ARRANGING & COMPOSING
Ruth is an accomplished arranger and composer to critical acclaim.
To buy any of Ruth's arrangements for string quartet and trio, perfect for performances at weddings and corporate events, please go to the online store to see a full list and info on how to purchase.
Ruth has arranged strings for an array of artists including:
Madness, Beverley Knight, Sister Sledge, Philip Bailey (Earth Wind and Fire), John Newman, ABC,
Jimmy Somerville, Tito Jackson, Mary Wilson (The Supremes), Lemar, The Lightning Seeds and many more. To find out more about Ruth's arranging work visit London String Group.
Ruth enjoys working closely with music artists developing new material where ideas flow back and forth, her sensitivity in string writing has been highly commended by many:
"Ruth's string arrangements are always written to perfection so that even on a first time run through of material the notes, pitch, blend and dynamics are spot on. In a professional music world where time always equals money, you can count on Ruth 100 per cent to get your music project done right and with style every time!" Morris Pleasure (Earth Wind & Fire, Ray Charles, Michael Jackson)
As a composer, Ruth has written music for many Contemporary Dance works performed at The Royal Opera House, Dublin Dance Festival, Trinity Laban and Two Temple Place, collaborating with choreographers Lizzi Kew-Ross, Sarah Dowling, and artist Day Bowman. Ruth enjoys collaborating with creatives from across the Arts spectrum, exploring the connections between movement, art, poetry, nature, and music. In 2021 Ruth was lead consultant on the new publication of RSL's Violin Exam
Syllabus, writing all the technical exercises, studies and sight reading tests
for the publication Grades 1 - 8.
Review of 'Reading with Bach'
"Ruth Elder’s compositions convey so much of the different moods we inhabit as readers. One moment, where the violin holds a long vibrant note, suggests the comfortable and perhaps addictive mode of reading, alongside the more dramatic and intense emotional states."
by Alan Flynn in Everything Theatre Magazine