(I think that in this kind of music and more in the Baroque, there are variations) In any case, that scale still sounds good to me.
Of course, the piece is in G minor and I think that the descending scale does it in that tone. Right now, it sounds very good but it's too "midi" to pull it off.Īnd to be nit-picky, the seconds at the beginning in real life are never as loud as the firsts.Ĭlick to expand.Thanks I don't know anything about music theory, so maybe you're right. It needs to sound like an "interpretation". You could also change the stroke as some are longer. You can go through the solo part and raise some velocity levels on the first note of each scale. It will be a challenge to put more "music" in this, especially at this tempo. Also, pay attention to the notes as you have several wrong ones throughout (although there are many versions of this). In the orch, there are a lot of dynamics, lots of hairpins throughout. And when he gets to the bottom, there is a D "drone" that you don't have (and should). When he gets to the top A, he takes his time, then speeds up as he runs down the scale. Notice that it's not metronomical, he brings out certain notes etc. It sounds like a midi file where every note is the same length, nobody plays like that. How ever stay curious for the market, there are currently so many exciting producers of good Orchestral and stringslibraries in the market, that no one is forced to stick with VSL in the Year 2000 So I post it, just to allow the comparison with my humble attempt without any VSL-Stuff (which I also have but more and more are becoming tired to use, while it 'was' great when it was released 15-20 Years ago, but as it seems no longer setting the new standards and obviously have in their recent published products completly lost the good soundengineer's ears, that still make the old libraries sound in several aspects at least more acceptable than the latest VSL-Stuff. But as I said, it will always be a matter of personal taste. It is of course a matter of taste, while I personally tend to prefer to let the melody and harmony still dominate over the percussive aspect. You will notice that VSL tends perhaps to become a bit more noisy ("harsch") in the higher velocities of their staccato's. S.F.: Vivaldi L'Estate III presto (Spitfire Chamber Strings + Emotional Violin as Soloist) However, aside from the monophonic moments and the solos, the piece is homophonic.Well done and interesting for me, since I have recently done the same with Spitfire Chamber Strings and the Emotional Violin as Soloist. As stated in the harmony section, there are parts where each line plays the same thing, creating monophony. The principal violin plays with the group and as the soloist. The only instruments used are strings – a principle violin, first and second violin, viola, and cello. The texture varies between thick and thin, with up to 5 moving lines at a time. Instruments, but there actually are no moments of vibrato. Would expect profuse vibrato from a piece comprised of only string No extended techniques are used to change the timbre. However, thereĪre some brighter moments, created by higher notes and a tonicization to a Of the piece and the dark, heavy tones of the instruments. The timbre is dark, which is created by the key The piece, as it is subdivided in two the entire time. This actually creates a few bars of hemiola. The only syncopation present is rather subtle,īeing presented on the top of a descending line on 1e of a sixteenth note group or after a sixteenth rest. Notes be seen, along with occasional eighth notes and a few bars of quarter noteĪccompaniment to a solo. Throughout the entire piece, only rarely can anything but a set of sixteenth The tempo is marked as presto, hence the name of this movement – "Presto.” This piece is in 3/4 time, a simple triple meter. This can be seen at the very beginning of the piece, where each line starts on the tonic, and near the end where the same thing is imitated on the fourth. A few places in the piece have no harmony at all due to the fact that every instrument is playing the same thing. This piece is in the key of G minor with some The melody is echoed with strict imitationĪt two instances in the piece, near the beginning and near the end. The sixteenth notes are played, though the range is actually quite broad. To stay in the higher tessitura of the piece’s range because of the speed at which The solo violin line sounds as if it tends The disjunct nature of the melody causes it to be unlyrical, as the range is too great,Įspecially in solo parts. The skips and leaps are notĬhosen randomly, but are more often than not chromatic. The melody is very disjunct, with constant skipsĪnd leaps throughout the violin lines.
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