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In this article:
Grey Skies
Arranging For Strings: Part 4
Untouchable Tips & Techniques Buy PDF
I
Creating A Split Point n my last article, I spoke about subtle string sonorities such as
harmonics, dreamy cluster chords and 'div trems', the latter
being string-player-speak for 'divisi tremolo' (a technique
where half the players in a section play tremolo and the rest use
a straight bowing). These delicate timbres can sound beautiful in
a quiet musical setting, but when pitted against a rock band
cranking out monster riffs, they fail to make any kind of
impression. In order to cut through the sonic fog of distorted
guitars, dense keyboard pads, stentorian vocals and thrashing
drums, we need something a little less ethereal.
Grey Skies
The beauty of descant lines is that they can be extremely simple:
if a song has a quick, rhythmic vocal line, you can write a high
counter-melody that uses few notes and moves quite slowly, thus
creating a nice contrast. Such musical motifs can be a hook in
their own right you need to think melodically and try to
compose simple, memorable phrases that enhance the song
without stealing the lead vocal's thunder.
I've reproduced the first few bars of the chorus of 'Grey Skies' Diagram 1: Extract from the arrangement of 'Grey Skies'
in diagram 1. As you can see, the chords move at the rate of one showing (from top down) the high countermelody (voiced in
per bar and the vocal line has a largely quarter-note rhythm, octaves), vocal line and keyboard chords.
against which the high string line moves very slowly. Coupled
with the fast, bubbling percussion and a half-time drum feel, these different rates of change combine into an agreeably
ambiguous rhythmic stew. The simple counter-melody also introduces the subtle harmonic colouring of an F note over
a Gbsus2 chord, a nice way of playing a (kind of) major seventh that avoids the sleazy, lounge-jazz connotations of that
particular chord name.
To arrange this counter-melody for real players, you could simply assign the high octave to the first violins and the lower
octave to the seconds, a classic orchestral timbre. Alternatively, if you needed some chordal support from the strings, you
could divide the first violins to play the upper and lower octaves of the high melody, write chord pads for the second violins and
violas, and bring in cellos and basses to reinforce the bass line perhaps the kind of thing I've sketched out in diagram 2.
Untouchable
The UK band Anathema (for whom I've written a fair number of
string arrangements) are no strangers to counter-melodies
many of their songs are constructed over repeated melodic
motifs which play in counterpoint to the vocal lines. One such
example is the song 'Untouchable'. This is split into two parts: the
first builds into an intense, rocky anthem with distorted guitars
and a heavy backbeat, while the second is a quiet ballad
featuring a touching male/female vocal duet sung by Vincent
Cavanagh and Lee Douglas.
The compositional basis for this song is a simple piano figure Diagram 2: A fleshed-out string arrangement of the 'Grey
played by Danny Cavanagh, shown in diagram 3. The top notes Skies' excerpt designed to support the high violins counter-
melody in diagram 1. The three-note chords are played by DAW Tips from SOS
of the chords (marked in red) pick out a simple, engaging
divisi second violins (marked in blue) and violas, while the 100s of great articles!
melody. This is a good example of effective 'voice leading', a vital bass line is played by cellos and basses in octaves. Some Cubase
skill every composer and arranger should strive to master. chords contain tone intervals, a harmonic coloration favoured Digital Performer
I particularly like the way the final melodic movement from F to by your author that is often considered de trop in conventional
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Eb transforms the harmonic make-up of the chord from a Gm7 to pop/rock arrangements. Live
an 'Eb over G' (aka 'Eb first inversion'). Logic
Pro Tools
My string arrangement for 'Untouchable Part 2' features the piano motif played in various registers: it starts out low and Reaper
subdued on violas, before moving up an octave into the violin register. In the second chorus, it ascends again and is played in Reason
octaves by violins. Diagram 4 shows how the lead vocal part works in tandem with the violins' counter-melody; while the vocal Sonar
is rhythmic and syncopated, the strings play straight, slow on-beat whole and half notes (or semibreves and minims, as we call
them in the trade).
Another example of counter-melody occurs in Anathema's song 'Kingdom', but this time the roles are reversed: as you can
see in diagram 5, the high strings line is far more rhythmically active than the sparse vocal line. Note the 'div' marking in bar 6,
an instruction (as discussed previously) to the first violins to divide into two equal sections to handle the upper and lower part
respectively. Without this instruction, a player might think he or she should play both notes simultaneously. Notating the note
stems in opposite directions (as in the last bar) also confirms the section division.
As mentioned earlier, descant string writing is ubiquitous, and if nothing more adventurous is required, simply being able to
write a high counter-melody might just be enough to get you hired as an arranger! Although I don't buy into the whole
flag-waving bit, one of my favourite string descants happens in an arrangement of the hymn 'Jerusalem' I have on a BBC Last
Night of the Proms CD. After the line 'bring me my arrows of desire' the violins take off in a soaring upward run culminating in
a high D it reduces me to tears every time. The power of music, eh?
Sprint Finish
Although it seems to have fallen out of favour in pop circles
recently, the aforementioned fast ascending violins run is another
staple of old-school string arranging. For that reason, virtually
every strings sample library under the sun contains ascending
and descending octave runs. Some, such as Peter Siedlaczek's
Smart Violins and the more recent Orchestral Tools Orchestral
String Runs, even specialise in the style. In the past, sample
library manufacturers would record these runs in a choice of
tempos in the hope that one might fit your track, but nowadays
time-stretching can be used to force the runs to your song tempo.
Keep in mind that although a conventional octave run can conveniently be played as eight 16th notes over two beats, you
don't have to use eight notes in a run; a recent string arrangement of mine contained a fast ascending run of 15 notes, as
shown in diagram 6. I didn't have this particular number of notes in mind when I composed it. The idea was to ascend quickly
from Middle C to a high C over three beats, and the maths just worked out that way.
When confronted with such a run, string players don't perform complicated mental arithmetic to work out the precise length
of each individual note; they simply treat the phrase as a whole and make sure it fits the allotted space in the bar. The result is
an exciting 'whoosh', a bit like a fast harp glissando; small discrepancies within the section help to blur the rhythm and create
the flowing quality that's unique to strings.
In film music, fast, 16th-note, classical-style string phrases are often employed to create excitement and propel the action.
Such phrases tend to be simple and modular in construction: diagram 7 shows some examples, but it's more fun to invent
your own! I went slightly bonkers with this approach in the Anathema song 'Sunset of Age'. Having been asked to give the
piece an epic feel and further encouraged by its composer to "go apeshit, I wrote the intense 16th-note passage you see in
diagram 8. It's played in unison octaves, with the last ascending run harmonised by the cellos a sixth down.
As is often the case in the film world, it was a rush job there
was barely time to write the cues, let alone check the copyist's
parts before the session. On the day, I sat chewing my nails in
the control room as players began to arrive and tune up. Then
came the fateful moment: "OK guys, quiet please. Everyone
ready? We're starting with the first cue, Pre-titles. After some
paper-rustling and muttering, one of the double-bass players said Diagram 4: The four-part string arrangement for the chorus of
'Untouchable Part 2', written for an instrumentation of first and
"Er, Dave we haven't got any parts. second violins, violas and cellos. The slow movement of the
violins counter-melody (marked in red) contrasts with the
These are not the words you want to hear when poised to faster, more rhythmic vocal line.
record the first cue of your film soundtrack, and I had horrible
visions of having to teach the bass players their parts by whistling them. Fortunately, it turned out that only one part was
missing, and of course Sod's Law decreed it was for the cue we recorded first. Thankfully, the bassists were able to read their
part from my score, after which we were back on track. Not a great way to start a session, though!
As disasters go, this pales into insignificance compared to the story of the arranger who set off for a strings session without
realising a train strike was scheduled that day. The players showed up at the studio to find there were no parts, so amused
themselves for the next two hours by doing the world's longest soundcheck and whipping out classical pieces they knew by
heart. When the poor arranger finally showed up with the parts, two hours late, the string players saved the day by playing his
scores absolutely brilliantly on the first take, thereby cramming three hours' work into the remaining hour left on the session
clock.
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Regrettably, when they come to play the key-changed piece, nobody has remembered to rewrite all the orchestra charts
a semitone higher. The artiste and journalists can clearly hear the live orchestra playing a semitone lower than the recorded
and pitch-shifted orchestra on tape. The unfortunate artiste tries to sing along to both. (Thankfully, no recordings exist.)
Moral for would-be arrangers: make sure the singer is comfortable with the key before you finalise a score.
"I have to admit to being nervous on the day of the session. Here were half a dozen very experienced players with
expensive vintage instruments and a long CV of recordings, concerts and TV appearances. People who were used to playing
the most demanding music of the 20th century. And here we were mere rock musicians making pop music. It was therefore
confusing and somewhat alarming when the first couple of takes appeared to be riddled with mistakes. The timing wasn't
great, and some of the tuning just plain unacceptable.
"We could hear that the cellist's low C string was a quarter-tone flat. When Dave asked the players to re-tune their
instruments to an A=440 tuning tone, the cellist refused: 'No you see, we don't tune up like that.' 'Well, how do you tune
up?' Dave asked. 'It would take too long to explain. But basically, I tune my open strings flat and then play them into pitch on
the neck.' 'Then what happens when it comes to the open bottom C in bar 88?' This stumped him. 'Er yes, you have a point
there.'
"What made this worse was that one of the older musicians kept looking at his watch at regular intervals. That's when he
wasn't scanning his broadsheet newspaper between takes. Prior to another attempt at an error-free take, this guy piped up
with "According to union rules, we really should have had a tea break by now. We took one. It certainly didn't improve
anyone's timing or tuning. Some hours in, and we were frantically making notes in the control room about which sections
sounded OK and which we still hadn't covered. Meanwhile, in the cramped live area, the atmosphere of undisguised contempt
from a couple of the players hadn't eased.
"We were just about to launch into yet another take when the same grey-haired player stopped us during the count-in. 'I've
just noticed' he said, tapping his watch, 'that this piece lasts six or seven minutes, so by the time this take is finished, we'll be
into overtime.'
"I resisted the temptation to inform him that had they played the
f***ing thing right in the first place they'd all have been on their
way home some time ago, and we somehow managed to
negotiate a degree of goodwill from the majority to finish a final
take.
"We spent the next day or so editing takes, trying to tune bits
and cover up errors with fake strings. As a result of this
experience, I avoided using live strings until 13 years later, when
I hooked up with a group of young players fixed by the
cellist/vocalist Caroline Lavelle. They sat down and played my
printed sheets with a great, helpful attitude, and were
complimentary about what I'd written. Where my inexperience as
an untrained, novice arranger made itself evident with a wrong
note or lack of dynamic marking, they all just took a pencil to their
part with a broad smile. It sounded fantastic. It left me with
a changed view, a love for the new guard and a desire to do Diagram 7: Some typical examples of 16th-note 'classical'
phrases, often used in arrangements to stoke up the
nothing else again, other than writing for real strings.
excitement.
In Conclusion
Although most pro orchestral sample-users will tell you otherwise, it's not absolutely essential to use a large template
containing all the separate components of a string section (first violins, second violins, violas, and so on), unless, of course,
you happen to specialise in creating orchestral scores. A simpler way to get started is to use the 'full strings' patches supplied
in many orchestral string libraries: these contain the entire string family mapped across the keyboard according to range, with
adjacent instruments blended so there's no obvious timbral break as you move from (say) the high cellos to the low violins
register.
I've found this type of instantly playable patch to be incredibly useful for composing and sketching. In fact, I've often used
them to develop string arrangements to the point of near-completion. If your strings library has no full strings patches, you can
create a workable facsimile using violins and cellos: if you set the two patches to the same MIDI channel and adjust their key
ranges (as explained in the 'Creating A Split Point' box) to create a split point at Middle C (see diagram 9), you can use the
setup as a virtual full-strings patch and think about violas and double basses later. When considering the basses, bear in mind
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that they often work best in their traditional role of doubling the
cellos part an octave down.
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