カインドネスのインスタグラム(kindnessmusic) - 3月15日 06時56分

Researching classic string arrangements. Love & respect to Benjamin Wright. "OK. When I have to write footballs like whole notes, I think my voicings are warm. I say, "Hey man, I need to put a blanket around that." I'm going to make it very warm, so the singer can just soar. I won't be in his or her way. Just put a blanket around there. I need the contrabasses and the cellis, whatever, and I put the violas real close to the cellis and it's like warm. That's what I call it.

With the contrabasses, a lot of times we will drop them way down, even below the staff. Or, if it's too muddy there, I'll split them up, active above. Celli, I don’t do the fifth, I might do the third. Let's say, if it's a C major triad I'll put the celli... We call it the C major #9 per se. I'll put celli on a B on top of the staff, top of the bass staff. Second celli, first celli I'll put on a D, so it’s playing a #9 there. Then I will take the viola and put them on the third E. Now, we don't worry about a clash between the violas and the celli because of the octave there, we’re talking open harmony. Then I'll take the first violin, drop the G in there. Then I'll take the first violin put that on the major #7. OK? But the key is I got the first celli playing the D. We call it second, I'm going to call it my #9. Because it's warm right there."

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