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Composing parts for strings


Stephen Quinn

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Hi Everyone. I've been playing guitar and writing music for a while now, and I have a growing interest in composition for orchestras, particularly string sections, and wish to incorporate orchestral arrangements in my future compositions.

 

Could anyone offer me any advice in writing and arranging music for orchestras, e.g. notes of the chords divided between instruments, doubling up on main melody to give it a fuller sound etc.

 

Thanks!

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Hi Everyone. I've been playing guitar and writing music for a while now, and I have a growing interest in composition for orchestras, particularly string sections, and wish to incorporate orchestral arrangements in my future compositions.


Could anyone offer me any advice in writing and arranging music for orchestras, e.g. notes of the chords divided between instruments, doubling up on main melody to give it a fuller sound etc.


Thanks!

 

 

This is a great question. An orchestra is a huge instrument. I've tried some stuff for chamber groups (piano-cello-viola-violin) but I can't say I have any pearls of wisdom on that front. Lately I've been trying to write for a 4 piece horn section (baritone sax, tenor sax, 2 trumpets) - it has some similarities to the chamber trio as far as the pitch ranges of the instruments but again, much smaller than an orchestra.

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Thanks guys. The Garritan Personal Orchestra seems really impressive. I'll have to start saving though.

 

 

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There're Cellos (lowest)

 

Violas (Mids)

 

Violins (Highs)

 

and often second violins...

 

 

They may sometimes be doubling up in octaves for a thickening of texture but the general chord voicing is really up to you. I'd suggest just doing it.

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The best advice I've ever read regarding arranging string parts was from an interview with Beatles producer George Martin. He said a common mistake people make who don't have a solid background in string arranging is to bunch notes together...especially working with synths and MIDI (and perhaps guitar too), the tendency is to arrange chords as if they were being played on a keyboard, resulting in a synth-y sort of sound even when it's actually the real thing. Because the cello is in a very different range from the viola and the violin, the notes need to be spaced accordingly. I've found arranging the notes of the chord at least a fifth or sixth apart from each other result in a sound that's more authentic.

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