Stringed Instruments in Arrangement Composition Essay

Introduction

In musical terms, the word key is used in many varied and sometimes conflicting ways. Music is often described by specifying its key, for example, we may refer to a piece of musical composition as being in the key of C or F-sharp, additional information such as ‘major’ or ‘minor’ may at times be added. An example of this is when we refer to an arrangement to be in the key of A-minor or B-flat major. Therefore, the notion of key can be a very complex topic when examined closely, generally speaking, a composition described as in the key of C implies that C is the composition’s harmonic center or tonic, the letter name C refers to all pitches with the letter name C, also referred to as a pitch class. The inclusion of the terms ‘major’ or ‘minor’ means that either a major or minor scale has been used. In the same way, a composition in the key of E is one which is harmonically concentrated on note E and utilizes a major scale whose first note is E.

As a composition makes use of 12 major and minor scales, there are 12 major and 12 minor keys, bringing the maximum number of keys that can be used to 24. Three of the 24 keys can be named in two different ways, using sharp note names and flat note names, leading to 15 distinct major key spellings. For example, the keys of Gb major and F# have identical notes, Gb is spelled using flat note names (Gb, Ab, Bb, Cb, Db, Eb and F) while F# is spelled using sharp note names (F#, G#, A#, B, C#, D#, and E#). The spelling system also applies to minor keys, bringing to 30 the different ways of spelling the 24 keys¹².

Objective

The objective of the paper is to discuss the key that arise in the composition of an arrangement using historical examples involving stringed instruments and my own experience. In addition, the paper explores the various ways of achieving different keys on an arrangement based on string instruments.

Discussion

Stringed musical instruments have the highest number of players, going as many as 60. An explanation for this is that the more the strings used, the richer the sound produced and this can blend well with other instruments in a composition.

Traditionally, the selection of an initial key in a composition of an arrangement must take into consideration the type of instrument to accompany the arrangement. Most composers assert that the keys of D major and G major are the most string-friendly keys, hence players are able to use open strings and pluck with typically greater resonant and less tense lower positions than can be done in other keys. For example, a violin is tuned to the keys of G, D, A, and E and an upcoming violinist must first learn the pieces in these keys. It is therefore important that composers (arrangers and ensemblers) choose keys that are best suited for the instrumentation; brass instruments are mostly tuned to the flat keys (frequently F, Bb, and Eb major and their corresponding minors) while the stringed are tuned to sharps (frequently G, D, and A major and their corresponding minors). Application of different composition methods lead to arrangements of different keys, such methods include the use of open keys, writing fifths and double-stopping.

Open Keys in Concertos

One of the most common stringed instruments, the violin, played in all the open strings, is frequently tuned to the key of an E minor (E, B, and G). The term ‘open string’ implies that one of the strings in the instrument is played without the left fingers touching the string. Arrangements based on open strings keys from instruments such as the guitar and violin usually produce a high- quality sound as the instrument vibrates without restraint. Known arrangements based on scales from open strings include those done by Beethoven and Brahms, both composers used the violin (where open strings occur on the G, D, A, and E keys). Mozart also used these keys in writing some of his early violin concertos. An exception to this trend is Elgar’s Concerto that was written in B minor though this is a strong key on the violin especially with the presence of an open D key on the scale³.

Another stringed instrument, the viola, has open strings on the C, G, D, and A keys, earlier composers who used this instrument include Bartok and Stamitz. Stamitz applied the custom of writing for open keys, resulting in an amazing resonant sound of this instrument. In a composition involving stringed instruments, open strings have an outstanding effect as the synchronized resonations of the open strings creates a wonderfully complete and resounding note, thus a composer working with a stringed instrument must make use of the qualities of an open stringed key.

Writing Fifths

All stringed instruments, apart from the double brass, are tuned in fifths. This means that there are five distinct notes between any two notes and orchestrators usually pluck two strings at the same time, using the fifth note as a break. Examples of compositions written in fifths include Vaughan William whose arrangements consisted of an interval where the violin came in smoothly in a wave of fifths. In a composition involving fifths, it is important to note that there are only four strings available (with three spaces) and therefore such a composition must not have a gap of more than four notes between any two consecutive fifths.

The difficult notes to play fifths are the fourth as these are generally smaller than the other three, making it hard to connect the distance between two strings. An example is the violin in which fifths occur between the G and D keys while those on the viola occur between G and D and C and G keys or strings. Fifths can give an excellent quality and have been used in famous works by Debussy and Ravel among others; a smart use of fifths can therefore create a little unique feel in compositions involving stringed instruments and were the focus in the 13^th and 14^th century works⁴.

Double Stopping

Double stopping is when two distinct notes are plucked concurrently generating harmonies such as the sixth, third, etc. This is used to illustrate the instantaneous playing of two keys on a stringed instrument. It is a flexible method that can take in melodies, harmonies and other instruments and such arrangements can be played at high speeds. Double stopping can make a composition by a string quartet sound like it is playing 8 sections at any particular time and this can create a notion of an extremely larger ensemble. On a string orchestra, double stopping can be applied on the individual parts thereby giving the arrangement a thick and complete feel. Famous Italian composer Giuseppe Tartini is recognized for having discovered the phenomenon of a perceptible ‘third voice’ when doing double stops, consequently, these notes have been referred to as Tartini tones.

For example, if one plucks an open A note on the violin concurrently with a C# on an E note, a ‘third’ voice is clearly created, in this case the voice is an A key. These effects can be achieved by playing double stops on other segments of the string instrument.

Conclusion

There are many factors that determine the selection of keys in the composition of an arrangement, these include the type of instrument to accompany the arrangement, the synth, sound design, and so on. There are those who think that the key generates a psychological effect that has been associated with particular feelings that varied slightly from person to person. The E-flat major key has always been considered grand or heroic for ensembles, while D major is associated with glory or brightness. Hence, for arrangements accompanied by stringed instruments, the resultant key is of utmost importance to both the composer, audience and even the performers.

Bibliography

Neville, S., Key Selection in a Music Composition. (2008). Web.

StringSection, StringSection Blog. (2010). Web.

Webber, G., Warner, F. J., Bishop, J., The Theory of Musical Composition: Treated with a View to a Naturally Consecutive Arrangement of Topics, Volume 1. (Music Publishers, New Burlington Street, London, England. 1846).

Footnotes

1. Webber, G., Warner, F. J., Bishop, J. The theory of musical composition: treated with a view to a naturally consecutive arrangement of topics, Volume 1 (Music Publishers, New Burlington Street, London, England. 1846) 205.