Short String Piece

[Simon Godden]

Hi, I've rearranged a short string piece to suit EWQLSO (and Cubase Artist 6).  The trick was selecting the right samples (obviously there are more than one sample to each instrument) to suit the voices I wanted and re-orchestrating parts that would now sound better that I had more voices to choose from.  It might not sound like it, but there was in fact, a lot of work that went into this composition (although it will remain in my portfolio, as it is too short to be considered for performance) as well as production.

 

I'd appreciate your comments.

 

Cheers,

 

Simon

[Simon Godden]

I have Miroslav.  It was my first ever library (discounting the orchestral expansion kits on the Roland JV), and I loved it (still do).  But the only drawback with it was the lack of kick in the strings.  As pads, they were beautiful, but I can now only seriously use them to thicken a string sound that I already have.  Before I acquired EWQLSO Gold, I was using HALion Symphony Orchestra, purely for their strings to complement the really good wind samples of Miroslav.  The strings in HSO have a cross-fading facility that uses a lot more than two velocity layers, and are well listening to. 

tom said:

its a good piece in the baroque style. Bach would be proud to see you using some of his techniques (do i hear second inversion chords?), but i dont think the piece has any real "gesture" or drama. no memorable themes. it is well composed. but... lacking in real feeling. but then that's often the way with baroque pieces... music for the sake of pretty music. string sounds are pretty good, but i think miroslav trumps them ;)

[Norbert Oldani]

This sounds more neo- baroque than neo- classical to me. Enjoyable. Difficult task to write string music with samples and midi.

[Adrian Allan]

nice piece that carries all your compositional trademarks - keep up the good work.

[Simon Godden]

Thanks Adrian.

 

Norbert, if it were to be especially Baroque, you might find that all 4 voices (plus bass) would be more independent of their neighbouring counterparts, in that they all would be playing their own tunes rather than accompanying the one or two voices playing the melody.  OK, I swap their roles quite frequently but you'll still find that it boils down to melody and accompaniment.

 

I'm going to try and write a neo-baroque version of this to show you what I mean.

[Ann Rodela]

Thanks for the illumination. :)

Simon Godden said:

Thanks guys.  Ann, I'm not sure what you mean by psychological nuances.  It is supposed to be a short piece trying to emulate classical counterpoint as opposed to baroque.