Strings : The Backbone of the Orchestra

scorecastonline.com by Stellita Loukas April 26, 2012

Hello good people and welcome back to our orchestration series! Grab a fresh cup
of coffee and get ready!

Strings are, and have always been the backbone of the orchestra. Good string
writing can add a lot to a cue, whether you are scoring a fast-paced action movie
or an over-the-top romantic scene. I will try to present the material as concisely
and laconically as possible, giving you the essence without all the extra syrup!

A. Instrumentation Notes
Lets get the basics out of the way so that we can talk about the interesting bits
later!

1. Ranges and String Tunings

2. String Characteristics
Here are some of the most important characteristics of the violin, viola and cello
strings :
Violin :

G3 :the thickest and most sonorous string of the violin

D4 : has a mellow character, especially in the Eb4 A#4 range

A4 : the range A#4 C5 presents the characteristic sound of the violin Astring. The range from C#5 upwards is particularly suitable for lyrical
passages.

E5 : has a brilliant character; can be very effective in quiet and

mysterious passages played piano

Viola :

C3 : the most characteristic viola sound lies in the C3 A3 range.

G3 D4 : both suitable for non-obtrusive accompaniment lines due to

their dark quality.

A4 : suitable for melodic playing or for doubling melodies in woodwinds,

trumpets (soft) and trombones.

Cello :

C2 : the lowest string of the cello is a rather sonorous bass and can be used
to play basslines if a double bass in not available.

G2 : the weakest cello string

D3 : most of the lyrical, warm and greatly captivating melodies we hear

being played on the cello are usually played sul D.

A3 : a rather brilliant and piercing sound

3. Basic String Techniques

Strings are capable of producing a vast variety of articulations, ranging from soft
legato to loud percussive sounds. The following table presents the most
commonly used techniques any composer should be aware of :

B. Orchestrating a Melody within the String Section

Now that we got the boring stuff out of the way, its time to start tackling the real
essence of orchestration. Get up, do some stretches, grab some fresh air and a fresh
cup of your favourite beverage and lets get started!

The string family is the most homogeneous family of the orchestra. Its four
members blend beautifully with each other and when combined, produce a
wonderful wall of sound. The old adage of the sum is greater than its parts is
really applicable here. While each section sounds wonderful on its own, when
you are after a the Big Hollywood Sound, you cannot go wrong by giving the
melody to the strings playing in octaves.
In the following sections we will explore some of the most commonly used
techniques for orchestrating a melody within the string section. These
techniques are by no means exhaustive but provide a good starting point when

you are pressed for time and need to get started right away. On other hand, for
when you have plenty of time to experiment, remember that orchestration is not
only following rules like 1+1=2; its all about creative imagination.
A final thing before we look at these techniquesbear in mind that there are
three basic roles an instrument (or group of instruments) can have in an
orchestration :
o

playing a melody (either the main melody or counter-lines);

playing the harmony (either as block chords or in counterpoint

format);

playing various effects here and there (trills, runs, crescendi, chord
attacks etc).

Lets explore the various ways in which strings can carry a melody.

1. Strings Carrying the Melody in Single Sections

1. Violins : violins are the obvious choice for a melody in the sopranoalto register (G3 C6). We have several choices when we want the
violins to carry the melody alone : Violins I only; Violins II only
(when Vln I are otherwise occupied); Violins I and II in the form of a
dialogue and Violins I and II in unison or octaves (usually for extra
strength).
2. Violas : being slightly nasal in quality, are better suited for short
melodies or phrases that exploit the characteristic viola sound. If the
viola section is to play a melody in the alto-tenor register (F3 A4)
alone, it is best to double with woodwinds to help the melody come
through.
3. Cellos : Aside from melodies in the tenor register or basslines,
cellos can be entrusted with passionate, cantabile melodies written
for their top string (A3 G5).
4. Basses : While the obvious choice here is the bassline, basses can
also play cantabile melodies. However, in this case it is best to
double them with cellos, bassoons or contra bassoons to help the

melody come through. The usual role of arco basses is to double

the cellos (either octave below or in unison) or play short notes or
accents, strengthening the bassline played by the cellos.

2. Strings Carrying the Melody in Unison

As a general rule, the safest doublings in unison are those of adjacent string
sections (i.e. Vln-Vla, Vla-Vlc, Vlc-C.B, etc). Doublings of non-adjacent sections
should be used on material that we want to be prominent because they usually
have a distinctive character.
1. Violins I + Violins II : Such a combination gives power and
richness to the melody and leaves the colour of the instruments
unaltered. A melody played by Vln I and II in unison is often
doubled in some woodwinds to enrich and amplify the still
prevailing violin tone.
2. Violins + Violas : provides a full and rich sound but the violin
sound prevails over the violas.
3. Violas + Cellos : again, provides a full and rich sound where the
cello quality is prevalent. Cellos are sometimes doubled by the
English Horn in unison for extra power.
4. Violins (I+II) + Cellos : quite close in quality to the Vla-Vlc
combination, but with a fuller sound. Again, the cellos can be
doubled with an english horn.
5. Violins (I+II) + Violas + Cellos : such a combination is only
possible in unison in the alto-tenor register (F3-A4). It produces a
unique tone colour that is particularly suitable for
full piano passages and forte tense passages.
6. Cellos and Double Basses : a combination used occasionally for
phrases in the very low registers.

3. Strings Carrying the Melody in Octaves

1. Violins I + Violins II playing 8vb : a common grouping,
especially for melodies in the very high register that need support

to pull through an orchestration and not sound detached from the

accompanying orchestra.
2. Violins I + Violins II divisi : due to the splitting of players in
half, this combination is not to be preferred when a full sound is
what we are after. It can, however, be used when we want a
transparently thin melody to be played in the background or when
strings are doubled by woodwinds.
3. Violins I+II + Violas playing 8vb : violas are usually added an
octave below when the melody goes beyond the lowest (G) string of
the violins. In such a combination it is rather common for Vln I to
play the top line and Vln II + Vla to double octave below, thus giving
the lower part a fuller sound.
4. Violas + Cellos playing 8vb : when the violins are otherwise
employed, we can use the violas and celli to play a melody in the alto
register.
5. Violins + Cellos playing 8vb : such a combination on melodies
in the soprano-alto register forces the cellos to play on the A or D
strings which is particularly suitable for lyrical and expressive
passages. It is a more powerful combination than Vla+Vlc 8vb. We
can also double the Cellos with Vln II in unison.
6. Cellos + Basses playing 8vb : a very common combination,
especially in basslines. When the bassline is too complex for basses,
it is common for basses to be given a simplified version.

4. Strings Carrying the Melody in Octaves, Doubled in Unison

Such groupings are usually suitable for a melody that is in the middle of the
orchestral range and is not doubled in other sections of the orchestra and we
want it to be able to pull through the mix.The most common such grouping
is Violins I + II in unison, doubled 8vb by Violas + Cellos in
Unison that produces a full sound suitable for melodies with a severe
character that really want to make a statement. Another very common method of
assigning the melody to the strings in octaves and unisons is to use divisi strings,
but this is a topic we will cover in the next installment!

5. Strings Carrying the Melody in Two (Double) Octaves

1. Violins I + Violins II 8vb + Violas or Cellos 8vb : this
combination is useful in tense forte melodies.
2. Violins I + Violins II 8vb + Cellos and Basses 8vb
: particularly useful in tough and sever musical passages when we
want the lower register of each instrument brought forward.

6. Strings Carrying the Melody in Three and Four Octaves

1. Violins + Violas 8vb + Cellos 8vb + Double Basses 8vb or in
Unison with cellos : this combination presents several problems
and should be used only when supported by wind instruments.
2. Violins I + Violins II 8vb + Cellos 8vb + Double Basses : the
BIG HOLLYWOOD SOUND!!! Great for soaring melodies that are
supported by brass and woodwind harmonies.
3. Violins + Violas 8vb + Cellos 8vb : another common
arrangement for when we want the string orchestra to carry the
melody alone.
As a general rule, having the strings play the melody in 3 or 4 octaves should be
employed only when we want the melody played only by the string section and
when we want a very heavy string melody.
Also, bear in mind that a common rookie mistake is to orchestrate the bassline
in 3 octaves! This grouping should be used only when the bass is intended to be
grande and heavy.

7. Strings Carrying the Melody in Thirds and Sixths

1. Strings in 3rds : each part of the interval should be orchestrated
with strings of the same quality (e.g. Vln I + Vln II divisi).Also, each
part of the interval can be further doubled in octaves.
2. Strings in 6ths : in contrast to combinations in 3rds, when writing
for strings in 6ths, we can use instruments of different timbres.

C. Orchestrating a Melody within the String Section

doubled in the Woodwinds
As a general rule, all combinations of strings and woodwinds are good because
the strings soften the sound of the woodwinds and the woodwinds amplify the
sound of the strings so it is a win-win situation!

1. Combinations in Unison
As Mr.Rimsky-Korsakov wrote, the best and most natural combinations are
those between instruments with corresponding registers :
1. Violins + Flute, Picco, Bass Flute, Oboe, Clarinet. A very effective
technique to soften a harsh violin melody is to double with a piccolo
playing at a softer dynamic, in unison.
2. Violas + Oboe, English Horn, Clarinet, Bassoon
3. Cellos + Clarinet, Bass Clarinet, Bassoon
4. Basses + Bass Clarinet, Bassoon, Contra Bassoon

2. Combinations in Octaves, Thirds and Sixths

Doublings of strings in octaves with woodwinds in octaves are common and can
be used according to the combinations mentioned above. However, since they
create a rather big wall of sound, they should only be used when a particular
effect is desirable (such as tutti) rather than for an entire musical passage!
Another concept worth mentioning here is heterophonic doubling. This is
Mr.Korsakovs solution to the loss of transparency arising from doubling a
melody in too many different instruments. Heterophonic doubling essentially
means employing a slightly varied version of the melodic line in each doubling
instrument. Variations can be of rhythmic or melodic nature, as long as the
essence of the melody remains unaltered.

D. Orchestrating a Melody within the String Section

doubled in the Brass
Due to the special nature of brass instruments, string-brass combinations are
not as smooth as string-woodwind ones. In such combinations, each family can
be clearly heard (e.g. in a violins-trumpets combinations, the listener can easily
discern the violins and trumpets).
As with string-woodwind combinations, when we want to double strings with
brass instruments it is best to choose instruments of relevant registers :

Violins + Trumpets

Violas + French Horns

Cellos + Trombones

Basses + Tubas

However, since rules are being formed to be broken, one of the most beautiful
orchestral sounds is Cellos + French Horns! These two families blend beautifully
together; the cello adding a mournfulness to the sound of the horn and the horn
adding nobility to the sound of the cello.
String-Brass combinations are also useful when we want to make counterlines
more present in an orchestration. For example, when a Viola or Cello
countermelody is too weak, we can bring it out by doubling it with French Horns.

E. Orchestrating a Melody in Strings + Woodwinds +

Brass
String-Woodwind-Brass combinations are usually employed in unison rather
than in octaves and the woodwinds play the role of the mediator between
strings and brass, helping them blend better with each other. A melody doubled
in all three sections is effective in loud passages and should again be used as a
special fx rather than as a regularly-employed technique.

Are you tired yet? You can let out a very long sigh of reliefWE ARE DONE!!! At
least for now!
At the next installment of the orchestration series we will look at ways in which
we can orchestrate the harmony within the string section, including a discussion
on divisi vs double-stop writing. Until then, stay well and seize the day!