string theory pt3

8/13/2019 String Theory Pt3

1/8

On Ice, American Idoland The Voice,

countless television ads, programming

orchestral mock-ups for the movies The

Chronicles of Narnia, 2012, Lay The

Favouriteand Paul, for tours and albums

by Katherine Jenkins, George Michael,

Westlife, Kylie Minogue and Shirley

Bassey, and for producers such as David

Foster and Phil Ramone.

The inexhaustible Mr Hearn has

contributed some great masterclass tips

to help spice up your MIDI orchestrations

and improve your workflow. Although

intended primarily for experienced

orchestral samplists, these tips can be

applied by anyone with a modicum of

programming skill. In addition to these

useful pointers, Ill continue to share

my personal views on the noble art of

string arranging, including extracts from

arranging jobs that have come my way

over the last few years.

Slimming World

When I started out arranging for strings,

I soon realised that keyboard and

guitar chords rarely work well when

transcribed note-for-note for a string

section. The reasons for this are fairly

obvious: a keyboard patch or strummed

D A V E S T E W A R T

Welcome to the third part

of my string-arranging

series and if you missed

the first two, theyre available online

at www.soundonsound.com/sos/jun12/

articles/string-theory-pt1.htmand www.

soundonsound.com/sos/jul12/articles/

string-theory-2.htm. This month, Im

joined by the talented composer, arranger

and orchestrator David William Hearn,

whose extensive CV includes (deep

breath) music for the TV shows Dancing

Arranging For Strings: Part 3

From a delicate shimmer to an earthquake tremor, harmonics, tremolo andtrills can add vibrancy and drama to your string arrangements. Find out howto make the most of them in this SOSmasterclass.

T E C H N I Q U E

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possibly have led to death threats,

but in the post-post-punk, chilled-out

climate we now enjoy, I feel safe to tell

you that the music on this album is of an

impressively high standard.)

The composer, who earns his living

working with live players as well as

creating MIDI mock-ups round the clock,

knows his musical onions, and had used

some top-end sample collections in his

string demos. The libraries included LA

Scoring Strings and Miroslav Vitous

Symphonic Orchestra String Ensembles.

The arrangements, therefore, sounded

very good, and the musical ideas worked

so well that I didnt feel the need to

elaborate or rewrite much. For me,

this meant that (unusually) the job was

mainly concerned with the details of the

orchestration, rather than dreaming up

entirely new arrangements from scratch.

One songs intro was particularly

effective, being a quiet, sustained chord

with an eerie, dreamy atmosphere,

played on high violins. I couldnt exactly

identify it by ear, but thought it might

be a major chord with some added

intervals. Opening the MIDI file revealed

the dense voicing you see in diagram

5. Im assuming that Rob played it with

two hands, rather than cheating and

using his feet.

Orchestrating this dense event for

real players required thought: while the

sampled demo version sounded fine,I wasnt convinced that we needed the

players to perform all nine notes. I feared

that would sound too full and undermine

the attractive, transparent quality of the

demo. The solution was to omit the three

in diagram 3. Alternatively, if you miss

the comforting presence of a fifth atthe base of the chord, you could try the

alternative version in diagram 4, which

reinstates the low fifths and omits the

second-from-top notes.

Benefiting from wide, similarly

proportioned intervals, the last version

sounds elegant and would work a treat

with its notes assigned to (from the top

down), first violins, second violins, violas

and cellos. The difference in sound

between the diagram 3 and diagram

4 chords is rather subtle; it would be

an excellent ear-training exercise to

alternate them slowly and repeatedly,

enabling you to accurately discern their

different flavours.

General Cluster

As I remarked in my first article, two

months ago, one of the interesting

things about writing string arrangements

nowadays is that songs usually arrive with

a strings demo attached, more often

than not created by the songs composer.

A set of demo string arrangements of

unusual quality came from a client called

Rob Reed, a genial Welsh keyboardistand TV composer who was in the

process of recording his own long-form

symphonic-rock concept album. (I realise

that to utter the last sentence in a UK

music magazine back in 1977 would

guitar makes

a homogenous

sound in which

all notes blend

together into

a unified whole;

a string ensemble

is far less homogenous, since it features

different types of instrument, as well asmultiple players performing each note of

a chord. The resulting sound is therefore

richer, more complex and more expressive

than a keyboard or guitar could ever be,

so in order to avoid creating an overly

dense sound, we need to think carefully

about what notes in a chord should be

assigned to the string players.

A simple illustration is the pair of

chords you see in diagram 1: this classic

A-minor to C-major movement sounds

perfectly satisfactory played on keyboard

or guitar, but when performed by a string

section literally as written, it sounds too

full. In order to let some air into the

string chords, we need to thin out the

voicings. A good starting point is to

identify any duplicated notes: as you can

see in diagram 2, the top notes (A and C

respectively) are doubled an octave down

(marked in red); the second-from-bottom

notes of E and G (shown in blue) are also

duplicated an octave higher.

Although they add warmth and

richness when played on keyboard

and guitar, these mid-range octave

doublings have a built-in musicalredundancy thats to say, they dont

add any new harmonic information

to the chord and so can be safely

omitted when arranging for strings,

leaving us with the pared-down voicings

Diagram 1: A simpleA-minor to C -majorchord movement.

These six-note voicingssound fine played on

keyboard and guitar,but sound too full

when performed by realstring players exactlyas written.

Diagram 2-4, from left: Duplicatednotes within the chords are markedin red and blue (respectively, the topand second-from top notes doubledan octave lower); thinned-out versionsof the two chords omit the duplicated

notes; and an alternative voicing whichretains the low fifth interval and omitsthe second-from-top notes.

Diagram 5: The opening chord of RobReeds song Lily, from his self-producedalbum Kompendium.

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3/8

Note-wise, this is about as simple as it

gets; clearly, adding a high fifth based on

the home key of the music isnt going to

affect the harmonic make-up of the piece

one way or the other. However, what I was

exploiting here was not note content,

but sheer sound the light, bright, clear

and pure sustained tone of the violins

top string, stroked delicately into sensual

motion by a horsehair bow. With eight

violins playing the high note and six

tackling the lower, this simple interval had

a subtly electrifying effect on the track.

Harmonics

If you want an even more delicate effect,

try harmonics. As every guitarist knows,

these are obtained by playing a string

while touching it lightly at the octave withthe fingertip, producing an ethereal, quiet

chime. String family instrument players

can do this too, and in fact can go one

better, being also able to play artificial

harmonics by pressing the string down

and lightly touching a fourth interval

above it, producing a harmonic two

octaves above the stopped note. Using

this method, you can write melodies

consisting entirely of harmonics, although,

due to the difficulty of the technique, its

sensible to keep the part slow and simple!

A famous example is the solo violin

melody in the introduction of the second

part of Stravinskys Rite of Spring. Played

entirely on harmonics over an eldritch

series of eighth-note woodwind chords,

this unearthly, disembodied tune sounds

a problem. This is because, firstly, its high

pitch precludes an excess of warmth or

muddiness in the sound and, secondly,

since its played unaccompanied at the

top of a piece, its not competing with any

other arrangement elements.

Delicate Sonorities

The transparency and fragility of high,

quietly played violins can add a lovely

atmospheric quality to a song. I had

a chance to explore this area when

I worked with the Liverpool band

Anathema on Falling Deeperlast year. The

album is a collection of re-interpretations

of earlier recordings, some dating back

to the early 90s when Anathema were

a doom metal band. Although a certain

heaviness remains, the deathly overtonesof yesteryear have been supplanted by

a tender, more reflective, emotional and

somewhat mystical approach tinged with

a wistful, Celtic melancholy in other

words, the perfect setting for strings!

As several of the songs on Falling

Deeperwere played on unaccompanied

piano, there was plenty of scope for

lighter sonorities. One example was the

song Everwake, a charming 3/4 ballad

featuring guest vocalist Anneke van

Giersbergen. The opening verse leads

to an eight-bar instrumental break in

A-minor, played on solo acoustic guitar;

I orchestrated it with violins playing

a sustained, high-pitched fifth interval of

A and E (the lower note pitched an octave

and a sixth above Middle C).

pitches marked in red: the top note was

so quietly played on the demo as to be

practically inaudible, and I also felt we

could live without the two Eb notes, since

the Gb was already adding a nice fourth

suspension to the lower Db-major triad.

In the end, I orchestrated the chord as

depicted in diagram 6. Youll notice that

the top note of the violas is interposed

between the second violins two pitches,

in order to help unify the two sections.

I should point out that although

this chord contains a fair number of

closely-positioned notes, the concerns

about over-density noted earlier were not

Its important to imbue digital mock-ups withas much semblance of human expression aspossible, which to me means constantly varyingdynamics and vibrato levels in a musicallypleasing and realistic way. It can take manyhours of study to learn when and how live

instrumentalists vary their vibrato, but it can alladd an extra dimension to your mock-up, andperhaps hold the illusion long enough to geta music cue approved by a director!

I invariably use the mod wheel (MIDICC#1) as a dynamic controller, which meansthat in my orchestral templates, MIDI CC#11(traditionally used as the Expression controller)is freed up for other functions. Ive found itsvery effective to use an expression pedal tocrossfade between non-vibrato and vibratoversions of instruments: it works very well onsolo woodwinds such as the flute, and also onstring ensembles. Heres how to set up a vibratocrossfade using the Vienna Instrument and

Flute 1 from Vienna Symphonic LibrarysWoodwinds I collection.

Load the patch FL1 sus Vib intoone Vienna Instrument and FL1sus noVib into a second ViennaInstrument.Set both instruments to the sameMIDI channel.

Click on the second VIs Performtab, select Map Control,highlight CC11 Expression atthe top of the controller list andclick on the Invert button (seediagram on page 76).Inverting the second instruments

Expression curve has the effect of making thenon-vibrato flute get quieter when you pressdown your expression pedal, while the vibratoflute simultaneously gets louder. Pull back thepedal, and the reverse happens. This means youcan start a note without vibrato and introduce itat will via the pedal; a nice, expressive technique,and a big improvement on using progressive

vibrato instruments in which the vibrato alwayskicks in at the same point. And, of course, while

varying the vibrato intensity, you can also addvolume swells and fades with the mod wheel

One additional tip: when working witha multiple computer setup, I recommend usingVSLs Vienna Ensemble Pro host, a very coolpiece of software which makes it easy to controlmultiple Vienna Instruments and VST/AUplug-ins over Ethernet. Its also a very goodoption for allowing you to use large sample

libraries inside DAWs that still arent 64-bit,such as Pro Tools. David William Hearn

Masterclass Tip 1: Vibrato Crossfading

Diagram 6: The Lily opening chord arrangedfor violins and violas.

The humble modulation whe el can bepressed into service as a dynamic controllerfor your strings library.

T E C H N I Q U EH O W T O A R R A N G E F O R S T R I N G S : P A R T 3

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4/8

diagram 7). With each note taken by two

players, this created a delicate, ethereal

sound. As you can see, harmonics are

notated by placing a small circle above

the note. Artificial harmonics are often

piano-based instrumental I Made

A Promise (originally released in song

form as Jai Fait Une Promesse). After an

intro featuring some mournful, full-strings

chords, the piano picks out the vocal

theme accompanied by the first violins

playing quiet, sustained harmonics (see

as if its coming from another universe.

God knows what the audience of 100

years ago must have made of it when the

piece was premiered... oh, I remember

now they rioted.

I was able to feature violin harmonics

on another Anathema track, the

Just as a good knowledge of instrument balance,section balance and range is essential whensetting up a homogenous and realistic-soundingorchestral template, technical consistencyamongst MIDI controllers, keyswitches,transposition and crossfade variables are justas important to provide an efficient workflow.One of the best ways to provide consistencythroughout your template and across all yoursample libraries (whether reprogrammable ornot) is to use VST Expression a Cubase-onlyfeature Ive come to rely on heavily to get workdone on schedule, and without losing my sanit y.

VST Expression (introduced by Steinbergin Cubase 5) is a very powerful tool, and a greathelp for composers on tight deadlines who need

to compose, provide mock-ups andprint outthe parts for the players. It takes the concept ofkeyswitches and presents them in a musicallyrelevant way, via Cubases Articulations laneand Key Editor list, and as musical symbolswithin the Score Editor. As well as providinga great, at-a-glance overview in both editors,having the symbols show up in the score cansave hours of tedious manual inputting later on.

Using this system, I can designate a keyboardnote of (say) C0 to access arco (bowed) samples,C#0 for tremolo, D0 for staccato, D#0 forpizzicato, E0 for marcato, and so on. Thesenotes dont have to correspond to the actualkeyswitches on your sampler. If you like, youcan remap them to different output notes, makethem change the tracks MIDI channel, or evensend out CC messages. This is a godsend whenworking with samplers such as Play, which dontallow you to alter or create keyswitch patches;it also avoids the hassle of having to edit yoursampler patches, which, firstly, isnt alwayspossible and, secondly, can cause headacheswhen updating.

Equally cool is the fact that the inputkeyswitches dont appear in the sequenceor score as actual notes (thereby avoidingtedious clean-up operations), and that youcan easily change the key of the music withoutworrying about affecting the keyswitches.Another nice touch is that Cubase chases the

keyswitches, so youll always hear the rightarticulation, regardless of where you start

playback. All these little benefits massivelyspeed up the mock-up process, making it a loteasier and more enjoyable.

Additionally, to provide consistency betweenMIDI controllers, I often make use of Cubasestrack-specific (or local) input transformer. Thismeans that I can convert, for example, CC1 toCC11 on some tracks but not others. This isessential when working with multiple samplelibraries that use different controllers to achievethe same thing, and is a perfect complement toconsolidating keyswitches via VST E xpression.Once its set up, I only have to remember onemain set of keyswitches and controllers for allthe tracks in my template regardless of whichsample library its triggering. This is great for

my brain, allowing a bit more space in there toremember other things, such as my girlfriendsbirthday, and, er it ll come to me.

This intelligent way of handling MIDI data

makes it possible to quickly create large-scalemock-ups and musically coherent scores at thesame time. There are two drawbacks: the first isthat Cubases Score Editors vertical positioningof the musical symbols leaves a lot to be desired,but at least the symbols are in there, and I caneasily and automatically tweak their positionsin Sibelius later, once Ive imported the Cubasearrangement as a MusicXML file. The otherissue is that VST Expression is currently onlyoffered by Steinberg/Cubase, but we live inhope that it will be implemented by otherdevelopers in due course! David William Hearn

For more about working with VST Expression,see the video Cinematic Strings & VST

Expressionat http://player.vimeo.com/video/37377379and read John Waldens SOSarticle atwww.soundonsound.com/sos/jan10/articles/cubasetech_0110.htm.

Masterclass Tip 2: Cubases VST Expression

Cubases VST Expression can be a great help to composers working with libraries and instrumentsfrom different manufacturers.

Diagram 7: Six violins play delicate, etherealharmonics on Anathemas I Made a Promise.


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on a seismic scale.

There is, however,

a more subtle

application of

tremolo that avoids

such clichs: we

in the trade call it

div trem (short for

divisi tremolo).

The basic idea

is that, rather than

everyone playing

tremolo, a sectiondivides in two, with half the players doing

the tremolo bowing while the others play

in the normal arco style.

This proved to be the perfect approach

for an instrumental piece called Belle

de Jour on Steven Wilsons Grace For

Drowning2011 double album. The

music is light and romantic, reminiscent

usually played with the bow tip) is

commonly used to denote suspense.

When executed by an entire string

section playing a diminished chord, this

technique constitutes the classic, scary

Behind you! film music cue, and when

played by double basses it can produce

massive-sounding, shuddering vibrations

notated with diamond-shaped note

heads, but in this case I left it to the

players to work out how to play them!

Belle De Jour

Canny media composers will be wise

to the fact that the strings tremolo

style (a very fast repetition of a note,

Diagram 8: An extractfrom the stringarrangement of Steven

Wilsons atmospheri cBelle de Jour.


6/8

of 60s film soundtracks; Steven had

specified the tremolo delivery, and had

augmented the sampled strings on his

demo with a real violin, played by himself

in vigorous tremolo style.

Diagram 8 shows a short extract from

the Belle de Jour string arrangement.

In the studio, we tried various ways of

implementing the div trem approach and, as I recall, we ended up with only

the first violins doing it, which added

a very nice shimmering effect to the high

melody line. The basic chord sequence

oscillates between A-minor and Ab-

major; I wanted to introduce some

additional harmonic movement within

the chords, so gave the cellos a melody

line that adds a low major seventh to

the Ab-major chord in bar three. I also

deliberately introduced some harmonic

confusion in bar six, where the melody

line is briefly underpinned by the four

adjacent white notes A, B, C and D. Thisbreaks all the rules of harmony, but it

sounded good to me!

The crescendo and diminuendo

dynamic movements in this extract are

a very important aspect of string playing.

I noticed when I first worked with the

superb London Session Orchestra

players that they naturally added subtle,

expressive volume swells and fades even

though the parts didnt specify them.

Coming from a rock background that

recognises only two dynamics loud,

and louder this was both a pleasant

surprise and a valuable lesson. I was

also amazed that the players collectively

executed these expressive gestures as if

they had performed them hundreds of

times, when in fact they had never heard

the music before surely the sign of an

ensemble who play a lot together.

Sunset Trills

Trills loveem or hateem? A vocalist of

my acquaintance once asked me not toplay any on the backing track of a song

we were working on. When I asked

why, he replied, because I always think

musicians only play trills when they

cant think of anything else to play.

That certainly wasnt true in my case,

but I can see how in certain circles a trill

might be considered a bit namby-pamby

however, the technique can be very

effective when used sparingly, and in

my opinion sounds particularly good onstrings and woodwinds.

I used trills on a string arrangement

for Anathemas Sunset of Age, also

from Falling Deeper. The original version

had appeared on the 1995 album

A Silent Enigma,back in the groups

doom period, and consequently its

a slow and heavy, guitar-dominated

affair. The re-interpreted, 21st-century

version is more lyrical and romantic, but

still retains an ominous quality.

One of the songs main themes is

a big, half-time, see-sawing E-minor bass

riff which goes up to F in the second

half of every fourth bar. The chords

This simple technique is as old as the hills,but it works for me: when programming

string parts, try adding a solo violin to theensemble. The sound of the solo instrument(in particular, its highly emotive vibrato)introduces an extra expressive dimension.Using the mod wheel as the volume

controller, you can subtly fade it in andout to add poignancy to selected phrases,

or use it more dramatically to emphasisea climactic passage. Be careful not to overdothis, though, as it can have the effect ofmaking large ensembles seem much smaller.David William Hearn

Masterclass Tip 3: Add A Solo Instrument


VSLs Vienna Instrument Map Controlwindow can invert incoming MIDI CC dataso that pushing your expression controllerdown makes the instrument volume quieter!

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7/8

to book them, youll find that the new

breed of studio string players are very

helpful, and will happily advise you on the

best way to perform your arrangements.

In my next article, Ill feature some

of the less subtle aspects of string

arrangement, and examine how a string

section can hold its own against a rock

band in full flight. Until then, I wish you

a pleasant and productive month of

music-making.

Lily (music by Rob Reed) is from

the 2012 album Kompendium(www.

magenta-web.com). Sunset of Age,

Everwake and I Made a Promise (all

composed by Daniel Cavanagh) are

from the 2011 album Falling Deeperby

Anathema (www.anathema.ws). Belle de

Jour (Steven Wilson) is from the 2011

double album Grace For Drowningby

Steven Wilson (www.gracefordrowning.

com). Thanks to the composers for

permission to use extracts.

than attempting to play the entire chord

on their instrument (theoretically possible,but usually inadvisable).

Sunset of Age plays out on a long,

histrionic guitar solo (some things never

change), doubled in places by high violins.

The solo peaks on a high sustained

note, at which point I pushed the boat

out and wrote the chordal trills you see

in diagram 10. The strings are basically

moving in a kind of counter-rhythm

between a D-major and E-minor chord,

but the notes are almost irrelevant: the

significant fact here is that each pitch is

played as a loud trill, giving the strings

a great, vibrant energy.

In Conclusion

I hope some of the techniques, musical

extracts and technical tips outlined above

will be of use to you. I suspect that many

musicians would like to try their hand at

string arranging but are intimidated by

what seems like a complicated process.

Fortunately, we now have excellent string

sample libraries that you can experiment

with before calling in the session

musicians. When you do pluck up courage

played over it are E-minor, A-minor,

C-major 7 over E (one bar each), and inthe fourth-bar turnaround, two beats each

on C-major over E and F-major 7. At the

outset, the strings play the changes as

sustained chord pads; in the second verse,

I introduced more rhythm, by making the

higher strings play half-time off-beats,

almost like slowed-down reggae, while

the cellos doubled the on-beat bass

line. When it came to the instrumental,

I wanted to hear something different

playing over the chord sequence, so

wrote the four-bar passage you see in

diagram 9.

The hallmark of this particular

section is the emphatic staccato rhythm

played by violas and cellos; its actually

an orchestrated version of something

I played on keyboard, using a combined

strings-and-woodwinds patch from

Project Sams excellent Symphobia 2

library (the woodwind element is pretty

subdued, but the marcato strings have

a good, fierce attack).

To add more angst, I wrote a high

trill note in bars 3 and 4, introduced

by a dramatic run-up; to finish the trill

with a bang, I appendeda manic-sounding slide down

from a high-pitched E-minor

triad over the last two beats.

The three notes in this chord

were split between 14 violins

in a 6:4:4 ratio. As youll recall,

the instruction div (short for

divisi) in the score tells the

players to divide the notes of

the chord between them, rather

Diagram 9: Anathemas epic, formerlydoom-metal Sunset of Age gets the full stringorchestra treatment. Note the dramatic violinstrill and slide down.

Diagram 10: Sunset of Age fades intothe sunset with pulsating, chordalstring trills.


http://www.magenta-web.com/http://www.magenta-web.com/http://www.magenta-web.com/http://www.anathema.ws/http://www.anathema.ws/http://www.gracefordrowning.com/http://www.gracefordrowning.com/http://www.gracefordrowning.com/http://www.soundonsound.com/http://www.soundonsound.com/http://www.gracefordrowning.com/http://www.gracefordrowning.com/http://www.anathema.ws/http://www.magenta-web.com/http://www.magenta-web.com/


8/8

Mix with the best!As a professional I admire Sound On Soundas one of the most trusted and crediblesources of inspiration and information.

Jack Joseph Puig, mixer, producer, GrammyAward winner (Rolling Stones, U2, Mary J

Blige, Black Eyed Peas)

Besides the excellent interviews and fascinating,in-depth recording and mixing articles, I canalways depend on Sound On Sound forcomplete, unbiased reviews of the latestpro-audio gear.

Bob Clearmountain, engineer, producer andmixer, Grammy Award winner (Bruce Springsteen,The Rolling Stones, Paul McCartney, INXS)

This article was originally publishedin Sound On Sound magazine,

August 2012 edition

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string theory pt3

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