With a wide range and versatile sound, the strings section is a vital tool in the composer’s toolbox. Often utilised in a variety of genres, the strings section, when used correctly, can provide a plethora of exciting and emotive textures from soundscapes to solos, in order to really make your compositions come to life.
In this article we will explore the uses and capabilities of this instrumental family, alongside dissecting the melody and discovering how to enhance and develop a basic tune.
This is part 2 of our Understanding Orchestration blog series. You can check out part one here: https://www.northernfilmorchestra.com/post/the-composer-s-guide-to-funding-2025
The Strings Family
The Violin - The highest in pitch of the group ranging from a G below the treble stave (G3) to an A two octaves above the treble stave (A7). Consisting of 4 strings, the G (lowest), D, A, and E (Highest), and either plucked by the finger or bowed by a violin bow, the sound produced is as versatile as the range.
The Viola - The little-known, slightly larger, (and often bullied!) cousin of the violin. Played like a violin but with the mellow tone of a cello, this instrument is ideal to fill the gap between the violin and cello. The viola ranges from a C one octave below the treble stave (C3) to an A one octave above the treble stave (A6), consisting of 4 strings a fifth lower than the violin - C (lowest), G, D, A (highest). Interestingly (and when composing, confusingly!), this instrument reads music in alto clef - this one is best explained in a diagram, as it can get quite mind bending!
The Cello - Famed for its emotive mellow tone and extraordinary range, the cello is a particular favorite for dramatic or tender solos. Ranging from a C below the bass stave (C2) to an A two octaves above the bass stave (A5), and with the same strings as the viola, C (lowest), G, D, A (highest), the cello can access both the bass and tenor ranges.
The Bass - The largest and lowest of the strings family, the double bass often ranges from an E one octave below the Bass stave (E1) to a G on the treble stave (G4), but with modifications to the lowest string this can go as low as C1. With 4 strings, G (highest), D, A, E (lowest), you may notice that the strings are tuned in fourths rather than fifths like the rest of the strings family - this is due to the size of the instrument as it allows a quicker passage of notes without having to jump up and down the huge fingerboard!
Strengths
Alongside percussion, strings are the only instrument in the orchestra that do not run out of breath. This means we can use strings continuously, be this a long sustained drone, or a relentless chromatic passage, strings are versatile and can go without rest (usually!). With a wide range and high speed capabilities with a range of emotive effects, strings can form the basis of any genre, emotion or score.
Limitations
Aside from the range, there are a few things to be aware of in the strings family. Beginning with double stops (when two or more notes are played at once), it is important to be aware of which string each individual note may land as it is impossible to play the bottom four notes together as they can only be played on one string! Additionally, even though strings are ideal for fast and intricate passages, they are still humans, so be realistic with the speed, complexity and leaps throughout your piece - we don’t want their arms to fall off! Finally, when paired with an orchestra, the string family is relatively quiet, hence the large numbers required to match just one trumpet, so bear this in mind when scoring solos or duets.
As is the nature of music, it is best to learn practically, so we have put together a demonstration of the features and sounds of the string world that are discussed below…
Different Sounds
As with any instrument, there are many different sounds that are unique to the strings family;
Arco - The most fundamental of them all, arco simply means ‘with the bow’, and is used to denote when you would like the playing style to return to normal after using techniques such as pizzicato.
Legato (slurred) - instead of using a separate bow stroke for each note, we use one bow for multiple notes. This either makes it easier to navigate fast passages or creates a smooth and elegant flow between notes.
Tenuto - This dash above the note means to play for the entire note value, instead of cutting it short, as is the case for staccato.
Staccato - By shortening the sound of the note whilst preserving the written rhythm, staccato technique can produce a ‘sharp’ sound.
Portato - By combining slurs and tenutos you can define each note in a slur, creating a pulsing effect. This is seen in Benjamin Britten’s Sentimental Sarabande’.
Martele - Often depicted through accents and writing, the martele bow stroke accents the beginning of the note with a heavy opening.
Pizzicato (plucking) - Produced when the string is picked at by the finger of the bow hand (right hand) creating a short percussive sound. Effective for textural variation but cannot play fast passages - wiggle your index finger over and over, that’s how fast you can expect for this technique.
Tremolo - This technique is similar to writing a string of hemidemisemiquavers (incredibly fast), creating a shimmering effect. Whether paired with accents or soft piano dynamics determines the impact of this technique as it is an effective method of adding texture to a soundscape
Natural harmonics - Produced by pressing lightly on the string, harmonics create a delicate, floating sound an octave above the note played. This can only occur on certain notes on each instrument, the most popular ones are found a fourth or an octave above any open string.
False harmonics - This is a very unique feature of the upper string instruments and involves creating pressure with the index finger and stretching a fourth above and lightly pressing with the pinky finger to produce a hauntingly harsh but lite and mysterious sound two octaves above the firm first finger.
Col legno - Played using the wood of the bow, when paired en-mass with a full size orchestra this can produce a foreboding percussive sound. Only hinting at the note played on the string, this technique is best used rhythmically with limited note changes, as seen famously in the beginning of Gustav Holst’s Mars. Even if you are not a fan of classical music, this piece is a staple in modern media.
Left hand pizz - A tricky technique historically used by violinists to show off in concert, left hand pizz is produced by plucking the string with the left hand (the one that holds the instrument and holds the string down). This allows both bowed and pizz. notes to be played in quick succession.
Bartok Pizz - Sometimes called ‘snap pizz’, bartok pizz requires the string to be plucked vertically, snapping the string onto the fingerboard, creating a loud pizz/snap sound.
Spiccato - Best described as bouncy staccato (intentionally short notes), the bow appears to bounce on the string. Useful to define notes, this technique requires great control from the player. The sound can also be determined by where the performer plays on the string;
Sul Ponticello - By playing over or next to the bridge the sound becomes louder and more shrill.
Sul Tasto - By playing away from the bridge and over the fingerboard the sound can become lighter, haunting and floating.
But where do they go? An adaptable and creative family of instruments, strings make for fantastic soloists, small ensembles or as part of an orchestra. How to navigate the strings section, alongside learning where to go once a melody is written, will be covered in part 3 of Understanding Orchestration. Stay tuned…
Contact - jack@northernfilmorchestra.com
Soundcloud - https://soundcloud.com/nforchestra
Twitter - https://twitter.com/NFOrchestra
Comments