Is this good violin writing?

If I have any way of improving this please tell me. And if you have any advice I would love to hear. 

Well, I'm no Paganini so there's Little I can say. 

What tempo is it to be played at - and if your slurs are phrasing or bowing slurs - like the last beat of bar 1, semiquavers 1 and 2 need the down and up bow marks changing if the slur is grouping the notes under one bow-stroke. Or the up bow sign needs removing altogether.

I'd have marked the bowing with the down bow on the first beat, up bow on the second beat, down bow on the third beat down to the g of the fourth beat and the rest on an up stroke so the player is ready for another up on the chord in bar 2.

Bar 2, I'd leave the player to choose how to play the staccatos - they'd probably do it up bow but might alternate strokes. The last beat on an up stroke...I suspect that's how it would be played if you left out the bow marks........and things.

(Edit] Views will differ about this but unless I want a particular effect, in a piece like this I'd leave the bowing to the player, just indicating what's staccato, accented, spiccato, martelé, if necessary. But it does depend if you want an effect that wouldn't otherwise be natural to the player. 

....

I'll echo what @Quinn said: I don't think you need to indicate every last up and down bow, unless that is the specific bowing you want. The players are perfectly capable of figuring out what bowings are the most musical for them.

I think the ricochet can be notated with a slur over staccato notes, as in this link here.

1 hour ago, Quinn said:

Well, I'm no Paganini so there's Little I can say. 

What tempo is it to be played at - and if your slurs are phrasing or bowing slurs - like the last beat of bar 1, semiquavers 1 and 2 need the down and up bow marks changing if the slur is grouping the notes under one bow-stroke. Or the up bow sign needs removing altogether.

I'd have marked the bowing with the down bow on the first beat, up bow on the second beat, down bow on the third beat down to the g of the fourth beat and the rest on an up stroke so the player is ready for another up on the chord in bar 2.

Bar 2, I'd leave the player to choose how to play the staccatos - they'd probably do it up bow but might alternate strokes. The last beat on an up stroke...I suspect that's how it would be played if you left out the bow marks........and things.

(Edit] Views will differ about this but unless I want a particular effect, in a piece like this I'd leave the bowing to the player, just indicating what's staccato, accented, spiccato, martelé, if necessary. But it does depend if you want an effect that wouldn't otherwise be natural to the player. 

 

....

 

Okay, thank you so much for the information. I still have a lot to learn haha.

49 minutes ago, gmm said:

I'll echo what @Quinn said: I don't think you need to indicate every last up and down bow, unless that is the specific bowing you want. The players are perfectly capable of figuring out what bowings are the most musical for them.

I think the ricochet can be notated with a slur over staccato notes, as in this link here.

 

I needed to indicate the exact bowing because it was an orchestration exercise. 

And thank you for the link. 🙂

17 hours ago, Ivan1791 said:

I needed to indicate the exact bowing because it was an orchestration exercise. 

 

And thank you for the link. 🙂

 

Understandable then. Strings are still considered the foundation of the orchestra partly because of their near-homogeneity of timbre and overall compass. String technique is probably the most complicated of any orchestral section to understand [edit] for a non-player.

Although probably an inadequate measure, looking at my samples supplier, strings come to 506Gb, Winds (Brass & WW) 337Gb, Percussion, 72Gb. And the strings only cover basic articulations and timbres, not more exotic stuff like sul pont glissandi or muted glissandi. They could easily double the size of the string library and miss things out!

51 minutes ago, Quinn said:

Understandable then. Strings are still considered the foundation of the orchestra partly because of their near-homogeneity of timbre and overall compass. String technique is probably the most complicated of any orchestral section to understand [edit] for a non-player.

Although probably an inadequate measure, looking at my sample library, strings occupy 506Gb, Winds (Brass & WW) 337Gb, Percussion, 72Gb. And the strings only cover basic articulations and timbres, not more exotic stuff like sul pont glissandi or muted glissandi.

 

Wow, that's insane.