# Finished piano quartet - classical style



## Swosh (Feb 25, 2018)

Any thoughts??


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## Swosh (Feb 25, 2018)

Too many accidentals near the end... my bad haha


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## Phil loves classical (Feb 8, 2017)

Before Vasks hammers you down, I see some A#'s and E#'s which should be Bb and F natural. I also heard string players like to see #'s more than b's, but I think in traditional harmony you have to stick by the conventions. Tchaikovsky used 4 and 5 b's in his key signatures for his Symphony 4. 

For a conservative piece, the B7 chord in bar 108 is really out there all of a sudden (I think you mean Cdim7, exchange the B with C, after the Ddim7 from bar 107 before and going towards F7 in next bar).

Also bar 135 has kind of wonky harmony in the last chord, and the counterpoint in bar 138 is off. I don't see any problem writing in a period style, but it comes with a higher expectation that it has to be real perfect technically, or especially memorable or somewhat more challenging.


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## Vasks (Dec 9, 2013)

Phil loves classical said:


> Before Vasks hammers you down, I see some A#'s and E#'s which should be Bb and F natural. I also heard string players like to see #'s more than b's, but I think in traditional harmony you have to stick by the conventions. Tchaikovsky used 4 and 5 b's in his key signatures for his Symphony 4.


LOL! I'm not going to "hammer". In fact I'm not looking at this one. If Swosh is weak in understanding basic tonal theory all the pointing out of wrong "accidentals" won't help.

Now while it's true that strings do better with sharps than flats, good players can handle either. But mixing accidentals that do not reflect the proper structure of chords and harmonic progressions is something that they will rebel against.


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