February 26, 200917 yr I've finally sat down and begun to organize my plan of attack on what will likely be a quartet (at least in intent!). I am overwhlemed at how much there is to do! I am writing in the classical/sonata form, using Haydn, Mozart and early Schubert as a guide, mainly. I've worked out a 16 bar 1st subject, and am now looking to write a second subject in the dominant and an Adagio intro (dominant, again) . At that point I will have to block in the basic chord struture. From there, I should be able to do a preliminary amount of 'writing'. I'll need a coda with a brief 3rd theme, or more like a motif at some point. The plan is to have a solid, if unabashedly imitative, exposition in a month or so! The structure is at once comforting (I know what has to be done), and oppressive (not having ever done it, and with so MUCH to do!). I definitely think this will be a great learning experience!
February 26, 200917 yr Well, if you post what you have in the incomplete works section, as well as further improvements and revisions, I'm sure you will find help and suggestions by the handful. Good luck! Vince
February 26, 200917 yr It's very nice to have a solid plan. But following the exact form precisely is not as important as making your music beautiful (by beautiful I don't only mean slow movements :P). A piece with a loose form that fills the listener with joy is better than a piece following the strict form and sucking. Just have fun and put your heart into it! :D Edgar
February 26, 200917 yr Author Thanks for the tip Ralph. As soon as I've set down something reasonably established I'll try and post (I'm using Musescore, and I'm new to that as well!). I just wrote down a second subject (In G, the dominant of c). While I was wrestling with it, I was anxious as heck and rearful it would be incoherent. But, like magic, the 16 bar second subject meshes with the first rather decently, and I can hear the I-V, V-I transition! Lesson one: rules work! Edgar-- I get your point. As I look back in time with Hayden, early Mozart, and forward to Schubert and Mendelssohn, I see each composer learning to loosen up and flex their muscle, leaving form for muscial ideas at every turn. Of course, they had first rate talent and education! For now, I will merrily hack along with the rules--and try to keep it musical. I'm geeked to conjure up an intro now...
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