Red Mountains and Golden Silk

Written for the TCN composer clash 56 titled "night market"sadly, due to the requirement of having the maximum amount oftime being four minutes and on top of that, having the piece ofmusic being worked on only for a week, this could've not beenentered in the competition. 
Red Mountains in Golden silk explores the western mountain sideof China home to the Uyghur people. The piece explores interesting microtonal inflections in the first part which return at the end ,standard tuning is used when things get fast to preservesimplicity, and to keep everybody's sanity 

Notes about technique: since this piece does use microtones it should be expected. That estimation can be used instead of a specific fingering. This would work better on bases and cellos, and not violins due to the spacing on the fingerboard.

Some of the strumming techniques are used to imitate regional instruments, such those as the dutar I think it's a fairly good idea to learn or to find out the traditional technique while still keeping the actual posture of your normal playing method for the most efficiency

There is also some instrument percussion all instruments other than the violin will have. This cello is in bases should be kept where they are. Viola could be put on the lap and played like a drum using both hands. Dead stroking is where you do not rebound and you kind of choke the instrument.  It is pretty obvious of what a fingerboard slap is as well where you slap the lower part of the fingerboard.

Also, while we are at it, there is also some Pizzicato tremolo in the first violin this should just be repeated unmeasured out of time, plucking as fast as you can.

This was a very interesting listen. My brain goes to Bartok because of the folk aspect and rhythms. 

Also, I keep thinking: just wait until this guy gets into the changing time signatures every so often and then we'll have a feast!

It is always strange to listen to microtonal music as it sounds out of tune rather than a coherent musical language. And it is used within the traditional d minor with more or less classical melodic and polyphonic technique which is certainly unique. To some extent it reminds me of the third string quartet by Aulis Sallinen.