Chapter 6 - The String Section

Divisions

Tuning, Clefs, and Ranges 

Group Practices 

Since the string section is a homogeneous grouping, not only in tonal color but in the manner of tone production as well, it is possible to consider its playing potentials collectively without any loss of pertinent data. Variation and intensity of tone color within the section result from each instrument's respective range and hence its vibrating characteristics. In this connection, it is to be noted that the outside strings (high and low) of each instrument have the greatest sonority and character, while the two middle ones are more neutral and less distinctive. Passages played in the higher positions on any of the strings acquire extra richness and vibrancy not otherwise obtainable. The following chapters on string instruments, their playing techniques and coloristic devices, are sufficiently analyzed in conjunction with structural considerations to provide a serviceable foundation for practical scoring within a wide range of musical ideas and patterns. The instruments of this section include:

THE VIOLIN 

Fr. violon; It. violino; Ger. Violine 

THE VIOLA 

Fr. alto; It. viola; Ger. Bratsche 

THE VIOLONCELLO 

Fr. violoncelle; It. violoncello; Ger. Violoncell 

THE CONTRABASS 

Fr. contrebasse; It. contrabasso; Ger. Kontrabass 

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Note. (Size Differences)

1. Violas are a perfect fifth lower than the violins.

2. Violoncellos are an octave lower than the violas.

3. Contra or double basses are an octave lower than the violoncellos and sound an octave lower than written. Hence, they are the only transposing instruments in the string choir. It is important to know that there are two types of contrabasses. The more common one is a four-string instrument, the lowest note of which is E, while those used in professional symphony orchestras usually have an added C string that lowers the range by a major third.

Note. (Clef Differences)

1. Violins use the treble clef only.

2. Violas use the alto and treble clefs.

3. Violoncellos normally use the bass clef and, for passages in the higher registers, the tenor and treble clefs.

4. Contrabasses rarely leave the bass clef, although some scores do have occasional parts in both the tenor and treble clefs.

Important. Clefs are changed only when it is a matter of practical convenience in avoiding excessive ledger lines. The following suggestions are given as a guide: (1) Avoid changing clefs for one or two notes. (2) Change clefs only when necessary and then at convenient breaks in the notation. (3) Remember that inexperienced string players usually are unfamiliar with clefs other than those commonly used.

STARTING POINT

In planning an orchestral score, it is always helpful to have some idea of the type and technical skill for which it is intended. Naturally, a score designed for a professional orchestra can have a greater scope of freedom in technical matters than one devised for amateur or school groups. Remember that violas in school and semiprofessional orchestras are apt to be the weakest part of the section. They will not have the same carrying power as the cellos—even in the same registers. In addition, all string parts which require advanced positions (starting a perfect fifth higher than the highest open strings) are difficult for inexperienced players of the average school orchestra.

GENERAL CONSIDERATIONS

1. Strings do not necessarily need to "breathe" as do the wood-winds and brasses, except for phrasing. However, any score which kept all the strings playing continuously would be dreary indeed.

2. Entrances of parts made after a silence of some duration add new interest, as each fresh attack focuses attention on the entering part. Therefore, planned occasional rests are valuable assets in relieving monotonous part writing. (Exception: For accompaniments of massed singing, disregard this suggestion and score for the full section throughout.)

3. Tempo markings (Allegro, Largo, etc., or their English equivalents) are placed at the top of the first page of a score in the upper left-hand corner. Subsequent changes of tempo are added at the top of the score directly over the measure of change.

4. All dynamics (piano, forte, etc., and such changes as crescendo, diminuendo, etc.) must be inserted in all affected parts. Note: Although tempo and dynamic directions in English would seem to be more practicable, experience shows that they are desirable only for music of rather restricted usage. Italian is the universally accepted language for music purposes.

5. Violoncello and contrabass parts should be written on two separate staves whenever possible. If they must be written on one staff, use double stems along with adequate rests to clearly indicate the correct notation for each instrument. If both instruments are to play the same notation on one staff, mark it con bass. If the notation is for cello only, add senza bass.

6. Use correct notation at all times. (Vocal and instrumental notations differ.)

7. Pay particular attention to all bow markings, so that they approximate the phrasing intended.

8. Do not resort to "8 va." unless absolutely necessary.

9. Accidentals occurring in divided parts must be repeated in each part affected by chromatic changes.

10. Divided string parts should be marked divisi. When unison playing is to be resumed, add unis.

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