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弦乐组，也简称“弦乐”，由提琴组成，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乐团中人数最多的一组。仅由弦乐组组成的乐团被称为弦乐团。爵士乐、流行乐、摇滚乐，以及歌剧乐池中的乐团，有时也使用编制较小的弦乐组。

名称

中文	意大利语（复数）	中文简称	意大利语缩写
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世纪最普遍的席位排列是：第一小提琴、第二小提琴、中提琴、大提琴顺时针围绕指挥，低音提琴在右侧的大提琴后面。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.乐团首席领导第一小提琴，其它几个声部也各有首席，他们负责的内容包括：各自声部的独奏（义大利语：solo）部分、开始演奏时的示意，有时调整弓法。弦乐声部的首席坐在各自声部的第一排，靠近指挥和观众的位置。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世纪，标准的In the 19th century it was standard席位排列则是一提、大提、中提、二提顺时针围绕指挥，使左右两侧的两个小提琴声部有明显的交叉，如柴可夫斯基第六交响曲第四乐章的开头。 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.

谱台和分奏

通常来说，一提、二提、中提、大提坐的方式是：两人一组而坐，共用一个谱架（称作“谱台”）。首席坐在谱台的“外侧”，离观众席最近的位置。谱台外侧叫做“外档”，内侧叫做“内档”。当音乐要求分奏（义大利语：divisi）时，一般外档的乐手演奏较高的旋律，内档的演奏低的。当三重分奏时也有可能变换谱台。

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.

一般内档的乐手负责翻页，同时外档的乐手继续演奏。如果在乐曲核心部分需要翻页，现代的乐手可能会复印部分乐谱，将翻页的时机调整到较不重要的段落。

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.

低音提琴声部的排法随其规模和舞台的大小变化。一般，低音提琴呈弧形排在大提琴后面，乐手或站立或坐在高脚凳上。一般两人共用一个谱架，但由于乐器宽度较大，有时也会每人使用一个谱架，这样会更加轻松。低音提琴人数较少，他们或站成一排，或前后站成两排。

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

弦乐的人数比例一般是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.