使用者:魔琴/沙盒/弦樂組

弦樂組，也簡稱「弦樂」，由提琴組成，通常包括第一小提琴、第二小提琴、中提琴、大提琴和低音提琴。它是典型的古典管弦樂團中人數最多的一組。僅由弦樂組組成的樂團被稱為弦樂團。爵士樂、流行樂、搖滾樂，以及歌劇樂池中的樂團，有時也使用編制較小的弦樂組。

名稱

中文	義大利語（複數）	中文簡稱	義大利語縮寫
第一小提琴	Violini primi	一提	Vl. I
第二小提琴	Violini secondi	二提	Vl. II
中提琴	Viole	中提	Vle.
大提琴	Violoncelli	大提	Vc.
低音提琴	Contrabbassi	倍大、Bass	Cb.

席位排列

One possible seating arrangement for an orchestra. First violins are labelled "Vln I"; second violins are "Vln II"; violas are "Vla"; and double basses (in German "Kontrabässe") are "Kb".

21世紀最普遍的席位排列是：第一小提琴、第二小提琴、中提琴、大提琴順時針圍繞指揮，低音提琴在右側的大提琴後面。The most common seating arrangement in the 2000s is with first violins, second violins, violas and cello sections arrayed clockwise around the conductor, with basses behind the cellos on the right.樂團首席領導第一小提琴，其它幾個聲部也各有首席，他們負責的內容包括：各自聲部的獨奏（義大利語：solo）部分、開始演奏時的示意，有時調整弓法。弦樂聲部的首席坐在各自聲部的第一排，靠近指揮和觀眾的位置。The first violins are led by the concertmaster (leader in the UK); each of the other string sections also has a principal player (principal second violin, principal viola, principal cello and principal bass) who play the orchestral solos for the section, lead entrances and, in some cases, determine the bowings for the section (the concertmaster/leader may set the bowings for all strings, or just for the upper strings). The principal string players sit at the front of their section, closest to the conductor and on the row of performers which is closest to the audience.

19世紀，標準的In the 19th century it was standard席位排列則是一提、大提、中提、二提順時針圍繞指揮，使左右兩側的兩個小提琴聲部有明顯的交叉，如柴可夫斯基第六交響曲第四樂章的開頭。 to have the first and second violins on opposite sides (violin I, cello, viola, violin II), rendering obvious the crossing of their parts in, for example, the opening of the finale to Tchaikovsky's Sixth Symphony.

If space or numbers are limited, cellos and basses can be put in the middle, violins and violas on the left (thus facing the audience) and winds to the right; this is the usual arrangement in orchestra pits. The seating may also be specified by the composer, as in Béla Bartók's Music for Strings, Percussion and Celesta, which uses antiphonal string sections, one on each side of the stage. In some cases, due to space constraints (as with an opera pit orchestra) or other issues, a different layout may be used.

譜台和分奏

通常來說，一提、二提、中提、大提坐的方式是：兩人一組而坐，共用一個譜架（稱作「譜台」）。首席坐在譜台的「外側」，離觀眾席最近的位置。譜台外側叫做「外檔」，內側叫做「內檔」。當音樂要求分奏（義大利語：divisi）時，一般外檔的樂手演奏較高的旋律，內檔的演奏低的。當三重分奏時也有可能變換譜台。

In a typical stage set-up, the first and second violins, violas and cellos are seated by twos, a pair of performers sharing a stand being called a "desk", Each principal (or section leader) is usually on the "outside" of the first desk, that is, closest to the audience. When the music calls for subdivision of the players the normal procedure for such divisi passages is that the "outside" player of the desk (the one closer to the audience) takes the upper part, the "inside" player the lower, but it is also possible to divide by alternating desks, the favored method in threefold divisi.

一般內檔的樂手負責翻頁，同時外檔的樂手繼續演奏。如果在樂曲核心部分需要翻頁，現代的樂手可能會複印部分樂譜，將翻頁的時機調整到較不重要的段落。

The "inside" player typically turns the pages of the part, while the "outside" player continues playing. In cases where a page turn occurs during an essential musical part, modern performers may photocopy some of the music to enable the page turn to take place during a less important place in the music.

低音提琴聲部的排法隨其規模和舞台的大小變化。一般，低音提琴呈弧形排在大提琴後面，樂手或站立或坐在高腳凳上。一般兩人共用一個譜架，但由於樂器寬度較大，有時也會每人使用一個譜架，這樣會更加輕鬆。低音提琴人數較少，他們或站成一排，或前後站成兩排。

There are more variations of set-up with the double bass section, depending on the size of the section and the size of the stage. The basses are commonly arranged in an arc behind the cellos, either standing or sitting on high stools, usually with two players sharing a stand; though occasionally, due to the large width of the instrument, it is found easier for each player to have their own stand. There are not usually as many basses as cellos, so they are either in one row, or for a larger section, in two rows, with the second row behind the first.

In some orchestras, some or all of the string sections may be placed on wooden risers, which are platforms that elevate the performers.

Numbers and proportions

弦樂的人數比例一般是10:10:8:10:6（一：二：中：大：低）

The size of a string section may be expressed with a formula of the type (for example) 10-10-8-10-6, designating the number of first violins, second violins, violas, cellos, and basses. The numbers can vary widely: Wagner in Die Walküre specifies 16-16-12-12-8; the band orchestra in Darius Milhaud's La création du monde is 1-1-0-1-1. In general, music from the Baroque period (ca. 1600-1750) and the Classical period (ca. 1720-1800) used (and is often played in the modern era with) smaller string sections. During the Romantic period (ca. 1800-1910), string sections were significantly enlarged to produce a louder, fuller string sound that could match the loudness of the large brass sections used in orchestral music from this period. During the modern era, some composers requested smaller string sections. In some regional orchestras, amateur orchestras and youth orchestras, the string sections may be relatively small, due to the challenges of finding enough string players.

The music for a string section is not necessarily written in five parts; besides the variants discussed below, in classical orchestras the 'quintet' is often called a 'quartet', with basses and cellos playing together.

Double bass section

The role of the double bass section evolved considerably during the 19th century. In orchestral works from the classical era, the bass and cello would typically play from the same part, labelled "Bassi". Given the pitch range of the instruments, this means that if a double bassist and a cellist read the same part, the double bass player would be doubling the cello part an octave lower. While passages for cellos alone (marked "senza bassi") are common in Mozart and Haydn, independent parts for both instruments become frequent in Beethoven and Rossini and common in later works of Verdi and Wagner.