Sorry to disturb this raw Dorico forum a little, but it’s the only place I know with a number of good composer and orchestrator.
I have an instrumentation question on the strings: Changing Between Arco and Pizzicato and vice versa. How quickly can violinists (violists, viola, cb) make the change??!! (Dorico is a real champion in this field haha!)
For example, here is an example
all information and link in connection with this subject can help me
depending on context, transitioning from arco to pizz and back can be in an instant - in your example above, the pizz could be done with the Left Hand or Right Hand - both creating a slightly different sound - string players will figure out the best solution unless you are implicit in how it should be done - - again, context is everything. it is not uncommon to see quick changes - - you might get an evil eye or 2 as well🤣
- Please don’t mark parts spicc - especially as you seem to have omitted the staccato dot on the E(s), which will be nigh on impossible (did you mean that?)
- At this speed, the pizz is possible (for upper strings), but awkward. And you are likely to get an unwanted accent on it.
- Virtually impossible for celli and basses because they play pizz further up the fingerboard.
- Interestingly, it would be more feasible if you marked an upbow on the 2nd E and the final C. (because pizz is always a down stroke (unless strumming))
- You could use LH pizz, but don’t expect good ensemble unless it’s a pro band.
Be kind to your players - give them a moment adjust.
the contest is : minimalist repetitive music and pizz is to put some
color as rythmic accent
Great thanks to both
As a cellist, I want to confirm what Janus mentioned, especially point 3.
I would recommend you watch some videos on YouTube concerning arco-pizz changes. And perhaps some symphonies like from Sibelius and other composers who frequently make use of pizz.
Changing too quickly can easily lead to danger of bow dropping and unsightly damage to bow and/or instrument. String players don’t like that very much. It can cause typical scratches on string instruments. The reason is that the player still has to securely hold the bow when making quick changes.
Also, I would recommend trying to hold a bow correctly in ‘real life’ to get a feeling of the matter. LH pizz usually differs significantly from RH pizz, concerning e.g., the cello.
Adler remarks that ‘in orchestral playing, divisi is often used to allow for very fast alternations’, and overlapping divisi patterns is what I was going to suggest
I would suggest this as well if the work is intended for orchestra.
Thank you to all of you.
Really a great forum with great competent people, generous with their knowledge.
So thank you for wasting time to save me some