Bowed Strings | Orchestration

Bowed Strings
Written By Lena Heng
 

Excerpt from Dance of Yao (瑶族舞曲) by Liu Tieshan and Mao Yuan, arr. Peng Xiuwen

In this long cantabile theme (see score and video below), the erhu, zhonghu, and cello take on the melody, with the gaohu playing the countermelody. The zhonghu and cello augments the timbre of the erhu here, making the melody line thicker and richer than if carried just by the erhu alone. In addition to playing at a higher register, the tone of the gaohu also stands out more because of its brighter quality and the use of the erhu, zhonghu, and cello to carry the melody while only the gaohu takes the countermelody ensures that the melody is not drowned by the countermelody.

Dance of Yao (瑶族舞曲) by Liu Tieshan and Mao Yuan, arr. Peng Xiuwen

Example starts ≈ 4:00

瑤族舞曲指揮: 彭修文(1931-1996)演奏: 中國廣播民族樂團

Excerpt from Unforgettable Water Festival (难忘的泼水节) by Liu Wenjin

Different performance techniques are also called into play depending on the musical style of a piece. This piece of music that borrows musical characteristics of the Dai people from southern Yunnan calls for slides into notes that are slightly delayed instead of being on the beat even though this is not reflected in the notated score. With both the gaohu and erhu taking this melodic line, all the performers will have to be synchronized together on these ornaments that are not strictly in time. Many Chinese compositions calls for such “un-notated” performance techniques that has to be gleaned from an understanding of different stylistic characteristics of various folk traditions around China.

Unforgettable Water Festival (难忘的泼水节) by Liu Wenjin

Example starts ≈ 1:15

Excerpt from Harvest Drums (丰收锣鼓) by Peng Xiuwen and Cai Huiquan

“Sandwiching” the erhus between the gaohus and zhonghus is a frequently used technique in writing for the bowed strings. The middle section (erhu) usually carries the main melody while the top section (gaohu) ornaments the melody, arpeggiates the harmony, or creates a shimmering textural support. The lower section (zhonghu) provides supports with notes of the harmony, creates a background with long held notes., or at times play a similar line to the gaohu. Because of the tuning of the open strings of these instruments, if the zhonghu line is written an octave lower than the gaohu, these two groups of instruments can use the same fingering. This aids in creating a homogeneous melody or countermelody especially if there are unique ornamentations that has to be performed in a specific way.

In this example, the erhu doubles the banhu, and the zhonghu doubles the gaohu. The banhu is tuned an octave higher than the erhu. This means that the erhu and banhu uses the same fingering, and the gaohu and zhonghu also have the same fingering. Also, the registers for each of these instruments allow for the greatest resonances. This passage is being flanked by loud passages with full orchestra on both sides, and will sound weak even if asked to play with a forte dynamic level if the instruments are not able to play in each of their respective registers written here.

Harvest Drums (丰收锣鼓) by Peng Xiuwen and Cai Huiquan

Performed by Hong Kong Chinese Orchestra.

Excerpt from Luanyunfei (乱云飞) opera tune, arr. Peng Xiuwen

In addition to sandwiching a melodic line, there could also be a sandwiching effect when the bowed strings are taking on the accompaniment, as can be heard in this case here where they provide a thick chordal support for this operatic passage which traditionally will not be playing a triadic harmony.

Excerpt from Lord of Western Qin (西秦王爷) by Lu Yun

The bowed string section here helps punctuate this section that has rapid alternations in meter and irregular accents. Instead of just leaving this punctuation for the plucked strings, the use of the bowed strings add another layer that cushions the sharp points in the plucked strings and gives a more bouncy effect.

Lord of Western Qin (西秦王爷) by Lu Yun

Excerpt from Melancholy of the Desolate Mountains (愁空山) by Guo Wenjing

The bowed strings might sometimes play broken chord patterns and when used appropriately, might serve to heighten tension as can be heard from around 4’20” here.

Excerpt from First Erhu Rhapsody (第一二胡狂想曲) by Wang Jianmin

Within 3 bars, tremolos are passed from the highest to the lowest bowed strings, together with changes in dynamics from mf to p, effectively creating a cascading effect.

Excerpt from Ambush from all sides (十面埋伏) arr by Liu Wenjin and Zhao Yongshan

In this quiet section with long lamenting melody, the sfp tremolos from the erhus create points where the tension is heightened and the very internalized energetic feel is sustained. High bowed strings (gaohus) create a shimmering texture above.

2nd excerpt from Ambush from all sides

Example starts ≈ 2:51
In the same piece, here is an example of the erhus and gehus/cellos having some two-part polyphonic actions. Each of these lines can be clearly heard because of the differences in register, but still sounds a unified whole as the timbres of the erhu and gehu/cello compliment and blends easily.

Excerpt from Dragon Dance (龙舞) by Xu Changjun

This pattern recurs throughout the piece and is carried by the wind, the plucked string, as well as the bowed string sections. Each of these sections however bring a different effect across. The winds give it a clear, brilliant sound, the plucked strings produces very crispy points that articulates the rhythm across very strongly while the bowed strings give a more rounded effect with a slightly “stickier” feel without losing the feeling of the very articulated rhythm.

Lena Heng
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