
Bow is thrown on the string, letting it bounce and producing
additional notes
Also notated using dots and slurs, but are usually performed in
fast tempos
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ADDITIONAL PLAYING TECHNIQUES
Ricochet/Jete
Rimsky-Korsakov - Capriccio Espagnol, Op. 34 - (solos)
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ADDITIONAL PLAYING TECHNIQUES
Sul Tasto
Player places the bow on the fingerboard
Produces a soft, breathy, flute-like sound
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Cello Technique - Sul Tasto
ADDITIONAL PLAYING TECHNIQUES
Sul Ponticello
Player places the bow on the bridge
Produces more harmonics, creating a glassy, icy sound
Suitable for soft dynamics
Can be combined with tremolo to create an eerie vibe
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ADDITIONAL PLAYING TECHNIQUES
Col Legno (Battuto)
The wooden part of the bow is used to play the note rather
than the hair
The bow is struck (not dragged) against the string
Since the string is not causing as much friction as the bow hair,
sound becomes wispy and pitch is not as precise
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ADDITIONAL PLAYING TECHNIQUES
Col Legno (Battuto)
Berlioz: Symphonie Fantastique
(start 52:55)
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ADDITIONAL PLAYING TECHNIQUES
Col Legno (Tratto)
The wooden part of the bow is used to play the note rather
than the hair
The bow dragged against the string
Gives a percussive effect
(start 12:30)
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ADDITIONAL PLAYING TECHNIQUES
Con Sordino
“with mute”
Player places the mute on the bridge altering the tone quality
of the notes, dampening the sound and making it softer
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ADDITIONAL PLAYING TECHNIQUES
Trill
Quick alteration between two notes (the note written on the
score and its adjacent note above or below, usually intervals of
2nds)
String players play this with just a single bow direction
Like slurring two notes very fast
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ADDITIONAL PLAYING TECHNIQUES
Trill
Hindemith - Mathis der Maler Symphony
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ADDITIONAL PLAYING TECHNIQUES
Fingered Tremolo
Quick alteration between two notes (intervals of more than a
2nd)
Notated as diagonal lines between the two notes
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ADDITIONAL PLAYING TECHNIQUES
Undulating Tremolo
Notated like finger tremolo (diagonal lines between two notes)
Occurs when two notes are too far apart to be played on a
single string
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Timbral
Range Dynamics
Characteristics
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WEEK 3 ASSIGNMENT
The following excerpt is taken from Benjamin
Britten’s A Young Person’s Guide to the
Orchestra. Some topics discussed today can be
seen here, such as pizzicato, bowings, and
multiple stops.
Copy the excerpt by hand. You will be graded
based on your legibility and attention to detail.
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