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Chapter 9
SCORING FOR THE STRINGS
Structural Developments and Scoring for strings, as an independent section, includes a disposition of structural developments and extensions in addition to the idiomatic arrangements of the instruments. The place of resonance in piano music has been examined and established along with the normal distributions for four-part vocal writing. However, string settings of vocal chorals introduce new problems of spacings for instrumental resonance not heretofore considered. They also place each string instrument in its customary playing range with an emphasis on horizontal voice leading. Resonance factors, based on chordal spacings and extensions, will account for inevitable structural changes connected with the interchange of the vocal and instrumental mediums.
primary purpose in working with four-part choral music is to determine the ways and means by which its voice structure may be expanded in order to secure greater instrumental resonance, balance, and tonal strength. The lessons learned from these exercises can be applied to sectional or full orchestra scoring, since the basic resonance factors remain unchanged.
The first phase of converting choral parts idiomatically for strings is obtained by adding the basses in octaves with the cellos. A solid bass part is essential for accompaniments which may be used with large choruses. The tessitura of the first violin melody part, as it stands, has a minimum of vibrancy and tonal strength and would be lost if pitted against a large soprano section. If raised an octave, the melody, played on the E string, would sing out loud and clear. This inversion leaves the second violins and violas in hopeless positions, harmonically. These parts can be better spaced by inverting the alto and tenor voices. Note: Spacing inadequacies in the middle register can generally be satisfactorily revised by inverting the alto and tenor voices whenever the ranges of the melody and/or bass parts are changed. These suggestions have been applied to the scoring in Example I-26.
The same need for good voice leading applies to orchestral parts as to the writing of four-part harmonizations. Consecutive fifths or octaves resulting from added fillers or doublings are not considered objectionable since they are inevitable in most expanded triad progressions in the treble clef.
The following four settings of America vary structurally from six to ten voice parts. Examples I-27a and I-27b differ in the arrangement of the three inside parts.
The eight parts in Example I-27c represent the maximum sonority possible in this voice distribution without any new changes in the ranges of the melody or the bass.
Comparison of this eight-part setting with Example 1-25 reveals all four original voices doubled in the octave. A seven-part version is possible by removing the inverted alto voice.
This ten-part plan is possible only when five-string basses are available. In this connection, it is of importance to note the tessitura problems caused by key tonalities. Any key a major third higher than G would assure greater brilliance and sonority — first, by the raised pitch, and secondly, by providing better tonal spreads for normal instrumental ranges. The four inside voices of this arrangement, in the bass part, have special interest because they do not follow rigid chord progressions. Rather, these progressions were selected for the following reasons: (1) to prevent fundamental triad positions; (2) to retain common tones whenever possible; and (3) to avoid unnecessary consecutive fifths and octaves.
This arrangement could be further extended for three additional voices in the treble, but the tessitura of the top notes would then be playable only by the piccolo.
In general, fillers should not be added above the melodic line as they tend to obscure its clarity. This point does not refer to added counterpoints, figurations, or arabesques which do not affect the tonal profile of the leading part. High-octave melody doublings without fillers are possible and sometimes desirable if adequately supported by well-spaced middle-range and bass parts.
The conclusions to be drawn from working with four-part choral music for orchestra are:
1. Limited range means limited resonance and tonal strength.
2. All voice parts are independent units with horizontal freedom and movement.
3. Thick part writing in the bass register is to be avoided.
4. All models discussed thus far are suitable for sectional or full- orchestra scoring.
5. Before adding fillers, experiment with inverted alto and tenor parts.
6. Overpadding with doublings and fillers leads to unbalanced sonorities.
7. Melodies should not be inserted arbitrarily between harmony parts.
Note. The author's use of America as a model for settings of four-part music (chorals) in his book, Band Scoring, A Comprehensive Manual, will enable students to make definitive examinations and comparisons of this phase of scoring for both the orchestra and band media.
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