Re: Writing idiomatically for the cello and other string instruments

On Oct 28, 8:47 pm, bronx <bobmorab...@xxxxxxxxxxxxx> wrote:
On Oct 28, 3:50 pm, "Steve Latham" <llat...@xxxxxxxxxxx> wrote:



<moshekn...@xxxxxxxxx> wrote in message

news:1193589575.553860.160660@xxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

Hi there. As a composer whose instruments are piano and harpsichord, I
have had a hard time
writing for string instrument, specifically the cello.
As long as I wrote slow lyrical tunes, everything was allright, but as
i soon as I started writing figurations or double stops my cellist
simply walked out on me.
Can someone out there compile a list of 10 or so DO NOTS for composers
who are keyboard players, when writing for stirings
Sincerely Moshe Knoll

I would suggest sitting down with some cello music, and looking at what it
does. Also, get with a cello player (or other strings obviously) and talk,
and listen. Bring them musical examples and see if they can explain to you
why or why not certain things work or don't work.

Their experience is worth a thousand words.

Steve

Most of us sadly dont have a string player easily available-

but what can be done simply, is to take scores of music you really
like--I favor the Carter String Quartets--and MIDI step enter small
figurations, or phrases. etc that appeal to you, and then use these as
a basis for your own writing.

See what it is that sounds good to you--gesture, articulation, range,
double stops and chords interspersed, etc..

Then you can vary them--change the notes, remove/add notes, change
rhythms, mood, extend them, sequence, and vary them,mix different ones
together etc..etc all as exercises, that will lead to some really
EXCELLENT string writing..

Using sampled instruments or free soundfonts (there are many really
good ones) can really get you going in the "write" direction--you'll
know you have the right sound when it excites you and compels you to
compose with it..

Hopefully this will STOP your cellist form walking out on you:)

HTH.
Peace, Bob Morabito

Also wanted to add--look at the use of open strings in double stops
and chords, and in figurations, and the mixing in of differing
articulations, to keep interest going.

Its especially beneficial to study solo passages, to get a feeling of
writing idiomatically..and again, I find none better that the Carter
String Quartets, esp #2, and 3, both of which were awarded the
Pulitzer prize (1960, 1973)

Thx
Bob Morabito

.

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