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This piece starts with 2 -6 note- cells - played concurrently. The cell is odd in that it resists a tonal center.. (constantly modulating with each note). I didn't choose the cell with that idea in mind.. It just came to me a few weeks ago while driving…and i just liked it..
The cell moves (and 'distorts', somewhat) through various backdrops.

Comments are welcome and appreciated.  Thanks for listening.

https://soundcloud.com/gregoriox88/string-qrt-1-mv2-rmx3

Here is the 1st mov. for those who may be interested, but i now fear, after listening again (from a year ago) that i may need to extend the last section...

https://soundcloud.com/gregoriox88/string-quartet1-final-edit-pan-43

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Gregorio, although I'm listening under very strenuous circumstances with just whatever sound I get out of my tablet I found this piece wonderful as a concept. It is to me  successful both in intensity and vigour. I reckon you went for a broad ABA form with the middle B prolonged and you' ve utilised your cells much more in a linear contrapuntal rather than vertical harmonic way. It made perfect sense to me in musical terms, but I think the rendering could be done better with different machinery/samples (of course this to me is beside the point, 'cause I'm much more interested in your music rather than your samples). I think you should give us a score for better understanding of your effort, but having heard no other movement of this work, I think that this is very good in mood and persuasive as a second movement.

Thanks for sharing.

This is very interesting Gregorio how you have developed your initial material. It is very expressive and inventive. I'm impressed at how you are able to use these "cells", which don't seem to have a direction if you will, into a structure that is musical and somehow logical as well. Thanks for posting!

Thanks for bearing through my my samples through your tablet, Socrates.  :)

I'm glad its aliveness came through -'vigor'.  The emotional content is what drew me in.. I'd Love to hear it through better samples, (though i tried as much as i could to manipulate articulation/dynamics…) I'll soon post a score, and the 1st mov.as well,  for those who may be interested.  Thanks so much for offering your thoughts.

I'm glad it came off as expressive, Ingo. That was my hope.  I am delighted that it worked for you! Thanks for listening!

Coincidences!

I was going to upload my string quartet in this forum and I have seen that the last work exhibited is also a movement of string quartet.

Gregorio X. your movement sounds really good and transmits sensations, which is what it is about. I can not do more than congratulate you and encourage you to show us the other movements.

Thanks for sharing.

And now I'm going to upload my string quartet . . .

Thanks for listening, Ramon!  Thank you for your thoughts on this piece.  It is encouraging for me to hear that the 'sensations' come through.. as i feel uncertain if the harmonic content shields for some folks the 'emotional' content underneath… ( i probably worded that poorly).

I look forward to checking out your quartet!

Gregorio,

Electric moment at 56" in the 1st mvt. and the pizz accompaniment and theme are absorbing. The mvt. needs to be longer (twice as long...:-) because much development and expression has been left unsaid imo. I love the language.

The 2nd mvt is beautiful, what came first, the theme or the harmony? The playback does it no favours and I am wondering if you will write into the score any idiomatic techniques you cannot achieve on playback. We all know how timbrally and technically versatile strings are so I hope you bear that in mind whilst composing. E.g I felt like parts of the 2nd movement could have a non vib direction especially the accompanying harmony.

When I look at 4tet scores, I often marvel at the invention in the part writing that exploits colour and technique. None of these techniques are convincing in a basic playback, but don't let that stifle your imagination and creativity.

Mike, you hit upon my biggest disappointment in this rendering - non vib. is not really offered (though I tried through some circuitous mentioned online) -   also sul tasto and ponitcello… on Sib.  This is offered on note performer, but the samples i even thought were Less convincing! - (even with its recent update)… But the vibrato was killing me especially - in many places in the score.

Thanks so much for listening to both mov'ts.  Yes I'll have to re-open the 1st mov… (and just when i was ready to explore some thoughts for the 3rd (and last) mov't. (which will be subtitled 'Veloce') - .

Very nice, Gregorio!  Don't forget col legno either. Seemed like a couple moments in the 1st movement could be suited to that.

I somewhat disagree with Mike about the length of the 1st movement.  I think you could follow-up in later movements, or just leave it as a fit of expression.  Lots of 7-movement quartets out there...

This is nitpicky but I thought the panning was just a little extreme--it helps distinguish the different lines but lessens the impact somewhat of the full chords.

BTW, Spitfire is releasing a new solo string library (currently on sale): https://www.spitfireaudio.com/shop/a-z/spitfire-solo-strings/

Thank you, John.  I was curious what you'd think. I'm glad you liked it!  Thanks for chiming in about the length of the 1st mov.  I keep going back and forth on that. (and thanks for the scary 7 mov. idea :)

I really appreciate your comment about the panning.. (I'll try moving the outside (cello and  1st violin)  more in, (oddly i thought my configuration would allow for more delineation, but  i'm not so savvy on that level) -   Changing the pan does change the volume levels! drat.

I'll check out the spitfire.  Thanks for mentioning! .. this may seem dumb, but is that compatible with Sib.7.3?  

Or you could just do what Messaien did and write eight movements--only the last of which makes any sense... (ducks)

I just got the sense from the panning of different instruments on opposite sides of a large space, as opposed to opposite sides of a small room (the most typical string quartet *sound*, I think).  I think tucking them in a bit to the center would help.  You could also consider reducing the stereo width at the end (if you have a plugin that does that) and/or playing with a small room reverb.  I'm sure the other mixing geniuses on this forum might have some other ideas.

Yes, I believe you can run Spitfire in notation software, including Sibelius, although the issue is always that the big libraries demand a lot of resources--more than the notation programs are built to handle as host.  For that reason I wouldn't try any ensemble much larger than a string quartet.  You also would have to enter in the MIDI info (including the switching articulations).  To me, the end result is well worth the effort, but your mileage may vary.  I found this online: https://spitfireaudio.zendesk.com/hc/en-us/articles/115004047743-Sp...  Probably others can chime in on this, too...

Spitfire has a library specifically for that *quartet* sound, too.  

https://www.spitfireaudio.com/shop/a-z/sacconi-strings-quartet/

Also some discussion about other libraries for string quartet mockups here (note, this thread starts in 2016, so the Spitfire solo strings they refer to at the beginning are discontinued):

https://vi-control.net/community/threads/string-quartets.51845/

John Driscoll said:

Or you could just do what Messaien did and write eight movements--only the last of which makes any sense... (ducks)

I just got the sense from the panning of different instruments on opposite sides of a large space, as opposed to opposite sides of a small room (the most typical string quartet *sound*, I think).  I think tucking them in a bit to the center would help.  You could also consider reducing the stereo width at the end (if you have a plugin that does that) and/or playing with a small room reverb.  I'm sure the other mixing geniuses on this forum might have some other ideas.

Yes, I believe you can run Spitfire in notation software, including Sibelius, although the issue is always that the big libraries demand a lot of resources--more than the notation programs are built to handle as host.  For that reason I wouldn't try any ensemble much larger than a string quartet.  You also would have to enter in the MIDI info (including the switching articulations).  To me, the end result is well worth the effort, but your mileage may vary.  I found this online: https://spitfireaudio.zendesk.com/hc/en-us/articles/115004047743-Sp...  Probably others can chime in on this, too...

Very helpful, John!  It is an exciting idea.. I have a 10.7 ox, (and am at my limit) and spitfire requires at least  10.10) but i have been looking for a reason to get another computer.. 

Messaien is hit and miss w me.. (Gx jumps down the hole, and pulls the hole down w him)

(I actually had the nerve to add to a piece he wrote, as i accompanied a ballet troop performance) 

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