Viewing: Orchestration 101: The String Section, videos 23-25, 28-29, 32-33.

Adler: Chapter 5 section on Scoring for Strings

Reading: 100 Orchestration Tips 81-82, 86, & 88.


Mozart, Divertimento in E-flat major, K.563
The bottom Breitkopf edition is the clearest and easiest to read.,_K.563_(Mozart,_Wolfgang_Amadeus)

Recommended viewing:
Here’s a score+audio version for easy score-reading already uploaded to YouTube.

Beethoven, String Trios nos. 2-4, Op. 9, nos. 1-3
The complete Breitkopf upload has the least amount of warped scanning.
Recordings courtesy of Isabella Stewart Gardner Museum are both serviceable, with a few caveats about intonation here and there.,_Op.9_(Beethoven,_Ludwig_van)

Recommended viewing:

extra study:
Beethoven, String Trio no. 1, Op. 3
Beethoven, Serenade in D for String Trio, Op. 8

Schubert, String Trio D.471
This one-movement trio is simply charming, but superbly scored and worth studying all the same.,_D.471_(Schubert,_Franz)

Great video version.

Schubert, String Trio D.581
His second trio is a bit more difficult to study online. Most trios prefer performing the first version of the trio, rather than the somewhat simplified and heavily edited second version. However, since the first version isn’t available on IMSLP, and the second version isn’t available on YouTube, then do what you can. The third and fourth movements of this trio are nearly as written in both versions, but the first and second are quite different.,_D.581_(Schubert,_Franz)

I really liked this performance.


I’m just adding two late-Romantic era scores, and three modern ones. You’ll find that some of the most recent take scoring into quite unexpected and challenging places.

Reger, String Trio no. 2, Op. 141b,_Op.141b_(Reger,_Max)

Recommended viewing:

Reinecke, String Trio in C minor, Op. 249
The bottom Breitkopf edition is best.,_Op.249_(Reinecke,_Carl)

Recommended viewing:–0k

Jean Francaix, String Trio
Arnold Schoenberg, String Trio
Arnold Schnittke, String Trio


Ongoing Approaches:
• 2-3 minutes in length
• focus on lyricism and strong craft
• avoid overusing any one technique or overdoing the technical virtuosity
• compose in your own artistic voice and idiom
• consider that this work may be read and possibly performed
• maintain progressions of scoring approaches to tone production, scoring to the strengths of the registers, and individualising strings

Developing Approaches:
Apply the scoring strategies below in ways that develop and expand your musical ideas. Don’t employ any approach unless it really fits what you’re doing.
• close and open harmonies and melodic spacing
• using appropriate registers to bring out the character and meaning of leading voices
• supporting the above leading parts with intriguing accompaniment styles
• exploring alliances between the unique qualities of string instruments and registers
• employing voice-crossings to change the overall texture and balance of passages