# LASS quartet - "...so we created God to justify the violence."



## Lex (Mar 17, 2011)

Hi everyone,

I started learning and experimenting with writing for string quartet. The piece is called 
"..so we created God to justify the violence." and this is the first 4 min.

http://www.aleksandardimitrijevic.c...¨ Ü   Î€& Ü   Î€d Ü   Î€z Ü   Îs Ü   Î


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## Hannes_F (Mar 18, 2011)

I Alex,

a provocative title, that is for sure 8) 

I listened to it and while I generally stop many cues after a while when I feel I picked up most of what it is ... this one somehow hooked for me and I listened to the end. And listened again. While I feel I 'understood' the music I will return and re-listen because there are development and ambiguity and different levels to discover. With a word, it impressed me.

It may be a question of perspective and bias but I like this sort of linear writing that you have started to use here.

If I were asked about what else could be explored for the next part of this cue then I would say one could begin to use more medium-short notes. And detach them. 

Sample libraries suggest that notes for strings should be either short like spiccatos for ostinatos or long legatos for sweeping lines. But these are only the extremes, actually we can use a world of different medium-short notes (and medium-short rests between them) ... technically all doable with the legato patches plus perhaps a little attack here and there.

This would then be what we originally call 'articulation'. Not in the sense of 'I have more articulations in this library than in that' meaning patches, but in the sense of speaking like with language. Syllabes (sp?) of all lengths, separated or glued together with consonants of different intensities.

There is no reason imo to restrict this thinking to live players. If you layer a legato patch with a short note patch where you can steer the both independently I think it is very good doable with samples as well.

Also there is no rule that for a string quartet always all four voices need to be busy. The lines can be broken up, there can be passages where only two or three voices speak ... or one voice and all three others answer ... etc. etc.

I dig the depth of this sort of writing and would really enjoy to hear how this is continued.

Cheers
Hannes


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## Rob (Mar 18, 2011)

what Hannes said... he expressed my feelings exactly


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## Lex (Mar 18, 2011)

Thanks guys!

And thank you for great advice Hannes. 

Alex


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## lux (Mar 18, 2011)

very nice, kind of a Kilar'ish nightmare.

me like a lot.

Luca


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## TheoKrueger (Mar 18, 2011)

Good work, interesting writing. It reminds me of some works from Schnitke. It has a depressive quality that after being absorbed into makes you feel distant from the world and the largely common perception of what music and tonality is. Different and non-comformative.


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## reflekshun (Mar 18, 2011)

Musically, I felt like this piece was intriguing and develops in a very interesting way throughout. In a way that makes you feel like you could discover more about the 'character' or whatever it is, that this piece describes, if you were to give it multiple listens. 

I agree completely with Hannes in that, most times you quit the track half way through, but the linear development was gradual and sneaky enough in this one, that it felt more natural to hear it out to the end.

The realism considering the limitations of sampling is quite good, a balanced use of vibrato and legato, there wasn't so much the dreaded 'every note is legato or the same vibrato' feel. haha Which I am still ironing out myself. Good work!


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## Ed (Mar 21, 2011)

Missed this! Really nice, phasing and expression sounds really well done to me. Good demo for LASS solo strings. Interesting dischords, I listened several times 

Where the big drums and choirs though???


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## Mahlon (Mar 24, 2011)

I loved this. Beautiful.

Mahlon


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