Lessons with PianoOn Wheels

In this series of lessons we shall be exploring the capabilities of, and effective scoring practices for, the orchestral bowed string family of instruments (violin, viola, violoncello, contrabass). I think a good way to do this would be to establish some general principles relating to the whole family, and then examine the particular characteristics of each instrument separately, before finally looking at scoring for complete string ensembles, chiefly the quartet and the orchestral string section.

First, we shall take a look at the technique of playing a stringed instrument, and the limitations and advantages this imposes. More detail on the actual physics of this can be found in orchestration books and more scientific treatise, so we shall be focusing on the practical consequences of the playing method. If it is at all possible, ask a string player if you can try any techniques described (carefully!) on their instrument, or at least to have them demonstrate them to you. This is the best way to understand the mechanics of what we are discussing. Also, if you can get hold of a book on orchestration such as those by Adler, Piston or Blatter and read the relevant chapters it will be a useful help.

If you have any questions, do not understand how I have explained something or want to cover something in particular please do post a question in the thread or by PM and I shall get back to you as soon as I can. Assignments have no 'due date' (we're not at school!) so just complete them as well as you can and post when you're done.

One important note: As you probably already know, there are two main ways of playing: drawing a bow (called 'arco') and by plucking the string (called pizzicato, abbreviated to 'pizz'). With regard to the use of the bow, string players and parts editors will use two symbols to indicate which way the bow should be moved (the reasons for which will be discussed later): a 'v' sign for an 'up' bow and a ' п' sign for a 'down' bow. The symbols are supposed to look like the end of the bow from which the stroke will commence, thus an 'up' bow will involve moving the point at which the bow touches the string away from the arrow-shaped end, and towards the squared-off end which is in the player's hand. Vice versa, a down bow involves moving from the squared-off end. It is important you are clear as to the meanings of these symbols and the terms 'up' and 'down' bows, as they will appear frequently in this topic. There are no symbols associated with pizzicato, although a composer may specify which finger is to pluck the string.

So – in this lesson let’s start by looking at the pizzicato technique. You can probably figure out the mechanics of this method of playing. String players use their strongest fingers, the first (ring) or middle fingers of the right hand for pizz. in order to obtain the most control. If there is time, more professional players will often spring back their whole hand some distance from the string after plucking it, in a sort of ‘follow-through’ motion, partly for visual effect (a section leader communicates with his section and other leaders mostly through exaggerated gestures). One obvious limitation of the pizz. technique is that the instrument can only be plucked repeatedly as fast as the player’s finger can perform this motion over and over. This is roughly as fast as a pianist can strike one piano key several times in succession. Some string players (myself included) are able to use more than one finger in alternation to play passages which are too fast for plucking with just one finger, but this is not standard technique and does not usually produce as ‘clean’ and accurate an attack. Additionally, although a pizz. will decay quite quickly, it benefits from having a very short time to ‘sound’ (unless a dry timbre is desired) in which the finger can clear the string to let it vibrate. If you are able to get an instrument and try plucking it as fast as you can with one finger, you will get a feel for how fast this can be done – this limitation applies even if every note is a different pitch or on a different string.

Another weakness of pizzicato is that, whilst not always quiet, it cannot match the loudest dynamic possible with the bow. Again this is partly to do with its more rapid decay. As the strings themselves rely on having some looseness (ie they're not completely taut) to vibrate, the higher-tuned (and thus higher tension) strings in the family of instruments will decay more rapidly than the lower when plucked (this is the reason, for example, why the contrabass is used as a jazz bass, because it can sustain plucked notes far longer than any other stringed instrument).

On the other hand, a major advantage of pizzicato technique is that the hand can move between the strings and execute complex rhythms more accurately than with the bow. This is simply a matter of human mechanics: it is a more difficult gesture to simultaneously move a bow between two strings not next to each other, draw the bow smoothly across the strings, maintaining the same dynamic and tone quality for each one, than it is to simply use the fingers. When we discuss the bow later on, I shall explain the problems inherent in unequal length notes if each one is bowed separately. In addition, the fact that a pizz. note does decay can be an advantage if used skilfully: it has more ‘bite’ and is naturally a ‘harder’ attack, meaning it is more noticeable to the listener. Again the example of a jazz bass is a good one: although the bass may play quietly, the fact that the start of each pizz. note is so pronounced means that the bass effectively functions as a rhythm instrument as well as playing different pitches. If you are writing a passage which has complex rhythms, the use of pizz. will highlight the rhythms as well as being technically easier for the player than arco. That said, pizzicato is not necessarily a firm and sharp attack. A good player can produce great variety in the ‘soft’- or ‘hard’-ness of a pizz. attack and control its decay to suit the character of the music. Plucking softly with the flat of the finger can create a resonant sound with a long decay. One interesting observation is that whilst vibrato adds intensity and resonance to bowed notes, it can actually dull a pizz. note because the hand vibration interferes with the vibrations of the string. Pizzicato notes on open strings will resonate very well, particularly within a string section.

Chords are playable pizzicato and can be very effective. Indeed, chords with more than two notes can be played more precisely in time than with the bow, as the player can strum the four strings almost at the same time, as opposed to having to split the chord for the bow, which can only play two strings at once.

Pizzicato glissandi also work, although they must be accomplished quickly especially on higher strings due to the decay. As the note cannot be altered in volume once it has been plucked, they are best written at loud dynamics.

Now try your hand at the assignment: String lessons ex1.pdf