Originally Posted By: flatfoot
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>>>...A few close-spaced triads played on any String sampler or synth will "organ" - and kill any chance of yielding the most desirable aspect ...>>>

Hi Mac! ... I know how to write open and closed voicings, and how they sound .. but please explain the use of the term "To Organ..."


One of the aspects of ensemble playing is that no matter how well-trained the musicians involved are, no matter how well each has practiced their ability to count, which in performance terms means, "to hold meter" - the fact remains that not every single member of that ensemble is going to initiate each and every note at the exact same point in time.

String parts, horn parts, etc. that are played on a keyboard with one hand and sometimes even with both hands will have all notes starting at darn near the exact same times and thus add that telltale "organ-ing" sound. Think the Theater Organ sound. Dead giveaway.

Quote:

>>>...Put the Violins in the octave that Violins play in, the Violas in the octave that Violas live in...>>>>

I love the sound of solo viola, but when I write for a string quartet using my idea of SATB voice ranges, the result is often thick and muddy. Its worse when there is a BiaB rhythm section playing. Losing the viola often opens up the sound.

What would you suggest for a bottom note for the 2d violin and a top note for the cello, such that the viola has a respectable space of its own in which to play?



I've already suggested what needs be done.

Again, "everything that can be done with Strings has already been done" - get your hands on some scores and check it out.

Sometimes it is not necessary to assign a different note to each string section. This is much the same sort of thing as assigning vocal harmonies, it can get very dense sounding very easily, consider the different Timbres of the same note, perhaps being shared among your 2nd Violins and Violas, or between Violas and Cellos.

Sometimes just two notes are all that is needed, too. Strings are the original "Pad" - often just the sonic "glue" that is just enough to compliment what else your song is doing as movement.

Often can be the case where that movement is rhythmically, melodically, or a combination of both that create too much "chop" - add the pad to smooth things out. And leave the feelings and emotions to your listeners, where they belong.

Movement within the Pad is best done in between Melody/Vocal movement.


--Mac

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