# Scherzo for strings



## Aramis (Mar 1, 2009)

So in this piece there is CHAOS and then from this CHAOS emerges light and creates rays of mediocrity and clichés. Enjoy. As hard as I tried, I couldn't bring all parts in the playback to be properly audible and balanced so, plox, if you decide to listen, stretch your ears a bit to hear everything.


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https://soundcloud.com/uxopasoz%2Fsyfon-z-neta


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## ComposerOfAvantGarde (Dec 2, 2011)

It sounds like in your description you are trying to emulate what Haydn did incredibly well in the opening sections of a Die Schöpfung. You might like to study the harmonic features of the overture, especially the avoidance of proper cadences where they would be expected as a way of creating musical 'chaos.' Your chaos seems to be rooted much more texturally, and there are some interetsing textural things going on here, but I think that less obvious cadential points, less predictable harmonic progressions could improve the 'chaos' somewhat.


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## Dim7 (Apr 24, 2009)

I quite liked the piece, but I have to say that I didn't hear much chaos.


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## Aramis (Mar 1, 2009)

ComposerOfAvantGarde said:


> It sounds like in your description you are trying to emulate what Haydn did incredibly well in the opening sections of a Die Schöpfung. You might like to study the harmonic features of the overture, especially the avoidance of proper cadences where they would be expected as a way of creating musical 'chaos.' Your chaos seems to be rooted much more texturally, and there are some interetsing textural things going on here, but I think that less obvious cadential points, less predictable harmonic progressions could improve the 'chaos' somewhat.


Nonono, the idea is not that of Haydn (although yes, this is probably the association that made me use the word), frankly, there is no particular idea behind that part - without planning to do such transition, I simply started the piece trying to put on, as you call it, "interetsing textural things" (I'm glad to read you do find them a bit interesting) but gradually moved towars more "classical" way of things. So the "chaos" is just my little post-impression, not the goal.


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## Crudblud (Dec 29, 2011)

I'm not sure I would call this a scherzo, but I'm hardly one to talk about arbitrary naming of pieces. The piece is quite pleasant, though the balancing issues are noticeable. If you would like, I could take a look at the MIDI file and try rendering it with a more dynamic sound library, but considering what you have to work with you have done rather well as it is.


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## Aramis (Mar 1, 2009)

Crudblud said:


> I'm not sure I would call this a scherzo, but I'm hardly one to talk about arbitrary naming of pieces


Yes, that Bob warmed up pretty quickly and by now, he's probably back with his wife, as close as ever.

If it wouldn't be a problem, sure, I would love to try better strings library option. What do I do?

And thanks for all the comments so far, already crossed the average 0-1 replies to statistical composition topic in this section.


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## Crudblud (Dec 29, 2011)

Aramis said:


> Yes, that Bob warmed up pretty quickly and by now, he's probably back with his wife, as close as ever.
> 
> If it wouldn't be a problem, sure, I would love to try better strings library option. What do I do?


Well, I can't guarantee it will be successful, but trying it out is no problem for me. Your scorewriter/DAW should have a MIDI export function, you'll want to export it as a Type 1 file (if you have an option to export as Type 0*, leave the box unchecked and it should do this automatically), which means it will contain multiple tracks of data, one for every instrument in the score. MIDI files are very small so you could post it here as an attachment, either in this thread or in a private message.

*Type 0 exports everything as a single data track, fine for solo pieces, but a needless complication for multi-instrument pieces


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