# Classical Era Quartet



## SeptimalTritone (Jul 7, 2014)

Hi everyone!

I'm looking for some tips on my composition here https://musescore.com/user/4084206/scores/1431591

If I would critique my work, I would say that it's still a bit square and doesn't make best use of all the instruments as independent voices...

Also, if at certain points the harmony seems off or not the best choice of chords, please let me know! A little direction goes a long way.

Thanks,
-Septimal.


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## Vasks (Dec 9, 2013)

SeptimalTritone said:


> If I would critique my work, I would say that it's still a bit square and doesn't make best use of all the instruments as independent voices...
> 
> Also, if at certain points the harmony seems off or not the best choice of chords, please let me know! A little direction goes a long way.


Captain Obvious here: If you believe these are the piece's weaknesses then why post the composition until you've corrected those concerns?


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## Stirling (Nov 18, 2015)

Unless he what some to obsessively do this for him - its always worth a shot


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## SeptimalTritone (Jul 7, 2014)

Vasks said:


> Captain Obvious here: If you believe these are the piece's weaknesses then why post the composition until you've corrected those concerns?


Well, I think that my latest effort is actually better in these categories than what I've written before. These are just things that have been told to me before in the past, but I made an effort in this latest piece to do a better job. I _think_ all the chords are correct and that there are no errors, and I _think_ that there's a reasonable amount of instrumental dialogue and voice independence in this piece and that it's not too square (well, for classical era anyway). I've chiseled at this piece for some time to get these things to work. What I'm asking is whether what I've done is enough.

I actually, legitimately, have no idea what the real main weaknesses of my work are. I've mainly focused on getting the harmony absolutely correct and having reasonable amounts of instrumental dialogue, and I think I did well. But maybe I didn't!


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## Richannes Wrahms (Jan 6, 2014)

Taking a quick look, maybe too much reliance on sequencing? though quartets from that era tend to have that. Maybe you could modify the rhythm of the melodic lines a bit to give it more thrust. 

Good thing the theme sounds nice in I, R and IR, you can probably crank up a Bach style fugue out of it.


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## EternalStudent (Aug 6, 2015)

hey there ( I do not know how to call you ),

Good effort so far ! I believe I do know your weakness as well!

First off, I like some of your ideas for this quartet; some parts contain a good flow, your movement around the Bass V is nice as well and the interchangement of voices is well done. My main concern is that I miss a coherent melodic or contrapunctal structure that gives a composition sense. The beginning is not very strong which is not helped by the similar voice movement that I heared far to often in this piece.



> the harmony absolutely correct


The root of the problem is that I feel that you need to study more counterpoint rather than harmony. Once you study the individual voices the chords will come themselfs. There is no "correct' chord. Not even the V-I is a must (entirely different discussion but I think you get my point).


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## SeptimalTritone (Jul 7, 2014)

Richannes Wrahms said:


> Taking a quick look, maybe too much reliance on sequencing? though quartets from that era tend to have that. (1) Maybe you could modify the rhythm of the melodic lines a bit to give it more thrust.
> 
> (2) Good thing the theme sounds nice in I, R and IR, you can probably crank up a Bach style fugue out of it.


(1) Good point. I'll make more variety in melodic rhythm a stronger focus point in the future. Now that I quickly think of it, it could have more melodic rhythmic variety.

(2) I hadn't even thought about this sort of thing, but you're right: this would be an excellent possibility. Some playoff or canon using the inverted or retrograded motif could definitely be done.


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## Vasks (Dec 9, 2013)

SeptimalTritone said:


> I _think_ all the chords are correct and that there are no errors, and I _think_ that there's a reasonable amount of instrumental dialogue and voice independence in this piece and that it's not too square (well, for classical era anyway).


If you were trying to truly write strictly like an 18th Century composer would have, then you failed as the phrasing and harmonic and tonal movements are far more advanced. If on the other hand, you were using standard melodic and rhythmic patterns of the later 18th Century, but intended for all other elements previously mentioned to be freer, in the hopes that what you wrote was a piece that is entertaining through its harmonic, tonal and phrasing surprises then you succeeded. IOW, I like much of what you did. The surprises were enjoyable. And although I can't listen to it as a "serious" piece by a 21st century composer, I can like it for its personalized view of a Classical styled quartet.

And as for not knowing weaknesses, it's understandable that young/inexperienced composers might not. That's what God created teachers for and yet even with a teacher, the student still has to evaluate the teacher's opinions as to being valid or good. So what I was implying in the earlier post is that in the end we must be ultimately responsible for ascertaining our weaknesses. I personally go over & over a creation of mine, listening and studying for any place where I am not 100% sure it's the best it can be.


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## SeptimalTritone (Jul 7, 2014)

EternalStudent said:


> My main concern is that I miss a coherent melodic or contrapunctal structure that gives a composition sense. The beginning is not very strong which is not helped by the similar voice movement that I heared far to often in this piece.
> 
> The root of the problem is that I feel that you need to study more counterpoint rather than harmony. Once you study the individual voices the chords will come themselfs. There is no "correct' chord. Not even the V-I is a must (entirely different discussion but I think you get my point).


Hmm... I had gone through the Fux book in the past, but it wasn't really that helpful as it only had very simple examples.

I will look at some Bach scores and supplement it with a book on Bach's counterpoint. It seems that the "similar/parallel motion" is potentially overused in what I wrote, i.e. parallel thirds and sixths.


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## Truckload (Feb 15, 2012)

Lots of good things in this work. Your hard work and sensitivity to the classical style is evident. Adding dynamics and phrasing will give your piece an entirely new dimension, which will greatly improve the aesthetic impression.

If you really want some feedback and suggestions, I offer the following thoughts. I assume you are attempting to obey the "rules" of the high-classical era, in which case you do need to rethink some of your harmonies. You should be able to do a roman numeral analysis of your own composition and focus especially on the harmonic motion and modulations. Chromatically altered harmonies should usually be a secondary dominant, with an occasional Neapolitan or Augmented 6 near a cadence point. Be sure to tonicize each modulation with the exception of very brief temporary modulations. You almost always follow these "rules". The times when you get away from these common practices is when your ear is telling you something is amiss.

One of the most important elements of the high-classical style is form. Your piece demonstrates a sensibility for form, but a more rigorous adherence to typical forms of the era would probably help you make compositional decisions that please you. I highly recommend this book.









I hope you continue to write in the high-classical style if it pleases you. I enjoyed your work.


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## jurianbai (Nov 23, 2008)

I just listen to it and think it is already good. Although if it is played with real string quartet it will show many more potential. I like it you considered it as "classical era" string quartet. From bar 40 (or near there..) where the cello and viola in duet, it is the first phrase I like. Also in bar 97 where you change the "scale", good melody.


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