Score, string quartet

[jw]

When writing score for violin, viola, cello, and bass, which clef is standard for each instrument?

[Thorolf]

This is not the standard string quartet! Standard is 2 Violins, Viola and Cello. Violins in treble clef, Viola in Alto Clef (C clef on the middle line), Cello in Bass Clef. Sometimes, when writing high passages for Viola, you use treble clef, and the same for Cello, it utilises Tenor Clef (C clef on the 2nd line), or even Treble clef for extreme cases.

For double bass, Bass Clef is default, and the Tenor Clef can be used for higher passages. Note that Double bass sounds 1 octave below written.

I never wrote a standard string quartet, tho, but for the non-standard setting you describe…

Regards

[jw]

Thanks, Thorolf

[stevel]

Originally Posted by jw

When writing score for violin, viola, cello, and bass, which clef is standard for each instrument?

JW. May I interject here with a little constructive criticism that usually comes off as condescending:

If you don't know what clefs the instruments use, then maybe you shouldn't be writing for them?

If you don't know what instruments comprise a string quartet, then maybe you shouldn't be writing one?

Now granted, you just learned the answer to both those questions. But, there's more to writing for strings than those two questions. What about their ranges? Bow Technique? Double-stops? Harmonics? Am Steg/Sul Pont?

And if you're writing a specific form, like a String 4tet, then what do you know about that? The roles the instruments play? How other composers used them? What forms have been used? How to make it tradtional versus contemporary? etc.

My point is, it's one thing to take a 4-part chord and assign the notes to a string 4tet, or brass 4tet, or woodwind 4tet, or even a whole orchestra. But it's an entirely different matter to do it well. Maybe you should do a little research into these instruments and form (in the short time it took you to find out the correct combo and clefs, you could probably find out a lot of additional information - if you know what to look for) before you tackle your project. You could also consult a good orchetration book, and listen to some of the other music and follow the scores in the string literature.

By the way, both Viola and Cello may use Treble clef if the music is going to be above their respective staff for a good bit of time. Cello will also use Tenor clef (one of the few uses of it in instrumental music anymore - Bassoon and Tenor T-Bone do the same) if the notes are going to be between the octave Gs around middle C for a good length of time.

However, I see less and less people using Tenor, and just using Bass and Treble nowadays.

So sorry - not trying to come down on you, just trying to make the point that I think you'll be more satisifed with your music if you learn as much as you can about the instruments and forms you're using (that is, you can make informed, rather than uninformed decisions about your music).

Best,
Steve

[jw]

Thanks for your concern Steve, but don't worry, I'm not serious about writing the score for the actual players. I only want to write it for myself so I can play and record the parts one at a time using midi voices. And I thought it would be better to have the parts in proper clef just in case someone likes my recording enough to ask for the score. Since I only sight read in treble & bass clefs I'll just write it like it was for vocals soprano, alto, tenor, and bass.

Joe

[reith]

That's as good a way as any to go about it - learning by doing. If you have a reasonably critical ear, you'll soon know if it sounds as you want it - and gradually learn what to do if it doesn't!

Good luck!

[high_school_bassoonist]

Agree Whole-Heartedly With reith, learn by doing, hell, thats how i started. ... hell, thats what im still doing!!!!!!

[stevel]

Originally Posted by jw

Thanks for your concern Steve, but don't worry, I'm not serious about writing the score for the actual players. I only want to write it for myself so I can play and record the parts one at a time using midi voices. And I thought it would be better to have the parts in proper clef just in case someone likes my recording enough to ask for the score. Since I only sight read in treble & bass clefs I'll just write it like it was for vocals soprano, alto, tenor, and bass.

Joe

I think this is a great way to do Joe, as Reith and HSB have also noted. Might I suggest though that you do go ahead and investigate strings, winds, and brass (as well as voices) and try to arrange it for all of those combinations. It can't hurt!

By the way, a little practice reading through Viola parts in string scores and you'll find you're sight-reading alto clef pretty well - if you read a viola part for a bit each day, you'll find you can do it easily pretty quickly (though don't stop because you'll soon forget too). This is also good for the transposing instruments - read Bb Trumpet and Clarinet for a while and you'll get used to transposing by sight. It's a helpful skill to have.

What you're working on is a great way to get your feet wet.

By the way, sometimes when I'm writing stuff, I'll put the MIDI sounds on various combinations to listen for different things. I've found if I make it a wind 4tet (not matter what it's written for), I can pick out the individual timbres and follow parts better with my ear. Then, if I change to a string sound, I can hear more easily how the thing sounds "as a whole".

I think your messing around a little bit with instrumentation, and then listening to the appropriate MIDI playback will be beneficial in a number of ways.

have fun,
Steve

[jw]

Thanks to all for your response.

Steve: I get the feeling from your replies that you think I'm a novice. I'll be telling my age here, but I was taking pivate piano lessons before WWII ended. At age 13 I was a church pianist and sight reading from hymn books and sheet music and on the spot to perform before an audience. Was still doin' that at age 40, and that was a long time ago. OK I'm 70 and retired now, in excellent health, and still loving what I do.

I don't have any formal training in music other than classical piano, but I've learned a lot of theory by anylizing the works of others and not being ashamed to ask questions.

Thanks for your help,
Joe

[stevel]

Originally Posted by jw

Thanks to all for your response.

Steve: I get the feeling from your replies that you think I'm a novice. I'll be telling my age here, but I was taking pivate piano lessons before WWII ended. At age 13 I was a church pianist and sight reading from hymn books and sheet music and on the spot to perform before an audience. Was still doin' that at age 40, and that was a long time ago. OK I'm 70 and retired now, in excellent health, and still loving what I do.

I don't have any formal training in music other than classical piano, but I've learned a lot of theory by anylizing the works of others and not being ashamed to ask questions.

Thanks for your help,
Joe

Wow - go Joe! I'm glad you're still loving what you do and I hope to be able to be doing the same in - it's only 30 years for me till then!

You're right, I did assume you were a novice, but forgive me - it's a really "novice" question. You mean you hadn't figured this out in all those years? (I'm teasing you). You mentioned not being ashamed to ask questions - I think that's a good point. What I mean is, even though you're not a novice musician, there still may be aspects of music that you ARE a novice at (I'm a novice at Jazz for instance, and there's many instruments I can't play).

[edit: and my grammar is obviously bad - there are many instruments I can't play!]

There are a lot of posters here who are younger, or novice composers/theorists, so I usually try to tailor my responses with that in mind as well, so forgive the assumption. But I think all of the information we've given you would still be useful (I hope).

My best, and no offense intended.

Steve