7he String Section' 127
Ex. 7-10 Summer Souvenirs © 1993 FenwGod Music
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Although Summer Souvenirs (Ex. 7-10) is a sampling of string writing that is extremely simple,
it captures a beauty that they alone can bring to your music.
TYPES OF BOWING
1. Legato: This is a smooth sustained stroke producing a cantabile tone, with the bow never
leaving the string.
Ex. 7-11
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128 • The Complete Arranger
2. Detache': This is a full quick stroke of the bow. It never leaves the string, but the notes are
detached from one another by alternate up and down bowing. There is no special indication for the
use of detache' bowing, aside from the absence of slurs.
Ex. 7-12
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3. Staccato: This is a short, crisp bow, alternating up and down strokes to detach notes of short
value.
Ex. 7-13 ____ I.-.
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4. Spiccato: Similar to staccato, but a springing bow leaves the string for each note. Use dots, or
write the word spiccato.
Ex. 7-14
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5. Marcato: This is a firm stroke using about one-third of the bow.
Ex. 7-15
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6. SuI Tasto: The bow touches the strings over the fingerboard further away from the bridge than
usual. This produces a very soft and transparent sound.
Ex. 7-16
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7. Col Legno: The bow is turned over and is played by the wooden shaft striking the strings,
resulting in a dry, percussive sound.
The String Section' 129
Ex. 7-17
COL LEGNO
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8. Jete' (saltando): The bow is "thrown" at the string and rebounds in a rhythmic group of notes.
Ex. 7-18 ,
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SPECIAL EFFECTS
1. Ponticello: This emits a very thin and cold sound produced by bowing close to the bridge. Its
eerie quality is most effective when used with a bowed tremolo.
2. Portamento: If the interval is small enough for both notes to be connected by a single finger
sliding from one note to the other, it is a true portamento. It is best used between slurred notes on the
same string, however, there is a form of "cheating" that will suffice if this is the effect you absolutely
need.
130 • the Complele Arranger
3. Pizzicato: This is the plucking of the string with the fingers orthe right hand. It is very effective
for light treatments and can be used with multi-stops, especially in cadences. It is indicated pizzo and is
followed by arca when changing back to bowed tones. A few beats of rest are necessary for the change
from area to pizzicato, and back again to area. Register and tempo are limiting factors when using
this device.
Ex. 7-19 Pizzicato Range Chart
MOST PRACTICAL RANGES --
IF HIGHER, USE ONLY WHEN
DOUBLED WITH WOODWINDS
7'
7'
A small string section may need the addition of a harp or glockenspiel for additional volume when
using pizzicato strings.
4. Bowed Tremolo: It is the rapid Changing of the bow on one or more notes. A measured tremolo
calls for a definite number of repeated notes. One line through a quarter note stem means eighth notes;
two lines, sixteenths.
Ex. 7-20
Three bars through the stem is interpreted as an unmeasured tremolo. In some instances this
effect achieves a wispy, shimmering sound, while at other times it can be energetic and suspenseful.
The placid setting of Summer Night (Example 7-21) illustrates this delicate effect quite effectively.
The String Section' 131
Ex. 7-21 Summer Night @ /993 Fenwood Music
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5. Tremolo-legato (Fingered Tremolo): This is a rapid undulating of two notes on the same string,
by holding down one finger on the string and fingering a note starting a third higher. It resembles a
shimmering or rustling sound, and is usually divided by the strings to create a smooth effect. A Breath
of Spring (Example 10-2) and The First Time I Saw You (Example 10-7) make a significant point of
this technique.
In the excerpt from My Heart Sings, the fingered tremolo is introduced to create an intense
crescendo behind a vocal. Although the strings, percussion and harp start the effect, they are joined by
woodwind tremolos, and are finally supported with French horns and trombones to a very dynamic
climax.