Easily create ambient violin textures
As a violinist, I’m convinced that including live string instruments is an instant way to add depth and interest to your scores. But what if you can’t play a string instrument? No problem! I’m here to show you some easy ways to include violin in your next project. In this first instalment, we’ll look creating sounds.
It’s worth noting that whilst any violin will suffice, you’ll get a nicer end result out of, say, a 200 year old French violin than a new factory fiddle, simply because the sound quality will be better. If you have string player friends, consider asking if they have an instrument you can borrow.
A quick disclaimer: this is not a guide to playing the violin with good form. It’s simply some tips for creating interesting sounds. If you want to learn properly, get a teacher!
Tunings
Let’s start with tuning. The usual tuning is G-D-A-E, but feel free to try a detuned tuning of your own choice. When detuning, it’s safer to lower the pitch than raise it as there’ll be less chance of strings snapping. Too low though, and the strings won’t vibrate properly. If you want to really lower the range, you can use special strings such as the D’Addario Helicore octave strings which lower the strings by an octave (don’t forget to obtain permission before detuning or fitting strings onto a borrowed instrument!)
Violin tuning is difficult and strings easily snap, so it’s best to be cautious. If you’ve borrowed an instrument from a friend, ask them to tune it for you beforehand. If you’re tuning it yourself, place the instrument on your lap and use your fingers to pluck the strings and check the pitch as you go. If the instrument has fine tuners (small pegs near the F holes), use them as much as possible. Turning them clockwise will raise the pitch, anti-clockwise will lower it. Use small adjustments to be sure you’re not going too far. The pegs at the top should be used sparingly, though if you need them, push sideways whilst rotating them. This video may help.
Recording set up
Now you’ve tuned, you can get ready to record. When I create textures I usually make numerous blank tracks, set them up according to my mic arrangement and preferences (e.g. mono/stereo, monitoring, colour etc.), and organise them into folders. Categorising tracks in groups such as “E harmonics” avoids confusion later on, and means I have a clear plan for what I’ll be recording. I also make an improvisation folder to record spontaneous ideas.
Mic positioning depends on the sound required. I like a breathy sound, with a pencil mic right on the bridge, or a close sound with two overheads. Experiment with placement and mics to get the sound you want. Search Gearslutz or Sound On Sound if you need ideas.
When creating experimental textures, I record all the sounds first and insert them into the right time code later once I’ve processed them (we’ll come to processing next time). For rhythmic cues you’ve already planned you may want to use a click, but if you’re creating pads it may be easier to record without. I usually record up to a couple of minutes of each sound I’ve planned, before processing them and assembling them like pieces of a jigsaw into a cue.
After playing a note, let it naturally decay (unless you want a stopped effect). It’s very difficult to fake a decay and they’re often useful, e.g. to ring over a hard cut.
Sustained textures
Let’s start with legato pads. Place the violin under your chin (using a shoulder rest unless you want a sore back afterwards) and hold the bow in your right hand. If you want to try holding the bow correctly, learn how here. Don’t worry if you can’t manage it, for our purposes it’s fine to hold the bow however you’re comfortable. Try the open strings first. The straighter you keep the bow, the more controllable the sound. Aim to keep your upper arm almost still and bend from your elbow, which should be held away from the body. If you’re struggling, you can always place the violin on your lap, or play it like a cello.
The different bow positions are called soundpoints. For the following techniques, always tilt the wood away from you, not towards. Bowing over the fingerboard, called sul tasto, creates a light sound. When playing there, tilt the bow so not much hair touches the violin. Bowing by the bridge, called ponticello or sul pont, is a harsher sound. When playing there, tilt the bow so nearly all the hair makes contact, and try pressing hard for a loud sound or lightly for a harmonicy texture. For a neutral sound, place the bow between the bridge and fingerboard. Don’t worry if doesn’t sound “good”; I’ve created some great sounds by recording instruments I don’t how to play! Even the most hideous noise is usable somewhere, especially in horror films.
Now try continually moving the bow up and down. Record the open strings first to get comfortable. Individual bows that change dynamic are also good; try accenting the start of a note by pressing the bow down then gradually reducing the weight, or starting quietly with little bow pressure and crescendoing by gradually adding weight. You can move between soundpoints too, either gradually over several bows or quickly within one bow. Another great technique is col legno, where the wood of the bow touches the violin. You could also try other bows for other instruments, such as double bass.
Next, pitch. Assuming you’ve got the violin under your chin, raise your left hand up to the neck. Rest your thumb on the left hand side and curl your fingers over the fingerboard. Keep your fingers rounded and don’t pull your palm up close to the violin. You’re set! Firmly press your fingers down to alter the pitch. You can create pads held on one note, alter the pitch by sliding your finger up or down mid-bow, or move rapidly between fingers to create some chaotic noises (for now change pitch without altering bow direction, aka a slur- we’ll cover shorter textures later.) Don’t feel constrained to the far end of the violin, the whole fingerboard is your playground!
Violin strings are a 5th apart and sound great played together, or you can experiment with different chord shapes (Samuel Adler’s The Study Of Orchestration lists all violin chords. Be warned, some are very difficult!) Create drones by taking two open strings and playing them simultaneously. Alter pitch on one of them whilst leaving the other bowed but unfingered.
Natural harmonics occur at intervals along each string. To find them, lightly rest your finger on the violin and move it around until you find a resonant spot. They can be difficult to find, so keep looking! Once discovered, you can experiment with bow position, pressure and different bow lengths. If you’re feeling confident, you can also try false harmonics. Press your first finger down firmly, then lightly rest your fourth finger higher up on the same string. It’ll sound resonant when you identify the spacing. These harmonics can be slid up and down the strings.
Short sounds
To play détache, put the middle of the bow in the middle sound point and tilt the bow so two thirds of the hair touches the strings. That’s all! Experiment with length and the pitch techniques we’ve covered. For an easy horror sound, lots of quick notes whilst playing sul pont in the top register of the violin will sound terrifying! (make sure you do a few takes so you can layer them later.)
Spiccato is harder to control, but creates a springy sound. Hold the bottom of the bow slightly above the violin, and bounce it up and down on the string. You can experiment with how high you start from, speed, and how much bow you use.
Ricochet is difficult but sounds good. Take the top end of the bow and bounce it on the string. Make sure you stay in the top third of the bow, otherwise the bounces become too long.
Pizzicato is often maligned, but it can be really effective. Whilst holding the violin under your chin use your index finger to pluck, or hold the violin like a guitar and strum using your thumb and index finger. Try plucking the string hard and lightly, and experiment with chords and rhythms. For a dramatic hit, use a Bartok Pizzicato. Hook your index finger firmly under the string, pull up until you feel firm tension, then release. The result is a loud, buzzy pizzicato.
Don’t feel constrained to using the bow or your fingers. Radiohead’s Burn The Witch features the LCO playing violins with plectrums! I often record finger taps on different parts of the violin body. Experiment!
In the next article we’ll look at how to process and manipulate all the sounds you’ve created to create ambient textures for your score.
