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Here is my first in depth composition for string quartet (two violins, viola, and cello). I have some background in theory but only recently have been getting into actual composition. I'd love to hear feedback from some of you, as I want to get better and better at this. Thanks!

A 4.mid

Because of the recent fugue submissions I thought I would pull this one out of the closet and dust it off. It needed a good bit of revising, so I'm a bit late in posting since I haven't had much free time in recent weeks. I'm sure it needs more than just a bit of revising, so I hope you are not too harsh as I don't come from a classical background (more of an R&B, blues & jazz background) but am here to learn so I do welcome any comments you can give. I used Sibelius 7 and there are moments when the ensemble is not as tight as one would've hoped from such an expensive program, but it is what it is. Thanks in advance.

Early in 2014, the father of a childhood friend of mine messaged me unexpectedly on Facebook, asking me to email him, as he had something very particular he wanted to discuss, and it wouldn't do to text it. When he emailed me back, I was pleasantly surprised and honoured that he was commissioning me to compose a piece of music in honour of his late wife, who had died the previous summer. This gentleman had long been a patron of the arts, and this was not the first time he had commissioned music from me. But this project was different, in that he had something very particular and rather unusual in mind. His instructions were for a setting of the only Latin words "Requiescat in pace" - "may [she] rest in peace," the ubiquitous words used as an epitaph on tombstones - for tenor voice accompanied by string quartet; he further stipulated that the setting should first express profoundest grief and loss, then emerge into music imbued with peace and hope. Sobered by the commission but undaunted, on February 4, I began writing. I envisioned first a long, slow introduction in C minor for the strings alone - like a mournful recitative, weighed down oppressively with crushing grief - from which would emerge a poignant, comforting setting of the epitaph in E-flat, full of sweetness, tenderness, and peace. Over the next five days, I barely slept or ate, seeming to exist only to fulfill this commission, until on Feburary 9, the work was complete - one day before the first anniversary of my own mother's death. In this piece, I memorialize not only my patron's wife, but also my mother, and all the beloved departed who have moved on to the next reality. Although it was not recorded, this work was premiered at a private memorial during the summer of 2014. My patron had paid my stipend well in advance of that, but shortly thereafter I received another envelope from him in the mail. Inside it was another check, effectively doubling my stipend, with a note explaining that the premiere had far exceeded his every expectation. If you are at all sentimentally inclined, this is not the sort of piece that will likely leave you with dry eyes, so I suggest a handkerchief. Sound file link here, score attached.

Testing out the new system with a re-upload of a string quartet I originally posted about three years ago. Let's see how multiple movements/files work. Edit: Hmm, it ordered the attachments in a strange way, neither in the order in which I uploaded them nor alphabetically. Let me see if I can rearrange them. Edit 2: OK, had to order them manually.

For those of you who would like to join a fun Summer project other than the bi-monthly competition and the soliloquy marathon (non excluding them, in case you want super extra fun), I launch the YC Baroque Fandango Workshop. OBJECTIVE: To create the ultimate fandango for string quartet by joining together bits composed by whoever wants to contribute. GENERAL STRUCTURE OF A BAROQUE FANDANGO: It is quite straightforward. It is basically continous variations upon a I - V harmonic ostinato. The ostinato is broken now and again by episodes built around some other harmonic chord progression. BASIC HARMONIC PATTERNS: - Main fandango pattern: alternating i - V as you want. To fix ideas, if the key is D min, it would be Dmin - Amaj over and over and over. - Secondary pattern: Alternating iV - V (Gmin - Amaj). This is not to be repeated over and over; it is used to break up the main pattern for say, some bars. - Episodes: You can use different progressions. The episodes are not repeated over and over, just to break up fandango pattern for, say, up to 16 bars. Progressions you can use: - Romanesca: III - VII - i - V (Fmaj, Cmaj, Dmin, Amaj) - Folia: i - V - i - VII - III - VII - i - V (Dmin, Amaj, Dmin, Cmaj, Fmaj, Cmaj, Dmin, Amaj) - Descending fourth: i - VII - VI - V - Cycle of fifhts: Starting either on i or in V. - Pachelbel canon - Any other progression you fancy. Just don't stray away from standard baroque harmony, and don't make them modulating (the episodes can have an inner modulation, but they must finish in either D min, A maj or any other chord that would allow linking with the main ostinato). RULES: - INSTRUMENTS: String quartet. I have considered piano and violin (it would allow to write duet, or just for piano solo - or for violin solo if you are into soliloquys...) Let me know if you'd rather write for piano and violin. - KEY: Dmin, no modulations (you might modulate in episodes, but remember to go back home) - TIME SIGNATURE AND TEMPO: 3/4 allegro (quarter note at about 120 bpm). 3/4 6/8 alternation is possible and idiomatic for the dance. - STYLE: Stick to plain baroque harmony to guarantee a modicum of unity. This is not about coming up with fancy progressions or modernist harmonic systems; it is about rhythmic, melodic and texture invention within standard tonal harmony. Of course, the core harmonies can be spiced up with chromaticism, chord substitutions of interpolations, extended triads, suspensions and the like, just do not go wild with those. - CADENCES: There are none, the music flows continuously. Just end your bit in either D min or A maj (or any other chord that can link to those), but without pausing the rhythmic activity. MINIMUM AMOUNT OF MUSIC TO SUBMIT: There is no minimum, it is up to you to submit just four bars or four pages. Work only with the main i - V, on an episode, whatever takes your fancy. You can submit separate bits composed in different days, as many as you like. DEADLINE AND EDITION: I will be doing the edition, joining the different contributions. I'm available until September the first, so let's schedule the deadline around mid-august. The 20th would be fine, it will give me plenty of time. FORMAT: I use Sibelius 6. If you use Finale, attach the Finale file but convert it to Sibelius 6, if it is possible. Write your name (or screen name) on your entries. INSPIRATION: Antonio Soler: Antonio Soler: Fandango for Harpsichord - YouTube Domenico Scarlatti: Domenico Scarlatti, Fandango. - YouTube Luigi Boccherini: Rameau: (This one strays away from the model, since it is a binary baroque dance and the episode/fandango role is kind of reversed) Mozart: That is about everything I can think of. Let's fandango!

hi guys i want to compose my first string quartet to this date i only compose for piano which is my own instrument i need some advice or anything that could help thanks