# Writing for String Orchestra



## Celloissimo (Mar 29, 2013)

I've been wanting to write a piece for my high school string ensemble within a certain timeframe (i.e. 5-6 months, possibly). What are techniques I need to know to make sure I can write one properly and have any idea what I'm doing. I'm competent in voice leading and harmony + chord progressions, though my contrapunutal skills certainly need improvement. I know very little about orchestration from a formal perspective, only really intuitively from playing in a string ensemble and knowing how things work. Any help would be really appreciated! 

This isn't an assignment or really a pressing issue at all, but a goal I certainly want to work towards in my spare time.


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## ComposerOfAvantGarde (Dec 2, 2011)

Study Britten! You will learn a whole heap about what effects can work well orchestration-wise. In terms of counterpoint, there's an excellent book which gives a step by step approach you can find a pdf of online. 'Study of Counterpoint' from 'Gradus ad Parnassum' by J.J. Fux. Bach held it in high regard.

Also, consider technical limitations of high school string players. If you compose anything super fast and full of semiquavers it would be difficult to rehearse. There are ways which you can create the illusion of music going very quickly by taking tempo relationships into consideration. For example: a very slow section at maybe 50 beats per minute followed by a faster tempo which is just a little over double the previous tempo, like 112 beats per minute. A fast pacing of events and quickly changing harmonies can also give the illusion of speed even in a moderate tempo. 

Good luck! I hope that helps at all. :tiphat:


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## Vasks (Dec 9, 2013)

First, find out the upper range limit for each part (ask the conductor or players of each part). Next, avoid a lot of chromatics or if writing in a key, try not to have too many flats (perhaps three as a maximum, unless you can find out from the conductor or players what is their limit is). Keep pizzicato (if used) in the lower and mid-range only. Unless they are very strong readers avoid heavy-duty counterpoint (especially large fugal sections).

But most of all, if possible, study a score or two of what they have played recently , so you can get an idea of just how you should go about writing to their strengths.


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## Celloissimo (Mar 29, 2013)

Thanks a lot guys. The skill level of our high school string ensemble is really all over the map, ranging from freshmen who are just learning to tune their instruments to really advanced players so it's somewhat difficult because I want to really make the most out of the more experienced players but not overwhelm the beginners as well. The awesome thing is that everyone loves music and is really enthusiastic though.


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