# my first string quartet



## Tomposer

Hey ho, I haven't been around for a while but I thought I'd drop this by. I finished this movement but I never ended up completing the others. I'm hoping a string quartet somewhere asks me to - I will write them if someone is interested in playing them 

Anyway cheers!


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## MJTTOMB

Incredibly well-written. I don't think it needs any more movements, it feels very complete as it is. Consider entering this into quartet competitions (there are many). It would be a very good way to find a group that is enthusiastic about new music, and most competitions end with commissions of new works.


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## chee_zee

yea if you do more movements I'd make this the last movement. Perhaps have 2 movements that lead up to this, doing cameos of some motifs or some nice sounding counterpoints worked out to them even if the motifs don't physically appear yet. nice sense of form with tension and relief, pretty good stuff man.


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## Tomposer

Hey thanks guys. Hmm... single movement hey? I guess it could be (has been quite some time since I wrote it anyway). 

By the way, how do you reply to threads? I could only find the "reply with quote" button  .


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## Klavierspieler

Tomposer said:


> Hey thanks guys. Hmm... single movement hey? I guess it could be (has been quite some time since I wrote it anyway).
> 
> By the way, how do you reply to threads? I could only find the "reply with quote" button  .


A little to the left.


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## chee_zee

what's more is you can't edit threads on this site, so if you do end up writing more movements, you'll have to start a new thread to get them on the OP or necromance this one.


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## Tomposer

chee_zee said:


> what's more is you can't edit threads on this site, so if you do end up writing more movements, you'll have to start a new thread to get them on the OP or necromance this one.


He he he... you're quite right. Just another reason why I shouldn't do the other movements - too much trouble to start a new thread or ask for a thread merge 

Still, for some reason the "reply" button is not displaying in my browser. Weird...


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## PetrB

I've already written to you, but did not say then this is fine string writing, idiomatic and getting a lot out of your instruments - you know them well.

I repeat This Is Not A Single Movement, somewhat A B A as it generally is, from about 3' to 5' is some kind of 'developmental' section. That gives an impression other movements are to follow. As a last movement, development there would surely put the brakes on whatever forward momentum has been created in a multiple movement piece. Semiotic expectations are also very much against.

This is incredibly 'dance-like' almost a pop music premise, without at all being a pastiche. Lively, fresh, very entertaining. What that could lead to, other than a 'formal' second slow movement, fast third, is a series of dance-like pieces, certainly acceptible since the baroque, and less limited as to 'tied in thought' from one movement to the next. John Adams' "Johns Book of Alleged Dances" comes to mind. [As one of a suite of dances, it has a better chance of succeeding as a final movement, though I still argue when you get down to any kind of 'development,' that is no longer what sits well as the final words.]

I would not let it stand alone. If one of a suite, you've got a very strong opening play, and like the Adams' collection of pieces, there is nothing 'academically criminal' in presenting just one of those movements if an ensemble wished to program it. The whole suite has a chance of being programmed, and any one movement may get programmed - something very desirable, of course, for a young composer.

I'd sit down and start writing some more, now, if this were mine and had come out as well as it has. Congratulations: but do add to this: one format, a middle and last, perhaps three more - one way to go // or a collection of dance-like movements, a suite - another way to go.


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## Tomposer

hey, my reply button is working!!

Thank you PetrB for your advice - I've read what you've written here very carefully and you have certainly made me think strongly about continuing the work as a suite - you've made a good argument for this case  Thank you for your encouragement - you have made a lot of sense.


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## chee_zee

aw man how did I forget the adams suite, I have score on my hard drive! that's a very good piece, do check it out if you haven't Tom, could serve as good inspiration if not direct influence.


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## Tomposer

chee_zee said:


> aw man how did I forget the adams suite, I have score on my hard drive! that's a very good piece, do check it out if you haven't Tom, could serve as good inspiration if not direct influence.


Ah yes, I know the piece through recordings though I've never looked at the score. I really enjoy the music of J.A., actually I've done some analyses of some of his music, some years ago now. I like to think my influence is wider than just J.A. but I have to admit the impression he's made on me is a relatively strong one.

Thank you everyone for the positive comments - it's really prompted me to consider writing a suite, for the very reasons that PetrB has been insightful about. I really need to make more of an effort to return here, you guys seem like a nice community (especially for an on-line forum).


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## ComposerOfAvantGarde

chee_zee said:


> aw man how did I forget the adams suite, I have score on my hard drive! that's a very good piece, do check it out if you haven't Tom, could serve as good inspiration if not direct influence.


I like Toot Nipple.


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## ComposerOfAvantGarde

Tomposer said:


> Hey ho, I haven't been around for a while but I thought I'd drop this by. I finished this movement but I never ended up completing the others. I'm hoping a string quartet somewhere asks me to - I will write them if someone is interested in playing them
> 
> Anyway cheers!


I like this piece of music.


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## Tomposer

Thank you C-O-A-G.

PetrB, please note that I've responded to your message, however I'm having trouble establishing that my response has indeed been sent.


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## MJTTOMB

I'm not sure if you're familiar at all with Hauschka/Volker Bertelmann (you mentioned that Bjork influences you, and Hauschka is on the same label as her). Your writing does remind me a lot of his style, settling neatly in between the worlds of art music and pop music without feeling cheap or contrived as so much pop music does.


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## Tomposer

MJTTOMB said:


> I'm not sure if you're familiar at all with Hauschka/Volker Bertelmann (you mentioned that Bjork influences you, and Hauschka is on the same label as her). Your writing does remind me a lot of his style, settling neatly in between the worlds of art music and pop music without feeling cheap or contrived as so much pop music does.


Yes, I have! But haven't paid as much attention, perhaps I should. Yes, regarding art/pop, one of my defining moments was when I decided to put aside cares about my enjoyment, influence, and participation in non-art music. It has meant that I'm no longer really "here or there" which I think is a) confusing for me, and b) sometimes confusing for an audience and so not always a productive thing, yet something of a necessity for me. It's not a matter for me of "borrowing" stuff from here or there but instead acknowledging my own immersion in it. Who knows if this is a good or bad thing?? Only time will tell!


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## chee_zee

That's the way I've started thinking as well, rather than being a classical snob or anything, I'm open to all kinds of music and treat whatever I write with equal fervour and eagerness. That does seem to be the way of the 21st century, besides the folk caught up in doing nothing but ultra noisy electroacoustic experimental stuff...which is good music, but is not the only form of music.


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## Jeremy Marchant

PetrB said:


> I've already written to you, but did not say then this is fine string writing, idiomatic and getting a lot out of your instruments - you know them well.
> 
> I repeat This Is Not A Single Movement, somewhat A B A as it generally is, from about 3' to 5' is some kind of 'developmental' section. That gives an impression other movements are to follow. As a last movement, development there would surely put the brakes on whatever forward momentum has been created in a multiple movement piece. Semiotic expectations are also very much against.
> 
> This is incredibly 'dance-like' almost a pop music premise, without at all being a pastiche. Lively, fresh, very entertaining. What that could lead to, other than a 'formal' second slow movement, fast third, is a series of dance-like pieces, certainly acceptible since the baroque, and less limited as to 'tied in thought' from one movement to the next. John Adams' "Johns Book of Alleged Dances" comes to mind. [As one of a suite of dances, it has a better chance of succeeding as a final movement, though I still argue when you get down to any kind of 'development,' that is no longer what sits well as the final words.]
> 
> I would not let it stand alone. If one of a suite, you've got a very strong opening play, and like the Adams' collection of pieces, there is nothing 'academically criminal' in presenting just one of those movements if an ensemble wished to program it. The whole suite has a chance of being programmed, and any one movement may get programmed - something very desirable, of course, for a young composer.
> 
> I'd sit down and start writing some more, now, if this were mine and had come out as well as it has. Congratulations: but do add to this: one format, a middle and last, perhaps three more - one way to go // or a collection of dance-like movements, a suite - another way to go.


Excellent music. I do agree with PetrB - it needs to be worked out into multi movement piece. I am less convinced this movement has to be the first - it would certainly make a fine finale if you can come up with something weightier as a first movement.


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## Romantic Geek

What a wonderful work! You have plenty of stuff here to make at least a 3-movement piece out of it. I definitely wouldn't put this first, but at the same time, I think the end might need to be tweaked a little if it's going to be a last movement. Just doesn't have the chutzpah of a final movement IMO. 

Love that B section. There is literally so much you can do with that material, especially in a really slow and lyrical movement. It would fit so nicely.

Keep working at it. You've got everything there in that piece that you need to flesh this out.


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## Couchie

Sounds like a Olympic fanfare from an opening ceremony hosted in Ireland that's gone very, very wrong.


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## chee_zee

better than hans zimmer.


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## Tomposer

Couchie said:


> Sounds like a Olympic fanfare from an opening ceremony hosted in Ireland that's gone very, very wrong.


I'm afraid we have to set aside the intractable problem that any opening ceremony hosted in Ireland is bound to go wrong.

But thank you for your compliment, capturing the energy of a fanfare with a string quartet is no easy task.


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## StevenOBrien

Tomposer said:


> I'm afraid we have to set aside the intractable problem that any opening ceremony hosted in Ireland is bound to go wrong.


...........


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## Tomposer

StevenOBrien said:


> ...........


Oh no!  Don't worry I'm part Irish.


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## Turangalîla

I am amazed that Talk Classical is home to such fine composers! This was a wonderful work, and if I had heard it under the name of a famous, modern, 21st century composer, I would not have been disappointed. I do not think that it should stand alone-I would put it, as mentioned before, with some other movements or in a suite. This is tricky: because you have only written one movement, it has characteristics of both a first and third movement. If I had to pick, I would make it the first. I would _actually_ make the whole thing a four-movement quartet, with the second movement being an impish, playful, scherzo-like movement in triple meter and a moderate tempo. I would make the third very slow; any _gorgeous_ harmonies or part-writing you have up your sleeve would be welcome here. For the last, I would almost copy the final movement of the Brahms Quintet: starting slowly out of the mist, then gradually growing and becoming more apparent, then ending with a full-blown presto-we want some absolutely _glorious_ measures leading up to the last chord. This is why I would not make you piece the last movement; while I enjoyed the whole thing, the ending to me was not at all a highlight. I liked the ending, but it was not the character of a third movement.


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## Tomposer

CarterJohnsonPiano said:


> I am amazed that Talk Classical is home to such fine composers! This was a wonderful work, and if I had heard it under the name of a famous, modern, 21st century composer, I would not have been disappointed. I do not think that it should stand alone-I would put it, as mentioned before, with some other movements or in a suite. This is tricky: because you have only written one movement, it has characteristics of both a first and third movement. If I had to pick, I would make it the first. I would _actually_ make the whole thing a four-movement quartet, with the second movement being an impish, playful, scherzo-like movement in triple meter and a moderate tempo. I would make the third very slow; any _gorgeous_ harmonies or part-writing you have up your sleeve would be welcome here. For the last, I would almost copy the final movement of the Brahms Quintet: starting slowly out of the mist, then gradually growing and becoming more apparent, then ending with a full-blown presto-we want some absolutely _glorious_ measures leading up to the last chord. This is why I would not make you piece the last movement; while I enjoyed the whole thing, the ending to me was not at all a highlight. I liked the ending, but it was not the character of a third movement.


I really appreciate all the positive comments. I'm sure you'll all empathise with how nice it is to get supportive feedback, being a composer demands a lot of self-determination even as your self-esteem waxes and wanes  I have had more than one person here encourage me to finish the music and so I think I'd better give it a shot. I'll report on my progress. Thanks all!


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## Tomposer

> This is why I would not make you piece the last movement; while I enjoyed the whole thing, the ending to me was not at all a highlight. I liked the ending, but it was not the character of a third movement.


Yes, I agree, and I was even conscious of that when I was writing it... even though it's a pretty hectic ending I wanted to hold a little in reserve. It could have a more definite end movement.


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## Sid James

I enjoyed it. I like works like this, that have a kind of contemporary counterpoint. I am currently listening to string quartets by Nigel Westlake and Carl Vine. Your work has that kind of bright sound which I associate with our country. The Australian String Quartet is one of our finest ensembles. I think your work was brilliant in their hands. Well done and I look forward to the completed work.


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## Tomposer

Sid James said:


> I enjoyed it. I like works like this, that have a kind of contemporary counterpoint. I am currently listening to string quartets by Nigel Westlake and Carl Vine. Your work has that kind of bright sound which I associate with our country. The Australian String Quartet is one of our finest ensembles. I think your work was brilliant in their hands. Well done and I look forward to the completed work.


Thank you very much Sid. You know I actually workshopped this piece with Carl Vine - his quartets are AMAZING and the ASQ (at that time) did an incredible job of them - got a private rendition actually!!!!


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