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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

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Nocturne in Eb arrangement, feedback

This is the first time that I have arranged a Chopin piece. Not only that, but it is the first Chopin piece I ever played, so I am very familiar with this piece. I know, I need a countermelody or something along those lines for the first violin. But there is a bit of a problem stopping me from doing this. That is just how close the second violin  gets in pitch to the flute.

Typically, there is less than an octave of space between the second violin and the flute in any given beat. That doesn't allow for many countermelody notes if I want to keep things relatively consonant. And of course I want to keep things relatively  consonant because of the beautiful melody in the flute. I also don't want to have the countermelody have so many short notes that it becomes the main melody. The flute is playing the main melody and I don't want  to underwhelm that(I already get close to that with some of the forte dynamics).

There are no slurs in what I have written, mainly because the phrasing of the bass line is super clear just from the notation and, I have no idea where a flutist would take a breath. I can only barely get the first and second octaves to sound right, still doing that C major octave scale exercise and the staccato exercise on my flute. And this is after more than a month of flute practice, so while I technically can play  melodies on the flute at this point, I am limited to legato melodies with short phrasing that aren't super elaborate.

What do you think of my arrangement of Chopin's Nocturne in Eb?

https://musescore.com/user/50070/scores/5895090