Orchestral Strings

1. Orchestral Strings Allison Wegner and Ashley Lear

2. Viol family Violin Viola Cello Bass * The harp is considered a part of the orchestral strings.

3. Violin

4. History of theViolin • European origins date back to the “musical bow” of the 9th century; ancient predecessor called the Rabab possibly from Arabia. • Practice of using a bow to rub the strings was adopted in the 11th century • The rote and later the five-string vielle slowly integrated ribs into the design • Before 1500, the viola da gamba was widely used in many settings. • Modern violin emerged during the early 16th century.

5. Violin Construction <http://www.youtube.com/watch?v=e7AigxtoEPo> • Body is traditionally made from maple or sycamore. (Full size is 14 inches) • Tuning pegs, located on the scroll at the top of the neck are usually ebony or rosewood. Fine tuning pegs are located at the bass of the strings. • Originally strings were made from dried sheep intestines or catgut, modern strings are made from synthetic core (metals) either solid or stranded. • Bow sticks made from Brazilian wood Pernambuco; bow frog made from ebony; ribbon made from horse hair. • Maker uses ribs to create an exact arching of the body for the sake of acoustics. • The f sound holes are located on the surface of the body. • Friction between bow and string vibrates through the bridge and the sound post to the body of the violin where it resonates.

6. Violin Tuning and Range • Non-fretted instrument • Open strings from left to right; G, D, A, E. (occasionally extra doubling strings) • Pitch range from G3 (below middle C) to the highest note on the modern piano C8. • Usually non-transposing instrument. (exception = scordatura) • Violinists read treble clef.

7. Violin in the orchestra • Typically 16- 30 violins • Violin section divided into first and second violin parts. • Violin often called the “King of the Orchestra” • First violinist is the concert master • Violins can be warm and soothing or bright and shrill depending upon what is needed and the skill of the violinist.

8. Other Uses for Violin • Violins in folk music referred to as fiddles (not usually memorized but passed on by ear) • Italian classical violin (Niccolo Paganini) • Jazz violin used as lead melody line • Electric violins used in progressive rock • Part of string quartet (typically 2 violins) http://www.youtube.com/watch?v=FReGLY2lLuY

9. Viola

10. Viola • Emerged with violin during the early 16th century. • Slightly larger than the violin (16 inch body) • Richer, darker, more full-bodied timbre • Reads alto clef (sometimes treble) • Four strings left to right C, G, D, A • It is a perfect 5th lower than the violin (still a non-transposing instrument) • Typically carries an inner voice part.

11. Viola continued… • Part of a stringed quartet • 10- 12 violas in typical orchestra. • Important role in chamber music (Mozart’s six-stringed ensembles) • Used in some newer folk music • John Cale is a notable violist who has helped in its popularity.

12. Important Differences • Requires wider fingering so ideally larger hands. • Requires more intense vibrato • Violists often use the pad rather than the tip the finger much like a cellist. • More weight must be applied by the bow due to thickness of strings. • When entering in unison with violinists, violists have to begin the bowing a bit early.

13. Tips for beginners • Children should begin with a 1/2 or 3/4 violin or viola • Requires a good ear • Keep bow perpendicular to strings • Should be able to fit a pencil between the hair of the bow and the wood when tightened. • DON’T USE TOO MUCH ROSIN! • Draw bow closer to the fingerboard than the bridge. • Invest in a shoulder rest.

14. Cello

15. Cello • Developed from the bass viol (violin) around the same time as the violin and viola. • Body of a full size cello is 30 inches long (recommended for children to start on 1/2 size) • Four open strings C, G, D, A sound one octave lower than the viola. • Cellists read bass cleff. • Although it varies according to the cellists skill, the range is from C2 up to C6. • Celli have a mellow warm timbre.

16. Cello continued… • Part of the stringed quartet or quintet. • There are typically 8-12 celli in an orchestra. • Cellist tend to carry inner-voice harmony in orchestras and there are often cello solos. • Celli are used in jazz but not quite as much as the double bass. • Notable cellist Yo Yo Ma

17. Tips for beginners • Students should sit on the edge of a chair/thighs parallel to the ground. • Should be able to stand up quickly without moving the tail pin from its position. • The neck should come right past your ear. • Should have relatively nimble fingers (also large enough) • Elbows should always be high. • Use knees to stabilize the body between them.

18. Double Bass

19. History • From the viola da gamba family • Bowed, fretted, stringed instruments appeared in 1400’s in Europe • Germans shaped the bass like a viol - with sloped shoulders and a flat back • Italians built basses with violin corners and a curved back • 1800’s - fretless bass

20. History • Early Baroque period - low profile • Domenico Dragonetti (1763-1846) • First great bass virtuoso • Revolutionary composer and player • Bass players had their own music to play! • Giovanni Bottesini (1821-1889) • Italian composer, conductor, and virtuoso performer • Used the French bowing style

21. Construction • Usually 1.8 meters long • Top is made of spruce • Sides, back and neck made of maple • Fingerboard and Tailpiece made of ebony • 4 or 5 strings made of steel (used to be made of gut) • Tuning pegs are made of brass • All parts are glued together except for the soundpost • *Sizes and materials of the bass vary.

22. Sound Production • Strings vibrate when bowed or plucked • Vibrations travel through the bridge, through the soundpost and then to the back of the bass • Vibrations ring through the pores in the wood and out through the F-holes

23. Tuning/Transposition • Four strings (E A D G) • Bass is the only transposing string instrument - they sound an octave lower than what is written • Solo Tuning (F-sharp B E A) • Most solo bass repertoire is written in solo tuning, so bassists don’t have to transpose • Read a minor 7th below concert pitch in solo tuning

24. Clef & Range • Bassists play in Bass, Tenor and Treble Clef, but usually in bass clef • As solo music became more difficult (notes in higher octaves), composers began to write bass parts in higher clefs

25. Range • C Extension • Most popular way to extend the low range of the double bass • Extends the E string chromatically down to a low C (lowest C on a piano)

26. Timbre • Depends largely on the make of the bass • Rounder back - darker sound • Flat back - brighter sound • Most basses have a darker sound in the normal octaves • Sound gets brighter outside of the normal range

27. Role in the Orchestra • Root of all chords • Difficult to hear, but absence would be noticed • The lowest sound in the orchestra • Doubles parts with tuba and contra bassoon http://youtube.com/watch?v=hM_BlaKPWxY

28. Tips for Beginners • Anyone can play the bass - lots of PATIENCE • First: Bowing technique • Then add left hand • Most kids start on a 1/8 bass • Full size is 3/4 • 7/8 is used by professional orchestral bassists (more wood and BIG sound)

29. Left Hand Technique • Vibrato: stylistic oscillation of the pitch caused by rotating the upper arm at shoulder joint. • Glissando: sliding of the finger up or down the neck to create runs. • Harmonics: touching or depressing of the strings to create specific tones or overtones (natural or artificial)

30. Right hand technique • Double Stop: playing of two notes at the same time. • Pizzicato: plucking the string with finger of thumb directly. • Col legno: use of the wood rather than the the hair of the bow. (usually percussive) • Spiccato: striking strings with the hair of bow.

31. Bowing Styles • German: more power and more sound, easier to start on (hand is underneath the bow), Dragonetti bow • French: used by cellists, have more control, more bowing style options, more difficult because gravity works against it • Both are equally common • Professional symphonies

32. Rosin • Made from resin (obtained from pines and other plants) • Bass rosin is softer and stickier than violin rosin (in order to grab the thicker strings) • Increases friction between the bow hair and the strings

33. Other String Accessories • Wolf tone eliminators • Mutes • Humidifiers • Endpin stops of straps • Tuners • Metronomes • Shoulder pad

34. Harp

35. History

36. Construction • About 80 lbs. / 6 ft. high • 6.5 octaves (46-47 strings) • Lowest strings made of copper or steel-wound nylon • Middle strings made of gut • Highest strings made of nylon • Walnut, maple, cherry, and ash wood can be used to make the body of the harp • Soundboard is usually spruce

37. 3 Types of Harps • Arched Harp: soundbox and neck forming a curve • Angular Harp: soundbox and neck form a right angle • Frame Harp: neck and soundbox are joined by a column to create a triangular shape

38. Pedaling • 7 pedals (one for each note) • Discs at the top rotate when pedal is pushed • Pegs pinch off the string • 3 pedal positions (flat, natural, sharp) • Sebastian Erard (1810) - double-action pedal system • Strings tuned to C-flat Major scale

39. Sound Production • Taut strings are plucked, vibrate down into soundboard • Sound projects out from the wood and from the sound holes in the back of the soundbox

40. Tuning • Tuned to a C-flat Major scale • It is possible to play in almost any key • Tune when string is open (no pedals!) • String is at full length when pedal is up (in flat position) • Can use a tuning key to adjust the pitch slightly • http://www.soundjunction.org/theconstructionoftheharp,andhowit’splayed.aspa?crid=0&lid=3152749

41. Transposition, Clef & Range • Non transposing instrument • Harpists set the pedals to the key at the start of a piece (accidentals signal pedal changing!) • Play off of the Grand Staff (Right hand plays treble clef, left hand plays bass clef)

42. Technique • Two schools of technique • Salzedo: elbows up and forearms parallel to the ground, many gestures while playing (visual), never rest arms on soundboard, louder sound • French: wrists are fluid, right arm rests on soundboard, not as much gesturing, can play faster, more quiet

43. Role in the Orchestra • Add color to the orchestra • Usually one or two harpists in a symphony orchestra • Sometimes the harps are covered by other instruments, unless the composer knew how to write for harps

44. Tips for Beginners • Children and beginning adults start on a lever harp • Dexterity of the fingers and previous piano skills would be an advantage • Teachers: Be aware of your young harpist’s needs - literature is limited for middle school orchestras • Beginners are also limited in the number of keys they can play (using a lever harp) • Teachers: Might need to arrange a harp part to make it easier for student to read.

45. Helpful Sites • Violinonline.com (viola, cello) • Dsokids.com (guide to the orchestra) • orchestralibrary.com • www.astaweb.com

46. Works Cited • Elgar, Raymond. Introduction to the Double Bass. London, Lowe and Brydone (Printers) LTD, 1960. • Brun, Paul. A History of the Double Bass. Published in France, translated in 1989. • http://www.geocities.com/Vienna/1187/Music/basshist.html • http://www.soundjunction.org/theconstructionoftheharp,andhowit%e2%80%99splayed.aspa?crid=0&lid=3152749 • www.youtube.com • www.wikipedia.org

47. Works Cited continued… • http://www.dsokids.com • http://www.harpspectrum.org/pedal/wooster.shtml • Stowell, Robin. The Early Violin and Viola:A practice Guide. Cambridge University Press. 2001. • Cowling, Elizabeth. The Cello. Chalres Scribner’s Sons New York. 1983.