Composing in general:
Successful pieces are those that are memorable so it’s important to create a motif. For a powerful piece, double the bass line and have it follow the melody very closely, using octaves can give it a richer and more fuller tone but bass works better when it’s pretty basic because it prevents the muddy sound but keeps it powerful. Typically, the cluster chords sound good around C5 so really only the Viola works for these. Less is definitely more in the quantity of instruments but in order to keep it interesting and fancy, string articulation is very important. Listening to the style that you’re wanting to create in can help spark inspiration, so people like: 2CELLOS, Beethoven, James Horner, Mendelssholn, John Frizzell, Berlios and Alan Menkin.) Lastly, Violin 1 is typically playing the Soprano voice, Violin 2 the alto voice, Viola is tenor and Cello is bass. As I’ve said previously, keep the bass simple but powerful by playing the root of the piano chords with some rhythmical aspect by playing 8ths. The cello can also play octaves. (Pro Audio Files. 2022)
Harmonies:
The ‘Divisi’ technique is where you divide a section of the strings between the instruments. For example, you can have half the Violins playing the top half and the other Violins play the bottom to create a more fuller sound. Even though the sound is more full, it can feel a little weak and less powerful because there are less people playing one note. Keep in mind that basses rarely use Divisi, it’s mostly just violins. (YouTube. 2022.)
Different styles people compose in:
Four voices – Violin 1: Soprano, Violin 2: Alto, Viola: Tenor, Cello: Bass.
Five voices – Violin 1: Soprano, Violin 2: Alton/Tenor, Viola: Filler, Cello: Bass. Having the Viola playing the filler creates more of a feeling to the piece. To create the filler, the Viola takes a little bit from each of the other instruments to help boost the harmonies and chords. If the bass note is too low then the Violin can play the closest chord tone available and it’ll be just as effective.
Seven voices – Violin 1: Soprano, Violin 2: Divisi Alto/Filler, Viola: Divisi Alto/Tenor, Cello – Bass. For this technique, the Cello is copied in an octave down. This sounds really full but it can sometimes sound a little muddy if the Divisi’s aren’t composed correctly.
Eight voices – The violins double to play the octave up and half the Violas help double the bass to create a fuller sound whilst allowing the melody to stand on top. Again, when the note is too low for the Viola to play, they can play the closest chord tone instead and it’ll be just as effective. To create a richer sound, double the alto and tenor parts up and octave. The bass sometimes can sound good with an octave lower. (Music & Audio Envato Tuts+. 2022)
Articulations I may use:
A lot of string composing can be really simplistic but the articulations can make the biggest difference between something basic and something that sounds beautiful. I think I’ll be using Con Sordino, which is muted strings, because they compliment darker harmonies. Sul Tasto and Col Legno Tratto creates a softer sound which will compliment my build ups in Estrella beautifully. Testa/Punta d’arch is when they play with the tip of the bow to create an ethereal sound and I’d like to experiment in that because I think it could really take my pieces to a different place. Legato and Staccato will defiantly be used throughout my piece, I’m confident in using those as I have done so in the past. Lastly, trills would be something I’d like to incorporate as I’m comfortable using them on piano but never really tried in strings and I think it can help transform a piece if used correctly. (Professional Composers. 2022.)
Range:
Violin – A3 – A7
Viola – C3 – A6
Bass cello – C1 – C4
Song Analysis:
Whilst this piece doesn’t actually have piano in, this gives me an idea on how to make the strings work collaboratively. The strings really build off one another, all whilst the cello remains consistent. Imagining the bag pipes were the piano, I really like the idea of the cello almost following the piano and having the Violins play the lighter melodies that slightly differ from the actual piano, i.e. have them play staccato up. A lot of this also has filler notes to make it sound like there’s more movement, this could be useful when I’m composing for the Viola. I like how the violins usually play something different to the rest, it adds more emotion to the piece. (Horner, 2015).
The piano plays a motif whilst the strings kind of lead you through the song, guiding your emotions. This one uses a particularly low end in the strings but mid range for the piano and I think that really helps the piece to not sound so muddy. Whilst the strings are holding notes, then the piano does a little trickling sounding scale and I think when both parts aren’t doing crazy things, it works really well. (Carnival of the Animals, R. 125: XIII. The Swan, 2016)
This one actually starts without any piano, just violin and then the cello comes in as more violins and violas fill up. Last of all, the piano comes in. I think this build up is really effective because the strings set the feeling and then the piano plays the motif. It’s kind of similar to The Carnival of Animals in the aspect of the strings guiding you whilst the piano plays the motif. The build up really makes you feel. (Saturn, 2016)
The start it just chords with a little movement, then he moves into a little riff with the harp before building up the strings in his motif. The violin really changes the piece because of how the ranges differs so much to the rest. The percussion adds more of a dramatic effect and compliments the cellos downwards legato bit. When everything is in, you can feel everything so intensely. The abrupt stop to just piano and harp again is kind of like a moment to really process what you just felt before he takes you back there with another build up. Lastly, he ends on pretty the exact part he started on but with the cello in to create more of a sad tone and I think that’s really effective after such an intense piece. (Einaudi, 2018)
Tips for my piece:
Possibly have the strings start by building them up, then add the piano in.
Violins sound phenomenal when they’re leading the higher end but don’t do it too often as it can get too busy.
After a big build up, it can sound nice to go into a softer piece, maybe just piano and cello, so you can just sit with what you’ve just felt before going back to the intense feelings.
Endings can be as simple as using the start but keeping in the cello or something to create more emotion.
Bibliography:
Einaudi, L., 2018. Experience. [online] Youtu.be. Available at: <https://youtu.be/2MHsDNV9lgY> [Accessed 25 May 2022].
Horner, J., 2015. Hymn To The Sea. [online] Youtu.be. Available at: <https://youtu.be/poJlUQt8KTk> [Accessed 25 May 2022].
Music & Audio Envato Tuts+. 2022. How to Arrange 4-Part Harmony for Strings. [ONLINE] Available at: https://music.tutsplus.com/tutorials/how-to-arrange-4-part-harmony-for-strings–audio-23215. [Accessed 14 February 2022].
Professional Composers. 2022. 10 Composer Tips for writing Orchestral Music – Professional Composers. [ONLINE] Available at: https://professionalcomposers.com/10-composer-tips-for-writing-orchestral-music/. [Accessed 14 February 2022].
String Articulations: Terminology and Effects — Pro Audio Files. [ONLINE] Available at: https://theproaudiofiles.com/string-articulations-terminology-and-effects/. [Accessed 14 February 2022].
YouTube. 2022. FROM PIANO TO FULL ORCHESTRA IN 10 MINS – How to orchestrate a piano chord progression – YouTube. [ONLINE] Available at: https://www.youtube.com/watch?v=zAYdWbvt7tQ. [Accessed 07 March 2022].
Youtu.be. 2016. Carnival of the Animals, R. 125: XIII. The Swan. [online] Available at: <https://youtu.be/JO5QYvxcvi4> [Accessed 25 May 2022].
Youtu.be. 2016. Saturn. [online] Available at: <https://youtu.be/dzNvk80XY9s> [Accessed 25 May 2022].