Congrats on your arrengement. In general, I would try to write in sharp keys so the string section can play more comfortably. Amazing job, I really like it!
Thanks, I'm really glad you like it - it's a beautiful piece and Mary Howe's music should be much more widely heard! As a cellist myself, I actually prefer flat keys - B flat and F are lovely keys to play in on the cello (though G and D are much preferable!). I'd always prefer to play in four flats than four sharps - something about how you have to shift that I find easier than with sharp keys. I also always try to keep my arrangements in the key of the original work, which was F minor, in this case. I've conducted this with a group of amateurs and, although you lose your top open strings, the four flats gives it a lovely, warm resonance due to the lack of bright, upper-string harmonics. It's a nightmare to play in, but I think my favourite key for a rich, warm sound on a string ensemble is actually D-flat major.
@@leearmstrongmusic409 Thank you for your answer. This is very interesting! Not being a string instrumentalist, I always ask for feedback and advice after finishing a composition. One thing instrumentalists tend to agree on is that they prefer sharps over flats. They've insisted on this so much that I considered it a rule set in stone, but now you changed my perspective! What you've said about the difficulty of shifting from one key to another is intriguing; I had never considered this for string instruments! Regarding the warm resonance, do you think it’s preferable to use more challenging positions if it achieves a specific sound quality? I always try to write in a way that minimizes complications for the instrumentalist, especially because it's hard to get a live performance of your works these days, and when it finally happens, rehearsal time is usually very limited. Again, congrats on your arrangement! Loved the conversation!
@@BelenVivesMusic It depends who you are writing for, really. Look at some big scores by Richard Strauss, Mahler, even Tchaikovsky - certainly Scriabin. They are merciless to their string players, both in the keys the write in and the technique they demand, but people love and play their music. As a general rule of thumb, on the cello, C, G and D are the easiest keys, particularly D as the natural harmonics at the neck give you a convenient anchor point for playing high. However, B-flat major is a beautiful key on low strings, because the third of the chord, D, is so resonant, as it is an open string. Over all, I'd say if you want a bright, vivid sound from strings, write in 2-4 sharps, but if you want a rich, brooding, luscious sound, particularly in mid to low range, write in 4 or 5 flats. However, as you say, if your only chance of performance is a local amateur orchestra, five flats might stress them out a lot! Good luck :)
@@leearmstrongmusic409 Thank you so much for these insights! Your advice and expertise are incredibly valuable to me. I'm taking note of everything and will be more mindful of the keys in my compositions for strings from now on.
Congrats on your arrengement. In general, I would try to write in sharp keys so the string section can play more comfortably. Amazing job, I really like it!
Thanks, I'm really glad you like it - it's a beautiful piece and Mary Howe's music should be much more widely heard! As a cellist myself, I actually prefer flat keys - B flat and F are lovely keys to play in on the cello (though G and D are much preferable!). I'd always prefer to play in four flats than four sharps - something about how you have to shift that I find easier than with sharp keys. I also always try to keep my arrangements in the key of the original work, which was F minor, in this case. I've conducted this with a group of amateurs and, although you lose your top open strings, the four flats gives it a lovely, warm resonance due to the lack of bright, upper-string harmonics. It's a nightmare to play in, but I think my favourite key for a rich, warm sound on a string ensemble is actually D-flat major.
@@leearmstrongmusic409 Thank you for your answer. This is very interesting!
Not being a string instrumentalist, I always ask for feedback and advice after finishing a composition. One thing instrumentalists tend to agree on is that they prefer sharps over flats. They've insisted on this so much that I considered it a rule set in stone, but now you changed my perspective! What you've said about the difficulty of shifting from one key to another is intriguing; I had never considered this for string instruments!
Regarding the warm resonance, do you think it’s preferable to use more challenging positions if it achieves a specific sound quality? I always try to write in a way that minimizes complications for the instrumentalist, especially because it's hard to get a live performance of your works these days, and when it finally happens, rehearsal time is usually very limited.
Again, congrats on your arrangement! Loved the conversation!
@@BelenVivesMusic It depends who you are writing for, really. Look at some big scores by Richard Strauss, Mahler, even Tchaikovsky - certainly Scriabin. They are merciless to their string players, both in the keys the write in and the technique they demand, but people love and play their music. As a general rule of thumb, on the cello, C, G and D are the easiest keys, particularly D as the natural harmonics at the neck give you a convenient anchor point for playing high. However, B-flat major is a beautiful key on low strings, because the third of the chord, D, is so resonant, as it is an open string. Over all, I'd say if you want a bright, vivid sound from strings, write in 2-4 sharps, but if you want a rich, brooding, luscious sound, particularly in mid to low range, write in 4 or 5 flats. However, as you say, if your only chance of performance is a local amateur orchestra, five flats might stress them out a lot! Good luck :)
@@leearmstrongmusic409 Thank you so much for these insights! Your advice and expertise are incredibly valuable to me. I'm taking note of everything and will be more mindful of the keys in my compositions for strings from now on.
@@BelenVivesMusic My pleasure. Glad to be of help.