Professional symphonic string players (violin, viola, cello), as a rule,
ignore scordatura and find other ways to play these parts. They do not
detune their instruments, as it can cause serious problems for their
instruments.
If a violinist plays a piece (Bartok _Contrasts_ , for example) that
requires scordatura, he/she will bring a second, specially tuned
instrument and switch for that passage.
Double bass players will sometimes detune, especially the bottom
string. It is much easier for them, do to the metal pegs.
I was just perusing the Wikipedia "Scordatura" article, which has quite
a list of a examples. Most are solo works that do not require retuning
on the spot, or are obscure works. Here are some that are of interest:
(quoting from Wikip)
--------
[1] # Igor Stravinsky's The Firebird is a rare, perhaps unique, piece
which calls for the entire violin section to retune a string, in order
to play some natural harmonics. Similarly, the final chord of his Rite
of Spring requires the cellos to retune a string so it may be played
"open" (unstopped by the fingers and consequently more resonant) as part
of a quadruple stop.
-
[2]# Richard Strauss's tone poem Ein Heldenleben includes a passage in
which the second violins must tune their G strings down in order to play
a Gb.
-
[3]# Ottorino Respighi's tone poem The Pines of Rome requires the cellos
to tune the low C string down to a B in the third movement. Also, the
basses must either have a fifth low B string or tune a C extension down
to the B in the third and fourth movements.
-------
My comments:
[1} I suspect that violinists do not detune for the _Firebird_ passage
but play it with artificial harmonics. I will try to remember to ask at
our concert this evening. The last note in the _Rite_ for the cello is
absurd - sections always divide these multiple stops anyway (for better
sound and intonation) so the thought that they would retune for a
quadruple stop is ridiculous - they simply handle it with divisi.
(Although, who knows, some players may try it for fun - after playing
the whole _Rite_, the cello might be ready to be loosened up for the night!)
-
[2] Don't know. The G string is easier to play with, so they might
actually do this. Might depend on conductor's wishes and relative
strength of conductor vs. concertmaster (yes, the concertmaster would
watch out for the interests of the second violins) That is - if an MD
wanted it he/she'd probably get it, if an unknown guest conductor
wanted, not so much.. This is all my supposing here. Not recalling
the passage, and not having a score, I don't know if violas or cellos
can cover.
-
[3} Don't recall the third movement passage, I would have assumed the
cellos played with the basses at the start of the 4th mvt. Again, I'll
ask. Probably easier for cellos to detune the low string. The basses,
in practice, tune down if they have a C extension or play it 8va if they
do not. I have heard basses try to tune an E string down to a B -
doesn't work well. (There is a new, quality low-cost extension to low B
that is now available for bassists that is proving quite popular, BTW.
http://www.kcstrings.com/bass-extensions.html )
---
These exceptions MAY be played, but these are in pieces firmly in the
standard rep. An unknown composer bring his/her scordatura passage with
"violin playing several notes below its range" into a symphony rehearsal
will get nowhere. Yes, I know this may sound like the problems Berlioz
and other greats had with innovation, but they managed to get the best
new sounds out of instruments after working with the players. When I
asked a good violinist about detuning the G string, she said "That's why
God made violas."
Raymond Horton
Bass Trombonist
Louisville Orchestra
Composer, Arranger
David W. Fenton wrote:
On 22 Feb 2008 at 9:54, Cecil Rigby wrote:
For
example, I copied a piece for a composition student last year that had
violin playing several notes below its range. I knew this was going to
draw criticism from the comp professor and so brought it to the young
lady's attention. She promptly fired me and accused me of trying to derail
her career.
The way I'd handle this is two-fold:
1. my notation program won't let me enter those notes (or won't
create a proper playback) because it says they are outside the
instrument's range (and, of course, with Finale, you'd know that if
you were using GPO for proofing).
2. ask if the composer intends for the player to tune the bottom
string down to accommodate the lower notes, and, if so, shouldn't
there be a note advising the player about that.
I don't know what modern composers do with scordatura -- do they
notate the fingered notes, or the sounding notes? I, for one, would
have a really hard time playing the traditional fingered scordatura.
I lower the bottom string of my gamba all the time to play continuo
parts intended for cello (or for 7-string gamba), and have no
problems whatsoever playing the sounding notation. Indeed, I often do
this in the middle of concerts, from one piece to the next, and it
gives me no problems.
It seems to me that if a viol player as non-virtuosic as myself can
handle this that it shouldn't be an issue at all for professional
players of any instrument.
Yes? No? Depends on the music?
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