Writing For Orchestra!?!?!?!?!?

HHHHEEELLPPP!!! Alright, so I have decided to write something for a full orchestra. The music is flowing, and ready to be drafted. One problem: I've never written a single note for strings. Sure, I know what they sound like, but as far as notation is concerned, I'm clueless. I need tips, tricks, and orchestration advice on every aspect of the orchestra... But I'll settle for anything at all; I'm desperate!

Totally clueless about strings ?

well this is the very basic info

You may forget that D string E string lines for now, that's the range for the strings instruments, and how is notated, with those clefs, Contrabass sounds 8va lower of what your write,

here you can find more:

http://www.garritan.com/RK/rk/1.html

I think you can begin with that.

Perfect!

In addition, you can either have them play pizzicato (plucking the string) or arco (with the bow). Also, if you want the players to play several notes with a single bow movement (a legato effect), slur them together. Strings can also play staccato and spicatto (a kind of "jumpy" staccato). There are a lot of additional effects, but these are the most commonly found.

Thanks to both of you! A big part of my issue was not knowing the ranges for each instrument, so now I know :happytears: Now I'll have to do some score reading to find out what they all sound like when paired together.

Suggestions for score reading (strings only):

Tchaikovsky's Serenade for Strings, Op. 48

Mozart's Eine Kleine Natchmusik, K. 525.

Vivaldi's Four Seasons (plus violin solo).

Penderecki's Threnody for the Victims of Hiroshima (usage of extended techniques in string sections).

Also:

Tchaikovsky's Fourth Symphony, Op. 36 (not strictly a strings-only work, but its third movement is a very fine example of the usage of pizzicato)

Awesome! I was also planning on reading through some Shostakovich and a little Beethoven. Both have some good stringy pieces ;)

Why not read some instrumentation book? If you have doubts, there's chapters about every single instrument. Since construction methods to ranges, fingerings, effects possible et cetera. Get the Rimsky-Korsakov book (Principles on Orchestration), it's free, you can download it at IMSLP and at Garritan forums there is an online version.

And never stop writing! Many drown in books and analysis and forget to compose.

Ah! Another tip useful when writing to strings (another families too, but at strings this does a HUGE difference) is respect the harmonic series order. I mean, try to think your string chorus (SATB) spaced like the harmonic series. Obviously, you may break this rule many times - intentionally or not - but when you follow this, the resonance will be much greater and the instruments will "blend".

http://upload.wikimedia.org/wikipedia/en/e/e8/Harmonic_series_intervals.png

Other pieces to recommend:

B. Britten: Simple Symphony

B. Bartok: Divertimento

P. Norgard: Constellations (how to write for a small string group and use occasional solists)

I agree.. however as a string player I will note a few things:

Basses: try not to write very fast leaps! a semitone on a bass is huge. And double stops, unless using open strings (or 4ths, because then they are easy) are probably best avoided

Cello: Double stos: no more than maybe a 7th...after that it gets tricky. Also, if tenor clef is used, don't go low in it, switch back to bass.

Violas: Double stops are fine up to an octave or 9th...probably no more for an orchestra (though I can do a 10th). Also, stay out of treble clef unless it's for a passage more than a bar above E (10th up from middle C)

Violins: Up to a 9th is fine for double stops. Try not to have really fast shifting (this goes for all instruments!) 8va is best avoided unless it's a really really really high passage.

Also, try to spread the melody around. Don't give it all to the firsts!

Also listen to Grieg's Holberg Suite. Simple but extremely effective string writing.

Hi there, I just joined and this is my first post, so be kind!

It's important to familiarize yourself with the ranges and techniques of the various string instruments, but it's also important to think about how they fit together in terms of voicing. For instance, independent lines in the double basses are uncommon, but not unheard of, and the first and second violins can play the same line, or you could have the first violins play one line and the second play another, or have the two parts play divisi. The possibilities are almost endless!

There are lots of great orchestration books, with Rimsky-Korsakov's being one of the great classics: http://www.amazon.com/Principles-Orchestration-Dover-Books-Music/dp/0486212661/ref=sr_1_1?ie=UTF8&qid=1352780499&sr=8-1&keywords=rimsky+korsakov+orchestration

However, I highly recommend Samuel Adler's Study of Orchestration: http://www.amazon.com/Study-Orchestration-Samuel-Adler/dp/0393958078/ref=sr_1_1?s=books&ie=UTF8&qid=1352780526&sr=1-1&keywords=samuel+adler+orchestration

It was our textbook in my orchestration class in college, and I still refer to it frequently when writing for any instrument. The section devoted to strings is very readable and will teach you a lot, including the pitches of each string and how they can be fingered -- this may give you ideas in and of itself!

I see this thread is a few months old so you may have already completed your project, but I hope this is helpful just the same!