This is the first time I achieved atonal quality writing each note and interval consciously without using serial techniques like retrograde inversions.
This is also the first time I avoid melody thickening with constant intervals. In the first part I use dissonant intervals (major second, major or minor seventh, tritone) while avoiding parallel voice movements and keeping orchestral density. The rhythm of the voices is synchronized about 70% of the time. The main melody starts pentatonic and later is transposed and converted to diatonic, becoming chromatic in the end. When violin starts to play solo, I create a new 12-tone melody from the first melody, that it was playing in the beginning.
In the second part, which sounds most consonant and rock style, I prefer perfect 4th and 5th, but also use other intervals, gradually using more dissonant intervals to the end of the part. The rhythm of higher voices is very synchronized, while cello creates a separate accompanying rhythm using pedal tone.
In the third part I use all 12 notes to build melody with tritone and 7th leaps, diatonic scales and chromaticism. When the second violin comes in, I add dissonating intervals, while avoiding parallel voice movements and keeping orchestral density. The rhythm of the voices is synchronized about 50% of the time.
In this track I use four different solo instrument libraries without native reverberation (LA for violin2, Spitfire for viola), later panning them and adding common 2C Aether reverb. Libraries used:
Spitfire Audio - Solo Strings, Sable (Strings)
Embertone - Friedlander violin (Strings)
Audiobro - LA Scoring Strings (Strings)
Embertone - Blakus Cello (Strings)
I will be glad to hear criticism.