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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  • LOL...so again Gav...how about it? Time to reign this troll in

  • This thread should be about gregorio X's work and nothing else. If it continues as is, it will be closed.

  • Mike, I found the rendering far more complex in timbre especially (notable in crescendo/dim) .  The interpretation of  the poco accel.. was just a tad to quick, but this is very minor, and I didn't put mm markings along that passage to characterize 'how much' accel.  The lines were indeed very clear!  The only quibble, (and saying this as a novice) is that i would have preferred a bit less rev.. and wondered how that might affect the faster passages if kept the same - (staying in the same room..) Funny thing is I've worked w small string ensembles, and the best seat (to my ears) for listening is right in the middle of them:)  But I know, this idea has very little to do with believability of rendered performance. 

    Again, thank you so much! You have helped me decide to take the plunge!

    Mike Hewer said:

    It really was a pleasure. The rendering isn't perfect (I'd have spent another 2 hours on that if I could have), especially concerning the hairpins and portamento (although I might have needed a different soundset for that). I hope the interpretation of tempo was ok. The bringing out of lines was easy enough, but perhaps there might have been a better balance or emphasis you'd have preferred.

    At least  you can get a sense of what can be done with better playback sounds because I kept DAW input to a minimum. It is undoubtedly a learning curve, but the end result is all that matters and the more you put into it, the closer you'll get to a more convincing sound which is also better for your creativity, the listener and your music. If you go down this route, don't be put off - all things are possible in time (providing you can find enough of it!).

    As an aside, I'd be curious to know what you thought of your music, hearing it in a sound that is not too far from the real thing? I personally would be very very encouraged by it as the music is intensely moving and quite beautiful. 

    (btw I reckon those cello stretches in b13 are probably ok using the thumb and 4th finger).

    gregorio X said:

    Mike, so kind and generous of you! It is indeed exciting for me to hear!  But also I'm equally moved that you sat with the composition for such a time, and offering such wonderful appreciation!  

    I tried to interlock where i could - but some decisions were based on the line of individual parts - but i can see some spots where I can do more interlocking.. (I don't want to make it harder for the players than necessary!)

    What a wonderful gift to offer, and if I can in some way return the favor, please don't hesitate!

    You've made my day!

    String quartet #1 movement 2 (re-edit)
    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 n…
  • Go for it Gregorio and glad I could give you some help. You know where you can find me if you want any advice on sounds and set up, always happy to give advice based on my experience. The reverb is personal for sure, but would have been fine in the more florid sections I think, of which I was sorely tempted to render. At least the deed was appreciated by you and that alone makes it worthwhile. See you around.

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