[UPER: The Ging etn Raboor PADS ‘String par, the long notes ot “goose ge" that stringe often play canbe the gl that holds an arrangement 1ogether because strings can hold noes forever. Since they have infinite sustain sting sections are worderfulforprewectingthe harmonic content thou Intenfeingwith the myth o melodie sontent. ae the amocth poral pad; ose ‘your string players to stagger thet bewing—L.2..make a point of changing bow civecton at eifforent times With this technique, we den'thoar the interruption in sound that we would hear when al the bows change direction atthe same tine. Inching an up-bow mark end a down-bew mask not to each other ko this wlio brig ed ng y ie, 7S Fi. 65, Pad wih Staggorod Bowing When choosing pitches for your pads te sky the limit, Clusters work, open vole: Ing ae lao great, aed pill harmony fates. Strings blend as Beauly a8 voles S-A-CR can easly be converted to Viola -Violn 2.Viel-Callo.Asiving quae can hold oven the nite harmonic palette. The bas ean be used to augment the ew on you have only oae stag player to wouk ath then you cen add exmoay using ehoud tones Be wrt your limes god yolelesdingend ean and lone as an laenetingimelody In figure 66, the op ines the melody. The second ine could he played hy # vain, vl, Qa Nes ai at? bo ov Maley = ; sume He = ¥ ye = FI. 65, stnng Vocngs tor Two Players you've gor eo players accompanying the meld then use the strings Fr the guide ‘onethe notes that give th chord itseolor and faros, usualy the 3.and 7co ‘musa ronstimes ere Is an example with two accompaniment players, AS always, good volo leading ‘males a huge clifereuce and is more important thao making sure every gue tone is covered Youean seo that inthe second measure chose to leewe out the 9B) becauss there wasn way include It with good voice lang. It putin dhe lower part. then the ne Imervalshipis a fourty—nor quiteasekgant asthe shied, which wasthe same interval skip o" the frst meanire of thetranie pact. mies onus Eas ant be omar Melody z Mawony ttavenry? = FQ, 67 Sring Voleings for Thee Players od Here isa melody with three accompanists. ma cas no ni » er Melody z = Haroey | Masnony 2 Hien FIG. 88, sting Vocings er Four Players Mahe guide tones are covered or not required chen use the strings toa the noes that ‘seete tension —the notes tsi dhe chon tat bul he Gracia in your arrangement, such sete 1, and 13 Avoid voicing tensions and guide tones too low As mentioned, ts a goed dea w keep ‘he tense notes above the G bela ikl C: Oceana, he 3 can go a low a B belo middle, exe you volce your pads can add lot to dhe aneangement. ‘The octave surrounding imide C is good neal tentory for von. His sil nthe vocal range, so even tensfonsThe Sng Seine abs) aren loo Sear here: Keeping ds voles lose idhin the span of an decane sas sone ut neutal We tend to hea the cor ofthe chord int teat distoced byt: Maat way the roled ine ean sil omic ou. Asyoumoveighe in pith, dhe danbre willadd meredeama, acs using the high os ofthe votns tend oleae te tenes feeling ike they me suspere! fom love. Pas it the high register can éraw attention from the mele Careful use of dmamics can mi ‘gx tha potest problem. The karer registers the ol and ello ada mr ground, ron. sound. ‘Using a wide voicing where theres more than o tenth span betwen the ello an the fist violin «great way o open ap the scape of your acrngemment The expansive range Ibmacens the sounasespe. ere isan example of good suing voicing, Ive neluded the grand sa version with ‘Gvontsymiels of hist. Metrst ree measures shaw close voici, Measures ro show wide range. = FIG. 6. Stengs Voicing Alomatvas en a Grand Sithsnnuncn son stan Figure 6.10 aaranges figure for stags, Voll T has the melodie tne, tn measures 1110.6, you can oe that dhe upper vlees are following the accent ofthe melodie line 17 srenen that moti [Notice that the bass i shsayson thet The vila gots doublet ina Sand 6. Ac ‘mentioned sis ste asuly ees to pay tl keep In tune, Ifyou have bigger ores oO you might wont to mask that double stop as dvi mars CMG Gn Amo DP GM GMS En Ame ca 2 t Vien iin vols tie Bios FG. 610. Yoing Ateratos tor Sings ‘rsa Ww secon bat te cpr oc Oro oN cnet Be Sometimes, orchestatin ie more efecive than dyvmles. Hay rarely used dymamies it his sing quarces because he det need them. His orchestration iss brian, hare is never aay eonfasion about which partis inthe forefiont ‘When writing pac ic uefa thinkabout how and when youwant to hear brat. To ‘drama, you ean bogin without vibrato (using theo vibnetation) and then ade vibrato twenhanoe he peak ofthe toy. This dea may take some rehearsal sine es pt common forslasscal musicians, as FIG. 61, Vetatione Vrshe Sure Seine abs) Careful use cine with padsisanathes way to mike size the contour of yourline lewhate you want it Small hairpin dyna markings can neste Ife inte a aati ine, 9 FIG. 6.12. Valter in Dynaes In the 1970s, synthesizers that cowie imitate siting sous came ino fashion, ft then eeu deer ad ean ernie bebe pe rat sce nrg le ‘han to bring a string section to every gs Synthesizers have gotten better over the years nel keyboard stings ae sill common. As mentioned in the intodicton to this ook, live players bring lat of added excitement anc musicality to any performance. & simple smarking like ":prssivo" con beng theling waley ta human performance thet would lhe ewe ifthe pat were played bya computer or syntheses 6 SS — mea FG. 619. Exprocohvo COMPING Sut se ues ape fy ane pte err le ywanaer Use, he strings are often used as pitched rhythm instruments playing th monruno (ihe melodie line that emphasizes beth the intel chythm and the harmonic motion) or melodie ‘ecsons of the percussion paris Listen to Orquests Aragin, Ores Brose, rl Pup Legteta for great examples of stings smoothly ing back one forth between melony, pede and syn aeeton {in American rots styles such es hiner al the instruments take tums inthe melody fhe thyihi section. This is where “chopping” got it start (See chapter 5, “Chops, onticell/Psedbsek,Portamaato, ec Falls") Ce ofthe most commen used devices wo enhance the rhythmic fel ofa pace isthe pent ne, W he sewed ine la of Rene sen te "Feanior Rig? eel Foal ‘the Hill" axwellas Coldpley’s Vin La Via” Thistechaigue hasbeen used foe centutes i allstyes of musi. [ade deve and scitement to dy competion pushing the storyline Torward, Listen to the accompaniment pacts in Vals The Four Seasons. all oF these ceamples and lots more), the chord tones are voiced out for stings and acta orclicktrck with hattnony,s ‘muna ronsromss QD tesserae ofan seperti so, sae Vista cone Doubs ass FI. 6.14. Rhythmic Ropettion neon pave Bf bryce ello and vole sou peat fst ke the bao a gular Inmet bas. Hote isan example played with ive string section. Note tha there a te layers Coubling dhe melody In bars 3-8. hls creates sight chorusesec. See tbe section led "More than One" ater his chaptes, for more on this phenonecion.‘UPER Th Shing Seton Raber Viet METALYPTICA Parallel Fifths ——s SSgaasssasssssaasiees a= é pig = z = = oT = bs r = ¥ Bone Ss wpe secsessocse Ssidsse vevedsedeesdVb. Me sans ton stapes (62 ge Te Sat veseeTTteee ier = => et = = Te —_ Siseeee Tn SST Sees Fi.6: "Metalytis" or Parallel FittsBPE: Te Bing eat 2 Yeti Veli Vita Me vi ve herd « iit ai i an eg id i i geek ta ange De pig ec a lig nw boot prt tot cell thy drum ror ovr rvs who bb sme pe sce van cyl dupa yr en alt a eben wane iy) ci a ld “Sg Gh iin el pracetia a STRAP Fig ax Rebscr 1 coat apt tt ee =“) f co ‘es an Tie ee — 2 SS Si ire = - ‘Steen rt an in tn es FI. 616. Stap" with Voiced Pryihm Pas Just bout any use can be fly eliza bya trig quater Rass ines, chythunie struc tise, melody, nd harmony Ean Be eat conveyed by the ter Voices of this eam e “These are many arangernents on te market of popular tunes arranged for suing quate. ‘Chek out the estalogue ot Stringeter Meda, The Viamin Sting Quartet alo publishes