strings doodles
Posted: Sun Feb 10, 2013 1:45 pm
I setup strings for dante's thing so spent this afternoon doodling around. It's a random phrase I had in mind, maybe from something, maybe not. I took and went through different arrangements. Maybe helpful in demystifying strings arranging if you're just getting started. Tho I can get the sound I need from strings, I won't call myself an accomplished strings guy. (I bow to the symphony geeks)
Synful orchestra and pianoteq, and bits of other stuff at the end but those are inconsequential.
1. piano sketch
2. piano sketch with violin (4 solo violins to create a tiny section). I made a critical mistake at this point. The melody violins don't really "breath" correctly with the phrasing of the melody. They just legato all the way through. That takes away the rhythmic feel of the melody and the subsequent arrangement kind of suffered. Wasn't 'till arrrangement 6 that I figured out the correct phrasing. You can hear the harmony actually articulates in sync with the phrasing. So study your own melody and get the phrasing figured out before arranging!
3. violins on melody, cello plays basic harmony with a bit of delayed resolution, bass on bass. quiet and somber
4. violin1 (mini section) on melody, violin2 as a duet part, harmony split between viola and cello, bass on bass. Harmony concentrating on lower octaves makes for a warm, gentle, kind feel. I think this was a bit too low for the violas tho, they're sound funky at low points..
5. violin1 octaves, violin2 reinforcing upper octave on melody, viola on duet part, cello back on harmony again, bass on bass. Sort of a climax lush style. Octave strings are always dramatic, but you have to feature them (hold back a bit on other parts) or they get buried. Even here, it's really not all that in your face.
6. violin1 on upper octave melody, violin2 on harmony, cello starts with harmony in upper registers and gradually drops, bass comes in gently at the end. Concentrating everything toward the top is classic "sad" sequence. Gradually filling out the bass helps you build back to a more full arrangement.
7. violin 1 on octaves again, violin2 and viola unison on the percussive phrase, cello on harmony with syncopation, bass on bass but follows cello's rhythm. This arrangement didn't quite work at this tempo.. too slow. Supposed to be a courageous, brave sort of sequence. Entire Violin2 and violas are doing the rhythmic phrase since I need all of them to get enough punch. (divisi will weaken it)
8. figured I'd give the melody some sort of ending. Violin1 and violin2 unison on chord hits, viola and cello unison on lower phrase.
So btw, all this is done with a kind of lead + comping + bass mentality, which works for the most part. But there's also the more classic line 1 + line1's harmony + line2 + line2's harmony which makes for more correct tonal voicing and proper counterpointing. With the line based approach it takes more time to figure out your favorite lines, so I only do them when I absolutely have to. If you make the harmony interesting enough, they inherently contain multiple lines anyway.
Also, notice that a critical choice is WHO you give the main harmony functionality to. If you do it in violin 1, then melody automatically goes up an octave (to keep from mingling). Or if you don't go up an octave, the harmony will have to be written as a line so it makes sense while following and lifting the melody. If you do it in viola, you can leave melody in g3 or above area, but you also have the option of going lower, and sharing a bit with cello. You almost want to because cellos can power up the harmony quite a bit. With cello, you can play good harmony in its upper registers. They have a distinct sound so if the melody is simple, it might not be a good idea. But harmony in cello means you have violin2, violas to do interesting lines. Good for big arrangements with lots of motion under the melody. Of course, you're not really supposed to think in terms of who has lead and who plays chords, it's all supposed to come together as one.. but I think it's a good way to start planning out the arrangement.
Synful orchestra and pianoteq, and bits of other stuff at the end but those are inconsequential.
1. piano sketch
2. piano sketch with violin (4 solo violins to create a tiny section). I made a critical mistake at this point. The melody violins don't really "breath" correctly with the phrasing of the melody. They just legato all the way through. That takes away the rhythmic feel of the melody and the subsequent arrangement kind of suffered. Wasn't 'till arrrangement 6 that I figured out the correct phrasing. You can hear the harmony actually articulates in sync with the phrasing. So study your own melody and get the phrasing figured out before arranging!
3. violins on melody, cello plays basic harmony with a bit of delayed resolution, bass on bass. quiet and somber
4. violin1 (mini section) on melody, violin2 as a duet part, harmony split between viola and cello, bass on bass. Harmony concentrating on lower octaves makes for a warm, gentle, kind feel. I think this was a bit too low for the violas tho, they're sound funky at low points..
5. violin1 octaves, violin2 reinforcing upper octave on melody, viola on duet part, cello back on harmony again, bass on bass. Sort of a climax lush style. Octave strings are always dramatic, but you have to feature them (hold back a bit on other parts) or they get buried. Even here, it's really not all that in your face.
6. violin1 on upper octave melody, violin2 on harmony, cello starts with harmony in upper registers and gradually drops, bass comes in gently at the end. Concentrating everything toward the top is classic "sad" sequence. Gradually filling out the bass helps you build back to a more full arrangement.
7. violin 1 on octaves again, violin2 and viola unison on the percussive phrase, cello on harmony with syncopation, bass on bass but follows cello's rhythm. This arrangement didn't quite work at this tempo.. too slow. Supposed to be a courageous, brave sort of sequence. Entire Violin2 and violas are doing the rhythmic phrase since I need all of them to get enough punch. (divisi will weaken it)
8. figured I'd give the melody some sort of ending. Violin1 and violin2 unison on chord hits, viola and cello unison on lower phrase.
So btw, all this is done with a kind of lead + comping + bass mentality, which works for the most part. But there's also the more classic line 1 + line1's harmony + line2 + line2's harmony which makes for more correct tonal voicing and proper counterpointing. With the line based approach it takes more time to figure out your favorite lines, so I only do them when I absolutely have to. If you make the harmony interesting enough, they inherently contain multiple lines anyway.
Also, notice that a critical choice is WHO you give the main harmony functionality to. If you do it in violin 1, then melody automatically goes up an octave (to keep from mingling). Or if you don't go up an octave, the harmony will have to be written as a line so it makes sense while following and lifting the melody. If you do it in viola, you can leave melody in g3 or above area, but you also have the option of going lower, and sharing a bit with cello. You almost want to because cellos can power up the harmony quite a bit. With cello, you can play good harmony in its upper registers. They have a distinct sound so if the melody is simple, it might not be a good idea. But harmony in cello means you have violin2, violas to do interesting lines. Good for big arrangements with lots of motion under the melody. Of course, you're not really supposed to think in terms of who has lead and who plays chords, it's all supposed to come together as one.. but I think it's a good way to start planning out the arrangement.
In the other hand, thanks God I have that much to do! 