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In this article:
Slimming World
Arranging For Strings, Part 3
General Cluster Tips & Techniques Buy PDF
W
Expression elcome to the third part of my string-arranging series
Masterclass Tip 3: and if you missed the first two, they're available online
Add A Solo Instrument at /sos/jun12/articles/string-theory-pt1.htm and
/sos/jul12/articles/string-theory-2.htm. This month, I'm joined by
the talented composer, arranger and orchestrator David William
Hearn, whose extensive CV includes (deep breath) music for the
TV shows Dancing On Ice, American Idol and The Voice,
countless television ads, programming orchestral mock-ups for
the movies The Chronicles of Narnia, 2012, Lay The Favourite
and Paul, for tours and albums by Katherine Jenkins, George
Michael, Westlife, Kylie Minogue and Shirley Bassey, and for
producers such as David Foster and Phil Ramone.
Slimming World
When I started out arranging for strings, I soon realised that
keyboard and guitar chords rarely work well when transcribed
note-for-note for a string section. The reasons for this are fairly
obvious: a keyboard patch or strummed guitar makes
a homogenous sound in which all notes blend together into
a unified whole; a string ensemble is far less homogenous, since
it features different types of instrument, as well as multiple
players performing each note of a chord. The resulting sound is
therefore richer, more complex and more expressive than
a keyboard or guitar could ever be, so in order to avoid creating
an overly dense sound, we need to think carefully about what
notes in a chord should be assigned to the string players.
General Cluster
As I remarked in my first article, two months ago, one of the interesting things about
writing string arrangements nowadays is that songs usually arrive with a 'strings demo'
attached, more often than not created by the song's composer. A set of demo string
arrangements of unusual quality came from a client called Rob Reed, a genial Welsh
keyboardist and TV composer who was in the process of recording his own long-form DAW Tips from SOS
symphonic-rock concept album. (I realise that to utter the last sentence in a UK music
100s of great articles!
magazine back in 1977 would possibly have led to death threats, but in the Cubase
Diagram 5: The opening chord of
post-post-punk, chilled-out climate we now enjoy, I feel safe to tell you that the music on Rob Reed's song 'Lily', from his Digital Performer
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One song's intro was particularly effective, being a quiet, sustained chord with an eerie, dreamy atmosphere, played on high
violins. I couldn't exactly identify it by ear, but thought it might be a major chord with some added intervals. Opening the MIDI
file revealed the dense voicing you see in diagram 5. I'm assuming that Rob played it with two hands, rather than cheating and
using his feet.
Orchestrating this dense event for real players required thought: while the sampled
demo version sounded fine, I wasn't convinced that we needed the players to perform
all nine notes. I feared that would sound too full and undermine the attractive,
transparent quality of the demo. The solution was to omit the three pitches marked in
red: the top note was so quietly played on the demo as to be practically inaudible, and
I also felt we could live without the two Eb notes, since the Gb was already adding
a nice fourth suspension to the lower Db-major triad. In the end, I orchestrated the
chord as depicted in diagram 6. You'll notice that the top note of the violas is interposed
between the second violins' two pitches, in order to help unify the two sections.
I should point out that although this chord contains a fair number of closely-positioned
notes, the concerns about over-density noted earlier were not a problem. This is
because, firstly, its high pitch precludes an excess of warmth or muddiness in the sound
and, secondly, since it's played unaccompanied at the top of a piece, it's not competing
with any other arrangement elements.
As several of the songs on Falling Deeper were played on unaccompanied piano, there was plenty of scope for lighter
sonorities. One example was the song 'Everwake', a charming 3/4 ballad featuring guest vocalist Anneke van Giersbergen.
The opening verse leads to an eight-bar instrumental break in A-minor, played on solo acoustic guitar; I orchestrated it with
violins playing a sustained, high-pitched fifth interval of A and E (the lower note pitched an octave and a sixth above Middle
C).
Note-wise, this is about as simple as it gets; clearly, adding a high fifth based on the home key of the music isn't going to
affect the harmonic make-up of the piece one way or the other. However, what I was exploiting here was not note content, but
sheer sound the light, bright, clear and pure sustained tone of the violin's top string, stroked delicately into sensual motion
by a horsehair bow. With eight violins playing the high note and six tackling the lower, this simple interval had a subtly
electrifying effect on the track.
Harmonics
If you want an even more delicate effect, try harmonics. As every
guitarist knows, these are obtained by playing a string while
touching it lightly at the octave with the fingertip, producing an
ethereal, quiet chime. String family instrument players can do this
too, and in fact can go one better, being also able to play
'artificial' harmonics by pressing the string down and lightly
touching a fourth interval above it, producing a harmonic two
octaves above the stopped note. Using this method, you can
write melodies consisting entirely of harmonics, although, due to
the difficulty of the technique, it's sensible to keep the part slow
Diagram 8: An extract from the string arrangement of Steven
and simple! Wilson's atmospheric 'Belle de Jour.'
I was able to feature violin harmonics on another Anathema track, the piano-based instrumental 'I Made A Promise'
(originally released in song form as 'J'ai Fait Une Promesse'). After an intro featuring some mournful, full-strings chords, the
piano picks out the vocal theme accompanied by the first violins playing quiet, sustained harmonics (see diagram 7). With
each note taken by two players, this created a delicate, ethereal sound. As you can see, harmonics are notated by placing
a small circle above the note. Artificial harmonics are often notated with diamond-shaped note heads, but in this case I left it to
the players to work out how to play them!
'Belle De Jour'
Canny media composers will be wise to the fact that the strings'
tremolo style (a very fast repetition of a note, usually played with
the bow tip) is commonly used to denote suspense. When
executed by an entire string section playing a diminished chord,
this technique constitutes the classic, scary 'Behind you!' film
music cue, and when played by double basses it can produce
massive-sounding, shuddering vibrations on a seismic scale.
There is, however, a more subtle application of tremolo that Diagram 9: Anathema's epic, formerly doom-metal 'Sunset of
avoids such clichs: we in the trade call it 'div trem' (short for Age' gets the full string orchestra treatment. Note the dramatic
'divisi tremolo'). violins trill and slide down.
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The basic idea is that, rather than everyone playing tremolo, a section divides in two, with half the players doing the tremolo
bowing while the others play in the normal arco style.
This proved to be the perfect approach for an instrumental piece called 'Belle de Jour' on Steven Wilson's Grace For
Drowning 2011 double album. The music is light and romantic, reminiscent of '60s film soundtracks; Steven had specified the
tremolo delivery, and had augmented the sampled strings on his demo with a real violin, played by himself in vigorous tremolo
style.
Diagram 8 shows a short extract from the 'Belle de Jour' string arrangement. In the studio, we tried various ways of
implementing the 'div trem' approach and, as I recall, we ended up with only the first violins doing it, which added a very
nice shimmering effect to the high melody line. The basic chord sequence oscillates between A-minor and Ab-major; I wanted
to introduce some additional harmonic movement within the chords, so gave the cellos a melody line that adds a low major
seventh to the Ab-major chord in bar three. I also deliberately introduced some harmonic confusion in bar six, where the
melody line is briefly underpinned by the four adjacent white notes A, B, C and D. This breaks all the rules of harmony, but it
sounded good to me!
The crescendo and diminuendo dynamic movements in this extract are a very important aspect of string playing. I noticed
when I first worked with the superb London Session Orchestra players that they naturally added subtle, expressive volume
swells and fades even though the parts didn't specify them. Coming from a rock background that recognises only two
dynamics loud, and louder this was both a pleasant surprise and a valuable lesson. I was also amazed that the players
collectively executed these expressive gestures as if they had performed them hundreds of times, when in fact they had never
heard the music before surely the sign of an ensemble who play a lot together.
Sunset Trills
Trills love'em or hate'em? A vocalist of my acquaintance once
asked me not to play any on the backing track of a song we were
working on. When I asked why, he replied, "because I always
think musicians only play trills when they can't think of anything
else to play. That certainly wasn't true in my case, but I can see
how in certain circles a trill might be considered a bit
namby-pamby however, the technique can be very effective
when used sparingly, and in my opinion sounds particularly good
on strings and woodwinds.
Diagram 10: 'Sunset of Age' fades into the sunset with
I used trills on a string arrangement for Anathema's 'Sunset of pulsating, chordal string trills.
Age', also from Falling Deeper. The original version had
appeared on the 1995 album A Silent Enigma, back in the group's doom period, and consequently it's a slow and heavy,
guitar-dominated affair. The re-interpreted, 21st-century version is more lyrical and romantic, but still retains an ominous
quality.
One of the song's main themes is a big, half-time, see-sawing E-minor bass riff which goes up to F in the second half of
every fourth bar. The chords played over it are E-minor, A-minor, C-major 7 over E (one bar each), and in the fourth-bar
turnaround, two beats each on C-major over E and F-major 7. At the outset, the strings play the changes as sustained chord
pads; in the second verse, I introduced more rhythm, by making the higher strings play half-time off-beats, almost like
slowed-down reggae, while the cellos doubled the on-beat bass line. When it came to the instrumental, I wanted to hear
something different playing over the chord sequence, so wrote the four-bar passage you see in diagram 9.
The hallmark of this particular section is the emphatic staccato rhythm played by violas and cellos; it's actually an
orchestrated version of something I played on keyboard, using a combined strings-and-woodwinds patch from Project Sam's
excellent Symphobia 2 library (the woodwind element is pretty subdued, but the marcato strings have a good, fierce attack).
To add more angst, I wrote a high trill note in bars 3 and 4, introduced by a dramatic run-up; to finish the trill with a bang,
I appended a manic-sounding slide down from a high-pitched E-minor triad over the last two beats. The three notes in this
chord were split between 14 violins in a 6:4:4 ratio. As you'll recall, the instruction 'div' (short for 'divisi') in the score tells the
players to divide the notes of the chord between them, rather than attempting to play the entire chord on their instrument
(theoretically possible, but usually inadvisable).
'Sunset of Age' plays out on a long, histrionic guitar solo (some things never change), doubled in places by high violins. The
solo peaks on a high sustained note, at which point I pushed the boat out and wrote the chordal trills you see in diagram 10.
The strings are basically moving in a kind of counter-rhythm between a D-major and E-minor chord, but the notes are almost
irrelevant: the significant fact here is that each pitch is played as a loud trill, giving the strings a great, vibrant energy.
In Conclusion
I hope some of the techniques, musical extracts and technical
tips outlined above will be of use to you. I suspect that many
musicians would like to try their hand at string arranging but are
intimidated by what seems like a complicated process.
Fortunately, we now have excellent string sample libraries that
you can experiment with before calling in the session musicians.
When you do pluck up courage to book them, you'll find that the
new breed of studio string players are very helpful, and will
VSL's Vienna Instrument 'Map Control' window can invert
happily advise you on the best way to perform your incoming MIDI CC data so that pushing your expression
arrangements. controller down makes the instrument volume quieter!
'Lily' (music by Rob Reed) is from the 2012 album Kompendium (www.magenta-web.com). 'Sunset of Age', 'Everwake' and 'I
Made a Promise' (all composed by Daniel Cavanagh) are from the 2011 album Falling Deeper by Anathema
(www.anathema.ws). 'Belle de Jour' (Steven Wilson) is from the 2011 double album Grace For Drowning by Steven Wilson
(www.gracefordrowning.com). Thanks to the composers for permission to use extracts. .
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