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Writing a Scherzo for String Quartet, which minor key to use?

So I am writing a Scherzo in the key of Eb major for a String Quartet. And the question came to mind of what minor key to use for the Trio section. I'm pretty certain that I want to do a shift from major to minor, since most Scherzi have either a shift from major to minor or vice versa as you get into the Trio section. But the question is what minor key to use for the Trio? I see these as my options:

  • Eb minor - Parallel minor(notating it as D# minor would make it slightly easier for strings, right?
  • C minor - Relative minor
  • G minor - Mediant minor(which I generally consider to be distantly related but not as distantly related as say C major and Bb major)
  • Circle of fifths motion - These would include Bb minor(the minor dominant) and Ab minor(which for strings should probably be notated as G# minor), F minor could probably be included here too(ii of Eb)

I'm thinking that maybe I should use C minor as my minor key, since that keeps both the close relation and the ease to play, while easily adding some dramatic contrast(especially when combining this with a time signature switch, as I will be doing in my Scherzo in Eb, where the Eb major Scherzo and Coda are in 2/4 and the Trio is in 6/8). But, I don't know for sure. So, I was thinking that maybe I should ask the people in this group which minor key they would prefer to have come after Eb major in the Trio section of a Scherzo.

For some added context, several times in the Eb major Scherzo section, I tonicize Bb briefly before going back to Eb major

So would you prefer that I use the key of Eb minor since the majority of Scherzi have this parallel key switch? Or would you prefer that I use C minor because it is easy to play? Or would you prefer that I move to the Mediant minor of G minor because it kind of reminds you of the Bb major that has previously appeared in the Scherzo? Or would you prefer that I move by Circle of Fifths to a different key?   

Woodwind quintet arrangement of a double bass sonata

Dear Woodwinds, I have now finished my arrangement of Robert Fuchs' sonata for double bass and piano from 1913, whereby the piano is transformed into a wind quintet. I had a lot of fun making it and I think that shines through in the final result. I already posted about this a year ago but I only had one movement sketched out back then. Please have a listen, it might be fun.

https://musescore.com/user/352976/scores/5387345

IMPORTANT ANNOUNCEMENT:

Every time you enter a score into the contest, you need to upload it to the sheet music section of the group itself. It will make it easier to find them to judge. Also, you need to rename them to say CMC Contest. For example
"CMC Contest #5 Sonata in C Minor". Please reply if you read this if you are confused reply as well.

Sincerely,
CMC. 

Hi y'all!

Hope y'all are having a great day , and a good year so far.
I would be really thankfull if you checked out the beggining of a fantasy , which isn't finnised yet. I would like if one could affirm to me that it's playable ( a friend of mine said so , but , I would like opinions by many other people.)

Her is the link to check it out:

 
https://musescore.com/user/30906161/scores/5914828

Have a lovely rest of the day and take care of yourself!

How are the effects written on the score with musescore?

Greetings, please, help me to know where I should  access to use   pizzicato, arc, sul ponticello, sul tasto, collegno, etc  ... the  program  does not mark the options, does musescore help me?
I  share  the  following score for the purpose of serving as an example, so  that   someone please tell me how to place those effects in musical  cells  and  that in addition to visuals, they are reproduced by the  audio,  thank 
https://musescore.com/user/32774288/scores/5914693

THE HONEST GUITARIST

Hello and welcome to the "Honest Guitarist" a community of musicians on  common ground to mastering music in general and the guitar specifically.
First, a thank you to J.Herman for Everything Guitar and opening the way for guitar players to communicate their experiences.
To be perfectly honest and avoid wasting the readers time, let me state clearly that the ideas presented here are targeted toward the intermediate to advanced player and represents the most basic music and guitar knowledge that an aspiring musician should have command of before moving to more advanced study.
Although the material is advanced, any player should find something of interest to study or to encourage further research. 
The idea for presenting such a project was born of my own experiences.
After many years of playing I decided to further my studies under a professional tutor, only to discover many weaknesses in areas of music, harmonic function and guitar technique.
Although the experience was inspiring it was, to a greater extent, disheartening, discouraging and expensive.
While I did continue with my studies I also kept a list of things that I realized I should have known before attempting to learn at the "bended knee" of a professional teacher.

                                                                 *   *   *
After using MuseScore for some time and after recently completing a "master class" (I use the term loosely) it seemed to me that this great music software program could serve an excellent teaching tool to present that exact information.
Hopefully, the "scores" presented will generate some serious thought and study while the student awaits the next book or video or Heaven forbid spends a small fortune on Skype lessons.

I'm working on Book #1 and in the mean time here is a voicing of "Christmas Time Is Here"  for guitarists this season.
MERRY CHRISTMAS!
   

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