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String Instruments: Orchestration
- 2. String Instruments It might sound obvious, but whether you’re working with real instruments or sample libraries, knowing about the instruments you’re writing for is going to improve your music infinitely. So many composers simply open a “Full Strings” patch in their DAW and then can’t figure out why their strings don’t sound right, or realistic. While arranging for strings is a slightly more involved skill, some knowledge of ranges, articulations, and timbre of the instruments will help you make more informed decisions in your writing, and will open up a whole new world of expression to you.
- 5. The String Family The instruments in the string family include: • Violin • Viola • Violoncello (or cello) • Double bass (or contrabass)
- 6. The String Family The harp is also part of the string family, but I will cover that in a separate section due to its vastly different playing method. Although it varies from project to project, and depending on the exact sound a composer is aiming for, a standard modern orchestra string section comprises of: • 30 violins (split as 16 “first” and 14 “second” violins) • 12 violas • 10 violoncellos • 8 double basses
- 8. Ranges & Tunings NOTE: When describing ranges and tunings I am using conventional MIDI numbers to describe the octave, as opposed to the traditional octave descriptions. Therefore you should assume “Middle C” to be “C3”
- 9. Violin The smallest of the string instruments, the violin has four strings, tuned to: • G2 • D3 • A3 • E4 The lowest note of a violin in standard tuning is G2, and the highest is E6 – although some violins may be designed to allow players to go higher. Many sample libraries actual limit the highest note to C6; bear that in mind when composing if your piece is being created with samples! Violin parts are written in the treble clef.
- 10. Viola Often the most overlooked of the string instruments, the viola is tuned one fifth below the violin, so standard tuning is: • C2 • G2 • D3 • A3 It’s range spreads from C2 up to around G5 – again, some models will allow higher notes, but sample libraries are often limited to D5. Most viola parts are written in the alto clef, unless the part is in the higher register for an extended period, in which case the treble clef can also be used.
- 11. Cello The cello is tuned one octave below the viola, and is often seen as one of the most beautiful sounding string instruments: • C1 • G1 • D2 • A2 Due to its longer fingerboard the cello’s range is larger than its smaller siblings’: from C1 all the way up to C5. Cello parts are written in the bass clef, unless (as with viola) there are extended section in a higher register, in which case the tenor clef can be used to avoid ledger lines.
- 12. Contrabass Guitarists and bassists may finally see something familiar here. The tuning of the double bass is the same as the bass guitar or first four strings of the electric guitar – the only member of the string family to be tuned in fourths rather than fifths: • E0 • A0 • D1 • G1 Many modern orchestral double basses have what’s called a “C Extension” – allowing the range to be extended down to C0. The highest practical note is G2. Double bass parts are written in the bass clef, and sometimes the tenor clef.
- 14. Technique/Articulation It is very important to remember that string instruments can make alterations to notes while the note is being played. This may sound obvious, but if you’re composing at the piano/keyboard it is easy to forget that a string player is able to increase or decrease their dynamics and intensity of vibrato while sustaining a note – using these effects can dramatically improve your orchestration and add some real flavour to your pieces. So don’t forget about crescendos (getting louder) and decrescendos (getting quieter) – big swells always sound amazing!
- 15. Technique/Articulation The articulations and techniques are generally the same across all of the string instruments, and include, amongst many others: • Legato • Nonlegato • Staccato/Spiccato/Martellato • Marcato • Pizzicato/Slaps • Col Legno • Harmonics • Glissando/Portamento • Double Stops
- 16. Legato Much like how vocal “melisma” is the singing of one vowel over multiple notes, the “legato” articulation is the playing of multiple notes over one bow stroke. This creates fluid sounding passages. Obviously, the player will need to change bow direction at certain points, so think carefully about the phrasing of your passages and where you would like more detached notes vs fluid notes. Non-legato or détaché is basically the opposite.
- 17. Staccato/Spiccato/Martellato Staccato is where the notes are much more “detached” – think “bouncy” and you’ll get an idea of the effect. Spiccato is a more emphasised form of staccato, where the player literally bounces or springs the bow off the string. Martellato is the opposite: the bow should not leave the string, but has a very abrupt start and stop that can give a more “aggressive” sound.
- 18. Marcato Marcato basically implies an accent on every note. Each note is played more forcefully and intentionally, giving a very pronounced effect.
- 19. Pizzicato/Slaps Pizzicato is where the string is plucked instead of bowed. Unlike the guitar, when a violin/viola/cello/double bass is plucked the sound dies away very quickly. Therefore, pizzicato gives a very light, quite empty sound. At its softest it is a delicate, harp-like pluck. At its hardest it becomes a “slap”, sometimes called a “Bartok” pizzicato (named after the composer). This is where the string is plucked so hard that it physically slaps the fingerboard.
- 20. Col Legno This one can make you pretty unpopular…Col Legno is where the player turns their bow upside down and whacks the strings with it. So instead of using the “hairs”, they’re hitting the strings with the wooden part of the bow. A great effect, but players with expensive instruments won’t thank you for employing it.
- 21. Harmonics If a string player lightly places their finger on the string while bowing a variety of high pitched noises can be heard, called “harmonics.” Depending on where the finger is placed, these can be quite subtle (like one octave above the note) or not (like 5 octaves above a note!)
- 22. Glissando/Portamento Another great effect that can be done on strings is glissando or portamento. This is where the player “slides” between two notes. Instead of a sudden note change, the pitch gradually shifts up or down to the new note. This can be done at various speeds and distances – even across strings (but the string switch would usually be noticeable).
- 23. Double Stops These are chords for string instruments! A string player can easily bow two strings at once to create chords – you just have to think logically about the physically possibilities (e.g. wide intervals are often less practical, unless one of the notes is an open string). Players can even bow across three strings, but that requires a lot of pressure on the strings so is therefore only suitable for short, louder chords – brilliant for solos.
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