Scoring for Strings

1
Scoring for Strings

• The Core of the Orchestra

2
The Viennese Influence

• The string quartets and quintets of Haydn,
  Mozart, and Beethoven influenced the evolution of
  scoring for strings.
  
• The emancipation of the second violin, viola, and
  cello.
  
• The use of voice crossings for special effects.
• The use of particular registers for coloristic
  and structural purposes.
  
• The extension of the range.

3
The Double Bass

• In the 18th and early 19th century, the bass
  usually doubles the cello.
  
• For a lighter texture, it is eliminated.
• Independent bass parts developed through the 19th
  century as the cello takes on the role of a tenor
  voice.

4
Distribution of Musical Material

• Foreground the most important voice.
• Middle ground countermelodies or important
  contrapuntal material.
  
• Background accompaniment, either chordal,
  polyphonic, or melodic figures.
  

5
Distribution of Musical Material

• Consideration of the tonal compass and desired
  emotional intensity must be considered when
  scoring all elements, especially foreground
  material.
• The range and characteristic timbres in
  particular registers will influence the
  effectiveness of a setting.
  

6
Distribution of Musical Material

• The scoring of the main theme, idea, or gesture
  will influence the scoring of the middle ground
  and background elements.
  
• It is usually best (not always) for the other
  material to avoid the register of the foreground
  material.
  

7
Melodic Statements

• Sometimes a unison statement of the antecedent
  followed by a change in texture in the
  consequent.
  
• Coupling is two instruments playing the same
  passage at parallel intervals.
  
• Adding strings in stages, playing in unison or
  octaves, increases the dramatic effect of a
  crescendo.

8
Contrapuntal Writing

• The orchestrator must first determine which
  melodies belong to which level.
  
• The choice of orchestral color should be limited,
  especially if the passage is to be repeated.

9
Contrapuntal Writing

• Place the most important melody in the best
  possible register of an instrument.
  
• Thin the counterpoint to let the main theme break
  through.
  
• Registrally separate the theme and counter
  theme.
  
• Make the theme and counter theme rhythmically
  different enough so they dont interfere with
  each other when stated together.

10
Homophonic Writing

• Pitches in large tutti chords tend to be spaced
  similarly to the overtone series.
  
• Large spaces in the lower registers.
• Smaller spaces in the upper registers.

11
Large Tutti Chord

• Both of these chords can be played piano or
  forte.
  
• The first will tend to be a little darker than
  the second.
  

12
Closely Spaced Chords

• Straightforward scoring violin 1, soprano
  violin 2, alto viola, tenor cello, bass double
  bass doubling the cello an 8va lower. Rather
  vanilla sounding at p to mf dynamics since the
  cello and bass are in a better register than the
  violins. It would be bass heavy at a loud
  dynamic.

13
Closely Spaced Chords

• Violas divisi take upper two parts, while cellos
  divisi take the lower two, creates a very mellow
  dark sound.

14
Closely Spaced Chords

• Violas divisi take upper two parts, while cellos
  divisi take the lower two, and then adding the
  bass an 8va lower, would make the line much
  darker.

15
Closely Spaced Chords

• Violin 1 on the soprano, with violin 2 or violas
  divisi on the alto and tenor lines, would create
  a slightly lighter but still subdued color.

16
Closely Spaced Chords

• All cellos with the basses doubling at pitch
  would create a very intense sound.

17
Closely Spaced Chords

• Transposing the entire progression up one or two
  octaves, without using the double basses, would
  create a sparkling sound.

18
First Inversion Chords

• In the four-voice texture, it is not common to
  double the third (the bass note) unless it is the
  tonic (vi6), supertonic (vii6), subdominant
  (ii6), or dominant (iii6) scale degree.
• If there are more than four voices, it is usually
  best to double the third close to the bottom of
  the texture because it brings out the open sound
  in the upper parts, which is more characteristic
  of the first inversion chord.

19
First Inversion Chords

• The chords marked good emphasize the openness of
  the inversion.
  
• The chords marked not good have over doubled the
  third which weakens the effect of the inversion.

20
Strengthen the Melody

• It can be played by the first violins without
  accompaniment.
  
• It can be played by the violins doubled at the
  octave.
  
• It can be doubled at the unison by another
  combination.
  
• Violin 1 and Violin 2
• Violins and Violas
• Violins and Cellos
• Violas and Cellos

21
Strengthen the Melody

• It can be played sul G on the violin.
• It can be played as a viola or cello solo -- both
  instruments would be more intense in this
  register than the violin.
  
• It could be distributed over four or five octaves
  and played by all five strings.
  
• It could be performed in unison by all the
  violins, violas, and cellos.
  

22
Transcribing Piano to Strings

• The most important consideration is to realize
  the composers intent without introducing a
  distortion of it.
  
• Piano figuration can be difficult to transcribe
  in a manner that maintains the spirit of the
  original accompaniment with a string setting.

23
Transcribing Piano to Strings

• Dovetailing parts can help recreate the
  smoothness of a single player.
  
• The sustain pedal needs to be translated to the
  string choir in an appropriate manner.

24
Transcribing Piano to Strings

• In this first setting,the line is set in a very
  simple methodwhich also sustainsthe necessary
  chordtones.

25
Transcribing Piano to Strings

• This setting features the violin 2
  dovetailingthe divisi cello part, sustaining
  the G3, and the viola sustaining the C4eighth
  note, much likeusing the sustain pedalon the
  piano.

26
Transcribing Piano to Strings

• The violin plays theentire moving linewhile the
  other stringssustain the importantpitches of
  the chord.

27
The Final Analysis

• The orchestrator can either use tried and true
  methods developed by others or, understanding
  what is being rejected, strike off onto another
  path.
• Regardless, the orchestration must serve the
  structure of the work.
  
• The orchestration must clarify the form, support
  the tonal flow, and take full advantage of its
  unique contribution, the element of color.