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it seems that the ideal is to make the unplayable playable in order to achieve something "superhuman"
Hearing those rapidly shifting "hard parts" in SUPERMAN played perfectly is one of film music's great pleasures.
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Posted: |
Feb 18, 2014 - 12:23 AM
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By: |
Mike_H
(Member)
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Here's an excerpt from a Herb Spencer interview I just found:
CJ: Although neither of you are string player yourselves.
HS: No, but you’ve got to be conscious where a thing lays, where the guys really draw a bow and get something going for you. Otherwise you get just an “hmm” sound, an organ sound. He’s very conscious of that.
CJ: How do you both achieve that kind of awareness?
HS: Well, we both know the classical repertoire. The stuff that we learned sounds wonderful, usually lays in the right key. You put it up half a tone or down, you kill it. You’d be surprised. Most of the violinists have been trained so that they know where things lay well for them. Something that really cooks. Most of the stuff that he writes is in A, you know, sharp keys.
CJ: Strings generally do not work as well in flat key?
HS: they do… you can use them on purpose in a flat key for an effect. But when the sun comes out, it better come out in another key. Because the half-positions in the flat keys-that’s not where the fingers lay. The flat keys are not as open. D-sharp and E-flat are in slightly different position with slightly different fingering. Of course everyone knows that generally, but specifically you notice a difference in the sound. It’s a little more muted, as little more tentative. Of course, there are no end of examples of when this can be tremendously successful, but usually we try to keep the hell away from that kind of thing. The clarinet will have to play in all sharps, but they have to do that anyhow, so they might as well get used to it.
http://www.herbertwspencer.com/Interview.html
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...but then of course you change the tone colour. 