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Here's a string quartet in F major. Sorta like a ABA format with a slow section in the middle. Honest comments would be greatly appreciated. Also, please follow me if you'd like more Neoclassical or Neoromantic music. This version was created using Finale. However, a string quartet will be playing this (hopefully) during winter break so I'll reupload once they're ready.

Drone music comes from the 50's. Lamonte young wrote good examples: The Second Dream of the High-Tension Line Stepdown Transformer, one of them.

@Maarten Bauer You have inspired me! I love your melodramas and I would like to write one. Tell me, do the singers sing the lines of the poem or different words?

Ambitious indeed to rescore a scene with an iconic soundtrack but I thought you did a great job. I completely agree with LostSamurai's comment about needing some change in the music when the stormtroopers board. The music was great in building up the opening scene but doesn't quite work as well when looped into the action part of the scene. Also a bit of a let down that the music drops out when Vader enters.

Johnbucket is totally right. Scholars in modern Sonata theory are not the type of people populating a site like this. However, I am also not that convinced it would be useful for “Young Composers”. Sonata theory tries to analyze music and distill certain general properties for certain types of music. They do not try to follow the way a piece was composed or what the composer was thinking when he chose certain paths for the music in a sonata. There are scholars that try to do that, and some of them lived in the hey-day of classical sonata. One of them was Heinrich Christoph Koch, a German musician and author, who compiled a very popular music lexicon and also a multi-part treatise on composition. What he writes is corroborated by other musicians and writers of his time. Now, what he wrote wasn’t on the cutting edge of musical change, but as he published his treatise in the years 1782-1793, is very useful for understanding the compositional strategies of many composers in the second half of the 18th century. Some friendly soul at the publisher Cengage has chosen an excerpt from Koch as sample pages for a publication, so here is a small part translated into English: https://www.cengage.com/music/book_content/049557273X_wrightSimms/assets/ITOW/7273X_44_ ITOW_Koch.pdf

This is very cool. Great atmosphere. I agree with Saigen that some parts need ostinato, to ground it. But otherwise this is a great job.

You consistently sing a little flat... not a composition thing, but keep that in mind for later. I also think those vocal tracks can be louder... couldn't understand more than a few lines. Going from vii to v is a little awkward, but definitely wasn't a huge problem for me. 2:34 - B˚7 was a cool chord, but coming out of it was a little awkward. The A minor at 3:18 was great too, but going to the artificial tonic (III in a) after it was awkward again? The instrumental section was nice. Some of the solo notes threw me off like the F# chromatic line against Am but it was a nice contrast while keeping the same vibe.