Beginner question about strings and chords

[Markku]

The question is about some MIDI files for strings I saw. I don't own these so I can't show them, but I try to describe what I thought I saw.

It looked like there were normal chords (like piano chords), but there were a line of notes about a octave lower. From the sound I assume this lower "line" gives the chords more "oomph". But somehow I figured they were not just roots or something simple, because there were "line" notes which went down when "chords" went up and vice versa.

I guess this sounds just confusing, but these MIDIs did sound so good I thought I'd just ask, if someone figures what it was. Is there a common way to add a note to a chord to emphasize the sound? It might be common thing, but I am (slowly) learning the basics and I don't know this advanced stuff...

[fluffy_little_something]

One has to think of strings as individual notes, not chords. Just like with a real string section, the "bass" instrument can do its own thing, independently from some higher-pitched violin or whatever.

[Markku]

That means each note is different instrument, which makes sense, I think. Now I need more understanding about bass lines. I have usually used root note for bass line (possibly in lower octave and usually with separate instrument), is there some source of information what other bass line types can be used? I want to understand, but I don't know what to search...

I guess what I'm asking is, how to develop bass line that sounds good? Any pointers? Or keywords?

[jancivil]

One is going to need to embark on a coherent path from the ground up rather than canvass people on the internet for piecemeal 'pointers' and advisements; here I can't even know anything about the music from these words. Keywords: study: part-writing, harmony, voice-leading; take a course.

So far you have someone acting as though there's a useful distinction between 'chords' and 'individual notes' because 'strings'. The blind leading the blind, so far.

[fluffy_little_something]

That means each note is different instrument, which makes sense, I think. Now I need more understanding about bass lines. I have usually used root note for bass line (possibly in lower octave and usually with separate instrument), is there some source of information what other bass line types can be used? I want to understand, but I don't know what to search...

I guess what I'm asking is, how to develop bass line that sounds good? Any pointers? Or keywords?

Strings have a very distinct sound character. Certain chords bring that out very well, they create that orchestra sensation. I don't know of any known chords, but I know it when I hear it. I myself simply try it until it sounds right to me.

The same goes for brass in my view. Maybe for the same reasons, i.e. there are various instruments with a very similar sound character, so individual notes influence each other strongly in terms of frequencies. Just a wild guess...

I have never tried it, but I suspect it already makes a difference whether or not I play the same chord on one synth or on three synths, each playing just one note.

[jancivil]

There is a lot of overlap between celli and violas, violas and violins, and as typically the model for strings writing is <4 parts>, violins 1 and 2 are_violins.
For instance if you have a 'string ensemble' patch in an orchestra library, designed to give you as much bang for the buck 'right out of the box', you can't sort eg., celli from violas where there is this rather large overlap. Orchestral writing does OTOH deal in voice groups, and in the case of violins, 'desks'. 'Divisi'...

Violins 2 sound a bit different in the real world situation because of their place in life, their place on stage; and their place in the arrangement determines these two things.

But that's getting ahead of ourselves. Orchestration considerations when you don't quite get why there would be something other than the root of the chord in the bass (for a "normal" ie., "piano chord"?) We're already trying to cover two whole courseworks, one of which should precede the other. For it to be a meaningful thing to do.
No, to sort you we'd have to chart and write up whole courses for you for free typing in the comment box at the KVR. And the good information is going to be mixed with people typing their "wild guesses" out of being bored on the internet.

The reasons for eg., <choice of bass note> HAVE TO BE contextual, determined by a musical idea. There is no simple principle to cite that's magical. You're opening up a big can of worms.


But best of luck anyway.

[nineofkings]

What jancivil and fluffy are saying are both correct. Orchestration is a study in how parts come together to make a whole (the word "ensemble" means "together"). So, while you can think of "String section" as being one thing, it's also made up of 4 separate parts; usually two violin parts, a viola part, and a cello/bass part. It's the weaving together of these 4 parts that makes a chord. That's what makes it different from, say, piano block chords.

Since you're weaving four parts rather than just a block, you can move the bass to include chord tones or even melodic phrases rather than just the root. As long as it makes sense in the context of the composition, the rules are flexible.

[Markku]

Strings have a very distinct sound character. Certain chords bring that out very well, they create that orchestra sensation. I don't know of any known chords, but I know it when I hear it. I myself simply try it until it sounds right to me.

Well, you have better ears than I have, but I try to read sheets from some classics and learn... I agree that there are treasures to be found.

The same goes for brass in my view. Maybe for the same reasons, i.e. there are various instruments with a very similar sound character, so individual notes influence each other strongly in terms of frequencies. Just a wild guess...

Brass sounds are... different. I think I have to master one area first. But I wish I can add all areas.

I have never tried it, but I suspect it already makes a difference whether or not I play the same chord on one synth or on three synths, each playing just one note.

That I have done, I sometimes find some monosynth sound and I just have to try it polyphonic -- only way is to have several monosynths. One needs to write a new MIDI for each so that only one note is played at a time. Sometimes it does work!

Since you're weaving four parts rather than just a block, you can move the bass to include chord tones or even melodic phrases rather than just the root. As long as it makes sense in the context of the composition, the rules are flexible.

I guess I will try out different ways with basslines. There were some (Jazz-ish) ideas about variation within a key. I think understand this better now.