String Quartet part "8"

Hey,

I just finished a new part of my string quartet. My first modal work (Messiaen called it Modus 3, i thought, the scale is Bes, C, Des, D, E, F, Fis, Gis, A) It looks a little like Bb-minor

The score is a mess, I invented a system for myself to analyse the new harmonies i wrote. III+34 means the third note (a Des) with 3 notes up the scale, a F, and again 4 notes up, a Bes. Which is commonly known als I-6 in traditional. But I dont know how this works in modal scales.

(old) MP3 on SoundClick

Feel free to feedback any critique, I'm currious, and kind of excited because this is an new phase in my development...

EDIT:

A revision/extention of this part, which I likely to become the 4th or 5th part of my string quartet.

MP3 on SoundClick

New features:

* small change in the B theme (ms 9) triole to be more distinctive from the A theme (which started with the same 2 quarter notes)

* ms 67-74: extention of the quotation out an other (non-posted) movement, based on the whole-tones scale (fits in modus 3)

* ms 74ff alteration in texture.

* ms 92-133: new notes, as a further development of the thematic material

op67_str4_deel8_rev.pdf

Hey, I found this very interesting to listen to, great use of dynamics and I'd love to hear a live version of this, it's very dramatic. I wish I had some critiques to offer you, but I'm not too familiar with string quartet writing... All I know is I like what you've written!

Jackson

I could have used some contrasts in your texture (the instruments don't all have to play all of the time, for example). Also, some variety in your harmonic language.

You say that you're using this mode, but I don't really feel like you understand the mode fully. I think some more exploration into the mode would benefit you a lot.

There were a lot of enjoyable moments in this, I think if you work on it a bit more you could really develop something good.

tnx for the feedback charles.

I know its not realy modal. I limited myself to a scale (in halves 211211211), but sometimes its more like Bb-minor and a kind of frigian Db.

When I use number in the score I tried to "transpose" a melody. example ms 19/20 violin 1 playes: 5752|5 578, the sequence is that follows is this theme +4.

This way I tried to do something to imitate a tonal transposition in a modal scale. But I dont know how standard it is...

How do I learn some modal techniques?

BTW, i dont think I will ever be able to think atonal :) I use this as a way to expand my tonal language

I tried to "transpose" a melody. example ms 19/20 violin 1 playes: 5752|5 578, the sequence is that follows is this theme +4. [...]BTW, i dont think I will ever be able to think atonal :) I use this as a way to expand my tonal language

You're already thinking like a serial composer!

But in response to your other questions, I'd say just spend a lot of time with your scale. Write out ALL of the possible chords, analyze it and its possiblilites. Really know your material, inside and out, before you use it.

I did make a table with possible chord. (see my chord analysis below cello)

But I picked only the tonal.

a I+23 equals a Bbminor (I plus 2(Db) plus 3(F)

a I+32 equals a Bbmajor (I think you get it :D)

BTW what is the 'standard' modal way to analyse the harmonies?

modus3.pdf

I'd say use these more! And expand it to include 4, 5, 6, etc. note chord. Keep going! Include non "tonal" chords -- not everything needs to be based entirely on tertian harmony.

It'll help more in enriching your harmonic language. I think you have a really great start and some good ideas. But I think you can go more. I see a lot of potential with this and with your thinking.

I like the inversion of the motif. The dynamics are well used, but almost too contrasting in measures nine and forty-four. The mp at measure thirty-six and seventy-nine seemed right to me, even with the pp following 79. For 9 and 44, perhaps decrescendo from a measure before for the violins, or mp; p just seemed too soft after ff for the violins. The pizzicato came through about perfect at that part, though, and I think pizz. goes quite well with the piece. Anyways, the presentation and development seems logical and to-the-point, at least to me; I like that. The use of rhythm and dynamics provides great contrast, especially when used together; it really adds to the building and releasing of urgency and suspense. After measure 44, you do a good job of releasing the constant tension, but I feel you could change it up by using the violins more "gently", and emphasizing on harmony and possibly do something more interesting with the cello pizz. Just and idea. =p You seem to have put a good deal of effort and thought into it. Good job. =)

@bretterfly

tnx for the nice words, and the time you put in analysis and writing :D

I dont get your remark on ms 44; how do i use the violins more "gently"? The second appearence of the B-theme (ms 44-50) is gentle, right?, and more harmonious? I think a varation in the pizz. would be too busy to release the tension. Or did I not get your point?

tnx again!

I thought this was good. You developed the main motif of a descending second really well and because of this I didn't lose interest in that motif. I also thought the other motif of two dotted crotchets followed by two crotchets was well done too. As a result of the time signature it played out like syncopation and was very effective. :)

I particularly enjoyed measures 24 to 35 as the accompaniment gave it a real momentum over striking melody lines in the other parts.

:thumbsup:

It looks good on the page in terms of interplay between the parts, but I agree that you could vary the texture a little more. I would like to see a bit more use of the very high range of the instruments as well. The second violin barely goes above the top of the stave. Just a suggestion or two - when you have a dotted crotchet across a beat, could you write it as a crotchet tied to a quaver? It's just a bit easier to count. Also, pizzicato and arco markings usually go above the stave.

@N.B.

Glad you liked it, I call the ms 24 and futher The D-theme (A=1-8; B=9-15; C=19-22; D=23-28) :D

@siwi

I curently working on a small revision. Place some pieces a little higher to change the overall experience. Well. I'm not certain what is meant by texture. I thought it was the sum of trills, scales of harps in a orchestra, tremolo's etc (a lot of debussian notes :D ). Not range, timbre, or techniques like pizzicato. A agree the range is a little standard, thats what I'm working on.

I've also made a change in ms 71, where I found the connection between The D and next A theme unconvincing. (ms 71, whole-tone motiv is a quotation of another part of my string quartet, which I have not shared with you yet, because its unfinished)

With "crotchet tied to a quaver" you meant passages like ms 28/9 in 1st violin; ms 34/5 in vla. and ms 67f in cello?

I know it's not so nice, but I wanted to make the hemiole (is that in dutch the same as in english?) clear: the 5 times the halve note.

I'll place pizz and arco above (didn't know it was the rule :); In the most of my orchestral scores it's below)

Updated! A revision

New Mp3 and score on the first post, as is a kind of changelog.

Please tell me if this is an improvement. I'm not entirely sure: I felt the structure of the previous version was more balanced... Let me know!