Learning easy strings for pop without signing up to get a PhD in music?

[alexis]

Hi,

Is it possible to get learn to compose "accompaniment" strings that are good enough for pop music without spending hours and hours and hours learning arrangement theory, etc.? Maybe a few violins/violas, with a melodic bass-type string instrument (cello? I intentionally didn't look up the name to show the level of ignorance I'm starting with here!).

I've looked at Toontracks EZDrummer ... an "EZStringer" of sorts would be kind of what I'm looking for, but as far as I can tell, they don't have that. (I did look at Toontracks String Machine - way too synthy for what I'm looking for).

I'm just looking to resolve the conflict between time being at such a premium, and wanting to make my music sound better. I know that's no excuse, it still makes me a bit of a duck (ah, thank goodness for the SOS profanity filter engine! ) for wanting something important without working hard at it.

[Drew Stephenson]

Check out Cello Moods (I think it's called) from Spitfire labs. Evolving cello lines that frequently add something a bit different.
In the meantime I'm going to try and find a video I saw a while back that explained some basic points around voice leading and arranging in a really useful way.

[Drew Stephenson]

In the meantime I'm going to try and find a video I saw a while back that explained some basic points around voice leading and arranging in a really useful way.

Here you go: https://youtu.be/UkatcvIuF4U?si=2smfRO0izXZDPnnR

[BWC]

In the meantime I'm going to try and find a video I saw a while back that explained some basic points around voice leading and arranging in a really useful way.

Here you go: https://youtu.be/UkatcvIuF4U?si=2smfRO0izXZDPnnR

Pretty good! As usual, I cringe at that "rules" word* (worse, "formal rules", yikes!), but I think it's clear enough how he feels about that. I would've started the bit about motion by listing the four types (one of which I don't think he mentioned).

Parallel = same direction, same interval
Similar = same direction, different interval
Contrary = different directions
Oblique = movement against a static note

Alexis, I fully understand the limitations of time, but to me, this would be skipping the fun part (well, one of them anyway ).

*only in the context of artistry, I'm fine with it in other contexts. ...well, mostly.

[alexis]

I do agree, BWC, thank you Drew, it is nice to see that!

Next is all the articulations ("Run away! Run away!"). Cubase has a little mini symphony app, "Ikonica Sketch" I think it's called, and those articulations are front and center. I guess there's nothing to it but to click some buttons and see what things sound like.

Or maybe I'll get lucky and Toontracks will release an EZStrings in the next month or two!

Until then ... that guy does a good job, thank you for pointing me to him!

[Bob Bickerton]

I went down the Spitfire rabbit hole, which you can start by downloading the free version of the BBC Symphony Orchestra: https://www.spitfireaudio.com/bbc-symph ... 6cbf5f4abc

Then maybe do a search for some of Spitfire's/Christian Henson's videos on orchestral programming such as: https://youtu.be/7Vxj4ghJHtY?si=qG0hQ8UPGosnm7jd

Beware! The rabbit hole is deep and has many turns!

Bob

[Stuart79]

Sound On Sound have recently published a podcast on a related subject:
https://www.soundonsound.com/techniques ... es-podcast

And if you're using Cubase, there are some older magazine articles available if you're a subscriber:
https://www.soundonsound.com/series/cub ... y-workshop

[RichardT]

Building block chords with strings isn’t too hard and is often absolutely good enough for backgrounds.

You’ll need to understand (you may already know) a few elements of theory.

The top ones I think are voices, voice leading, inversions and parallels.

Each note in a chord is called a voice. So you may be using 3 note chords, and in that case you will be writing for three voices. Could be three violins; violin, viola, cello; or you could just use an ‘ensemble’ patch which blends different instruments together.

Voice leading is making sure the flow of notes in each voice is smooth, so keeping the intervals mostly small.

Inversions are different arrangements of the notes of a chord. So, in D minor, DFA is root position, FAD is 1st inversion, ADF is second inversion. To get good voice leading, you will need to use inversions. Generally speaking, root position chords can sound a bit clunky, except for final chords.

Parallels is a complex subject, with the basic idea being to avoid too much parallel movement in voices. That’s because it usually sounds bad! So, for example, it’s good to avoid writing Dm to Em as DFA followed by EGB. There you have ‘parallel 5ths’ - DA moving to EB. This is another reason to use, say, 1st inversion where you don’t get the same problem going from FAD to GBE. Those chords don’t include 5ths so they sound fine next to each other.

Finally, the notes that give chords most character are 3rds and 7ths. So if you have a Dm7 chord, try including both F and C; For Cmaj7, try including E and B. You can try using 7ths even in cases where the chord doesn’t explicitly specify a 7th- that can add a lot of character and really help with voice leading.

Experts will know that I’m simplifying things and shading some distinctions - but I hope that gives you some ideas.

Your DAW might have inbuilt chord-generation facilities too.

[BJG145]

More SOS articles on arranging strings:

https://www.soundonsound.com/techniques ... ngs-part-1
https://www.soundonsound.com/techniques ... ngs-part-2
https://www.soundonsound.com/techniques ... n-your-daw

[tea for two]

Hi,
Is it possible to get learn to compose "accompaniment" strings that are good enough for pop music without spending hours and hours and hours learning arrangement theory, etc.?

Very much so. You just need your ears and listening to one of the best to do it for Bowie, Clapton, Kate Bush, Metallica, Pink Floyd, Queen : Michael Kamen.
Then just copying as best as you can what Michael Kamen did on their songs as appropritate for your songs.
Also songs you like which have strings on them just copying them.

That's how I picked up by listening. Copying.
Once upon a time I got orchestral theory books from the library, they were little use to me also theory frazzles me.

Nobody is reinventing the wheel not Michael Kamen. Even the foremost composers are copying borrowing thereafter putting their personal brew apporpriate for what they want to do.

[alexis]

OK, thx guys. I appreciate the theory, RichardT, I got at least 90% of it, I'd say. My ears especially perked up with your suggesting to emphasize the 3rds and the 7ths!

And I appreciate the SOS links, BJG145 and Stuart79! I remember feeling overwhelmed when they first came out, as my Cubase MIDI skills are fairly rudimentary. I look forward to reviewing them again.

"Copying is good", tea for two, I get it,
thank you! Though often I can't listen "through" well enough to pick apart the different string parts. It's an acquired skill, and getting 80% of the way there is way better than where I am now.

Bob Bickerton - thanks for the rabbit hole alert ... I need to steer well clear!

Thank you, again!

[The Elf]

Don't bother with the 'rules'! Just go with your gut - you *know* what sounds right. It's this idea that there is a 'right way' that has kept orchestral music elitist - time to break down the walls.

[RichardT]

Don't bother with the 'rules'! Just go with your gut - you *know* what sounds right. It's this idea that there is a 'right way' that has kept orchestral music elitist - time to break down the walls.

These days the rules are more like guidance for beginners and anything is possible if it works.

Personally I think the elitism of classical music comes from a sense of superiority in its practitioners and audience rather than 'rules', which modern composers completely ignore anyway.

[Bob Bickerton]

Don't bother with the 'rules'! Just go with your gut - you *know* what sounds right. It's this idea that there is a 'right way' that has kept orchestral music elitist - time to break down the walls.

Well I haven’t come across an art form/music genre yet that doesn’t have an elitist aspect to it, more often than not espoused by those who are not in the perceived elitist camp!

In actual fact composers ‘broke down the walls’ sometime ago, long before popular music forms, which it could be argued work more rigorously to set rhythms, chord progressions and predictable outcomes.

Whilst I agree it’s best not to subscribe to a singular ‘right way’ of working, there’s a lot of accepted forms and knowledge that can make life easier.

Bob

[The Elf]

OK, ok I'm being a bit deliberate about this. I learned a lot of the 'rules' - I still sweat when I create parallel fifths!

But the one thing I've learned from the best is that a good ear beats a set of 'rules' every time. If it sounds right...

[Tomás Mulcahy]

Those rules are the music equivalent of learning to draw basic shapes in figure drawing. First you actually draw, it's fun to learn, and then you can mess around with them as much as you like when you are comfortable. That's even more fun.

Yea, I sweat about parallel top line and bass- but it does work at times! The rules make you conscious of such things, so you are more aware of their impact when appropriate.

Signals Music Studio is a great teacher though, thanks for the link.

[BWC]

"Rules" is just the wrong word, plain and simple. "Explanations", "guidelines", "building blocks", "fundamentals", all better, more accurately descriptive, choices, I'd say.

[Bob Bickerton]

OK, ok I'm being a bit deliberate about this. I learned a lot of the 'rules' - I still sweat when I create parallel fifths!

But the one thing I've learned from the best is that a good ear beats a set of 'rules' every time. If it sounds right...

Totally agree, if it sounds good, it is good

I have trouble with parallel parking let alone parallel fifths

Bob

[alexis]

...

Then maybe do a search for some of Spitfire's/Christian Henson's videos on orchestral programming such as: https://youtu.be/7Vxj4ghJHtY?si=qG0hQ8UPGosnm7jd

...
Bob

Thanks, Bob. I had a chance to see that today. Very interesting! It seems geared more to full orchestration rather than pop song backgrounding, but I can see how many of the tops and tracks could be transferable, and very helpful, especially in combination with Drew's vid. Thanks, again!

Now off to see what I can learn from Michael Kamen YouTubes, as tea for two suggests!

[RichardT]

OK, ok I'm being a bit deliberate about this. I learned a lot of the 'rules' - I still sweat when I create parallel fifths!

But the one thing I've learned from the best is that a good ear beats a set of 'rules' every time. If it sounds right...

Yes, exactly. Learn the ‘rules’, then forget them!

[RichardT]

Those rules are the music equivalent of learning to draw basic shapes in figure drawing. First you actually draw, it's fun to learn, and then you can mess around with them as much as you like when you are comfortable. That's even more fun.

Yea, I sweat about parallel top line and bass- but it does work at times! The rules make you conscious of such things, so you are more aware of their impact when appropriate.

Signals Music Studio is a great teacher though, thanks for the link.

Yes, I agree. I recently wrote a passage with parallel top line and bass, and it works quite well in context, partly because it’s an unusual sound.

[Sam Spoons]

I have trouble with parallel parking let alone parallel fifths

Bob

Next time you are in Manchester UK give me a call and I'll gladly give you a free refresher lesson

[alexis]

I thought parallel fifths were a bottle of whiskey in one hand and one of tequila in the other!?

[tea for two]

It's weirrdd to me how trying to understand theory of what a person is composing playing just messes me up.
Instead I just listen, absorbing to best of my severely limited ability. When it's down to making a piece whatever I've absorbed gets regurgitated thru my fingers as appropriate to a piece.

For other persons understanding the theory of what a person is composing playing is the way works for them.

Just as an example at the moment I'm working on a Rondo. I have the main melody 7 bars the A section. Ideas of what to do the B and C section I'm just going to listen to various Rondos.
So then my Rondo ooerr lol will have AABACAA structure or it might have ABACA structure just depends what works from what I hear in others Rondos.