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Is this String Trio piece properly transcribed?


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Hi! For fun, I wrote a very, very short piece for a string trio. I had some difficulties with it, and was wondering what your thoughts were.

 

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Besides the horrible handwriting, do you happen to see any errors in the writing or compositionally? I wasn't sure if the second part was more suited for a second Violin or Viola, but given the range I went with the Viola. The 'Cello' part concerns me the most as I'm not sure if I meant to write it an octave up, or if it's more suited for an Upright Bass (the lowest note is C2, which is technically the lowest string of the Cello played openly).

 

Keywise, I wrote it in C Minor but I'm clueless if that was actually the correct key.. the Db concerns me a little, and I'm unsure what that final cadence (F and two As) is... it'd be the four chord in C Minor which is weird, and the bass note isn't A so it's not an iv6 deceptive cadence... perhaps a compositional error? edit: ... Considering the Db and how it ends on F Minor, am I in F Minor?

 

My final most important concern is I'm unsure if this piece is feasible to play, given how little experience I have with violin family instruments. I'm not actually writing this to be played by anyone, but I'd like to begin to learn how to properly write sheet music in a traditional sense.

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Very quick reply...

 

In meas. 9 and 11, the VA and VC are in unison. Just a creative idea, as to whether you might want the viola to play a harmony note rather than unison as in mm. 7, 8, and 10. Not a critique, just an idea.

 

One other note... if this was for live players, you'd probably find that the VA and VC ask if they should lift as does the VN. Because when they hear the violin stop, they might wonder if they're supposed to also.

 

As to the rest of the transcription, I think your intentions are clear. It's not over-marked. Since it's lacrimoso, the players would likely play legato and lyrically, but if writing for real players you might want to indicate "legato" or "sempre legato" at the beginning of each part.

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Thank you very much Ski! I'm starting small to work my way up, this was actually a MIDI string intro for a trance DJ that I scrapped finishing; wanted to see if I could write it.

 

I wasn't sure what to do tempo wise hence why I just put lacrimoso; and yes the parts are meant to be legato.

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Since the only occurence of a D I saw is a D♭, it's entirely possible you are in F minor, but I'm just skimming through briefly and not analyzing your harmonies. Matter of fact, I shouldn't even be on here right now… I've got a couple VOs to record due for a musical tomorrow. The only other thing I would* mention is that in this case, crescendi should always be below their respective staves. At the very least, you want dynamic markings to be at the same placement on each staff.
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Are there any professional services out there that could "proof-read" such transcriptions to make safe for a professional orchestra?

 

I've got a few adagios and some other orchestral bits that I've been thinking of getting a full orchestra to perform as part of my portfolio, but without being a complete orchestral guru, it would be great in the future if someone could check out the validity of the transcription before it's sent over for recording and performance....? :)

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Great, thanks Ski. I've unsuccessfully tried to get through Walter Piston's "Orchestration" on many occasions but alas find myself getting quickly vegetablized before the end of the first chapter on Strings. Maybe one day I'll finish it, but until then a bit of help from a pro-orchestrator would certainly be a lot of help. :)
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If techniques for the string family is all you're looking for insight into, you could just befriend a string(s) player…

 

Otherwise, the handiest guide I've ever used when I have an engraving/notation/manuscript question is Alfred's Essential Dictionary of Music Notation. Not sure which you're asking for here.

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You've actually chosen to write for a very tricky ensemble. It is for good reason that we do not find many string trios in the repertoire.

 

My first reaction is to avoid the breadth between instruments. What you have here is a open chord voicing but unfortunately, it can sound quite hollow. There's a reason that there's a second violin in string quartets!

 

Also, as another poster had mentioned, avoid octaves and unisons on down beats (especially, the down beat). So, for example, your measure 4 is quite weak, I'm afraid.

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Otherwise, the handiest guide I've ever used when I have an engraving/notation/manuscript question is Alfred's Essential Dictionary of Music Notation.

 

 

Thanks for the tip - Ill definitely have to check it out.

 

Peachboy: I would skip to the Samuel Adler book on orchestration. If you can afford it, buy all of the CDs too.

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