Strings

[jphase]

Hello!

 

I searched the net without much success on this topic (maybe I didn't have the right keywords)So I always wondered how to add those beautiful string parts for pop songs. I realized that lots of songs use similar structures and similar "licks". Here are some songs which use the kind of string sounds that I am after for:

 

abc - one day or ocean blue

art of noise - catwalk (string parts appearing at 2:15 till end)

swing out sister - twilight world, forever blue, precious words

 

I wonder if there are books, forums or anything dealing with this topic? I know a bit of music theory and I am also familiar with string instruments on a basic level. Can anyone help me or give pointers where to search for information? what were the typical number of players in the above mentioned songs (if it can be heard)and can these parts be emulated with string libraries?

 

 

thanks in advance!

Jozsef

[Eric VB]

Hi Jozsef, and welcome to Songwriting and Composition!

 

I can't say I'm familiar with the songs you've referenced. Some of my favorite string arrangements in rock were done by John Paul Jones on his solo work following Led Zeppelin.

 

Jones had a formal music education growing up. This undoubtedly laid the foundation for his many arranging and producing achievements. (Take a look at his bio on his official site to see the vast array of work he's done outside of "1969-1980 LED ZEPPELIN 9 albums 1 film 26 tours".)

 

His parents were also musicians and mentored him, at least as a youth. (His father was a "pianist and arranger", too.)

 

The Wikipedia article also lists some pretty broad musical influences, from blues to jazz to classical. Obviously it is in the realm of classical where strings are most prominent.

 

That's not to say that the only way to become an arranger is to be born to musicians, receive a formal music education, and listen to a wide variety of music. However, that kind of background will certainly make it easier.

[Eric VB]

(continued)

 

There are a number of books that may be helpful. A thread on this topic was posted in this forum within the last year; it shouldn't be too far down on the list of topics. You may want to start by expanding your "bit of music theory" knowledge, as this will be the foundation for arranging.

 

I don't mean to be discouraging but you have quite a bit of reading ahead of you. Composition programs at liberal arts universities are four year programs. Music theory is taught all four years. Arrangement and orchestration are taught in addition, as well as ear training and other topics. If possible, I highly recommend seeking a formal eduction in music of some sort.

 

However, it has been my observation that musicians that have had traditional (classical) piano lessons over many years starting as a child have a very strong theory and classical background. Have you studied piano?

[Eric VB]

(continued)

 

You also need to start listening to classical music if you don't already. Recorded music is convenient, but I highly recommend attending as many symphony concerts as possible. Not only is this a much more enjoyable way to listen to music, you also get the visuals of which instruments are playing which parts (i.e. the arrangement). Find out what the program will be ahead of time and obtain a copy of the musical scores for each piece. (You can read standard notation, right?) The score will show you exactly how the music is arranged. You can study it prior to the concert and even take it along with you to the show and follow along (just be careful not to be noisy when turning pages).

 

Smaller ensembles -- usually called "chamber" groups -- are also a good listening experience. Most of these I've seen have been in more intimate settings (i.e. smaller venues than the orchestra halls inhabited by the symphony orchestras). So bringing a score along may be a bit intrusive. You may want to contact the group ahead of time to get their approval.

 

If you played in your school band or orchestra you should at least be familiar with classical music and arrangements. (I played in my school bands and orchestras from age 10 through my first years at university.) This will help.

[Eric VB]

(continued)

 

Part of what makes classical string arrangements so interesting compared to popular music is that classical is often contrapuntal, whereas popular often displays more "vertical" harmonies (i.e. chords). That is not to say that orchestras do not play block chords and other vertical harmonies, or that popular music is devoid of counterpoint.

 

Also, a good arrangement will often move various roles around the orchestra. The bass instruments (double bass, tuba, bass trombone, sometimes cello, etc.) typically provide the bass role. There are times when these instruments are tacit (aren't playing) and the bass function can be picked up by the lowest-pitched instruments still playing, say the violas or 2nd violins.

 

The melody usually moves around from section to section, although typically the highest-pitched instruments play the majority of the melody. A phrase may start in the 1st violins, move to the flutes, over to the cellos, and then back to the 2nd violins. The counterpoint, or counter melody, likewise moves around the different sections.

 

All the while other instruments are adding harmony in one fashion or another. They may be playing sustained chords, adding a coupled harmony to the melody (as vocal harmonies in popular music), or whatever.

 

The role of percussion is obvious.

 

Part of arrangement is also building textures, although this doesn't pertain when arranging for like instruments, for example a pair of violins. The texture of a harmony built on flute against oboe will sound different from flute against clarinet, and very different from trumpet against trombone or french horn.

[Eric VB]

(continued)

 

Still with me?

 

Now, despite all the complexity I've outlined, it's still possible to come up with string arrangements by trial and error.

 

You are correct, sample libraries can be used to create string arrangements. Decent libraries like Garritan Personal Orchestra (GPO) are affordable and usable. The "strings" sound packaged with Apple's Garage Band are less usable. However, GPO is also more complicated to use, and you have to have more than just a basic knowledge of playing a string instrument, such as bowing techniques.

 

For a truly professional recording, though, you'd probably want to work out your arrangement with something like GPO first. Once satisfied, print out the various parts and hire the necessary studio musicians.

 

For example, a simple arrangement for two violins only requires one violinist thanks to multitrack recording. Although a string "section" can be approximated by having one violinist play the same part several times, it's often better to have at least two or three players instead. These can be recorded several times (each player separately) to sound like a larger section.

 

 

A keyboard is often used as a MIDI controller to input all of the musical data. It's also possible to use a keyboard in a live performance instead of hiring a string section. If the sound module from the sample library resides on the keyboard it will be easier than trying to control a laptop computer in real time. (Search around the Keyboard Corner forum for more opinions on these two strategies.)

 

 

Just as a side note don't get too carried away and try to model an entire orchestra with a sample library. It can be done, but requires several high-end computers to be connected together. But for the kind of string arrangements typically used in popular music you should be ok with just one computer.

[Eric VB]

Of course another option is to hire an arranger.

 

This will cost you money but it will save you time. Unless the purpose of all this is to become a arranger yourself. Look at all the time you will be spending to learn how to arrange? Could you be more productive spending that time doing what you already know, such as songwriting?

[David R]

RicBassGuy has given a lot of great advice, but it may be a bit overkill for what you want to achieve. Definitely bone up on your theory and harmony, and read a good orchestration text (there should still be a list at the top of this forum of good orchestration books; either Walter Piston's book or Samuel Adler's book will be sufficient) to glean proper idiomatic techniques for writing for strings.

 

The biggest piece of advice I would give you is use your ears and study scores. When I delved into writing for jazz trio + string quartet I really delved in heavily to my favourite string composers: string quartets by Debussy, Ravel and Bartok; minimalist music by John Adams and Arvo Part (Part calls his music tintinnabulist, but that's splitting hairs in this point); and the great string arrangements by Paul Buckmaster on the early Elton John records. For the classical pieces, my college library had the scores for the majority of the classical works as well as recordings, and I would sit and follow along in the score, copying anything really cool I saw into my notebook. With this research, it became easy to hear what was going on in the Buckmaster arrangements, and in Motown string arrangements, and in Brazilian string arrangements.

 

I'm not super familiar with Art of Noise and a lot of those '80s post-New Wave bands, but I wouldn't be surprised if they were using string synthesizers and not real strings. Totally different ballgame.

 

David

[jphase]

Hello!

 

thanks for the very detailed answers

 

I am able to read music (though I wouldn't be able to play a totally

unknown piece at first sight:) I have to spend some time figuring out the

rhythm and the notes. I studied classical piano when I was young(er).

Thanks for the suggested books and performers I will try to find their works.

 

I am also interested in the relation between the string arrangement and the structure

of the pop song as well: like a song has a chord sequence with a melody above it. I wonder whether

the string lines are composed considering the notes in a chord sequence or the string line is a contrapunctual

melody to the melody of the song? Or it's a mixture of both?

 

Jozsef

 

 

[David R]

Hi Jozsef,

 

The best string arrangements are a mixture of both harmony and counterpoint, and have unique melodies to themselves. An error many beginning string arrangers make is writing very static parts for strings, just following the chords entirely. String instruments, and players, love motion in their parts.

 

David