Piano Quartet

This is the finished thread for my Piano Quartet (while working on it, I posted a thread in the Incomplete Works section.)

Movement 1: Adagio molto moto - Allegro ma non troppo: This movement's structure is sonata allegro. I incorporate heavily here fugal concepts based on my motives.

Movement 2: Larghetto - The overall structure is ABABCA. I did utilize a 'loose' tonal structure for this - largely chromatic in nature. The opening theme in the Cello does become the basis for a quasi fugue. Unlike the largely fugal first movement, however, I wanted this one to be less contrapuntal in nature - and as can be seen in the score, the fugal texture breaks down to a largely homophonic texture. The B section is based on a tone row - present first in the offset piano.

Movement 3: Rondo: Presto - The structure of this movement is a full verbatim Rondo (ABACABA). Pretty straight forward really. Note: the audio cuts off the ending!!!! (I'm trying to fix this!)

Things I tried to go for:

I wanted to approach the form differently than many have in the past. As one of my current teachers put it, the form is generally meant to showcase the piano. I didn't want this, I wanted all 4 instruments to be at the center of the work - each providing a different voice throughout. I plan to beef up some of the piano passages in the first and second movement, however - to make them stronger. I most likely will not change any of the main material in all three movements. Articulations, dynamics, etc. will be adjusted within the next few weeks - but pretty much what I have here is close to how I want it.

One other thing: Some of you who have listened to a few of my chamber works will probably notice a similarity in sound between this and my Piano Trios. I was actually surprised when I reviewed them after noticing the similarity myself. I can assure you that none of the material in here is from either of those three works!

Since the uploader for some reason isn't letting me upload scores, I have posted the scores in a shared folder in Box.net: http://www.box.net/shared/mlggt1j7gu

Let me know what you guys think! Suggestions always welcome!

Piano Quartet

interesting...

As I'm sure you know, this method of composition isn't really my expertise at all, but I'll give you my thoughts.

The first movement, I like the kind of hectic, craziness about it. Some of the phrases in the piano seem kind of... goading, playful, mischievous, is how they come across to me.

second one, was probably my favorite thus far, but alas I must leave and will write my thoughts upon return.

Ok, again just listened to movement one. I like the choice of the pseudo-chromatic run at measures like 27-31, it gives a sort of refined, yet dark, feel, in a way. I agree with MusicFiend about the playful aspect of the piece too -- like I mentioned in the shout box, the grace notes sound playful, like the sound effect of Goombas being stomped on in SMB (or maybe it's closer to the sound effect when you grab a coin!) :lol: Also, the idea of the cute-like thirds in measures 222-228 was nice -- it reminded me of the ending to Rach's Etude Tableux, "Little Red Riding Hood." Kind of a similar idea there, although this piece seems more about insanity than horror.

Going on to the 2nd Movement:

Whoa -- my immediate impression upon listening was that this "person" was sorry for the way he acted before, but he can't help himself :blink: It's like the piece is striving for "normal" tonality, but it's having a devil of a time reaching it.

(I assume the repeat was to keep proper form?)

I love the reference to the first movement at measure 63 and a few others after. In this context, they sound so mournful instead of playful -- again, it sounds like regret. That's just my impression though, I suppose.

But after the struggle, it does seem to reach it's goal -- it settles on a G Minor after getting to D Major, finally! :D

Third Movement:

This is an interesting end to the piece -- there are references to the first one again (I mainly hear the chromatic-running line for that connection). It's sort of like the resolving on a G Minor instead of a G Major (like it nearly did before hitting the D Major chord) in the second piece was foreshadowing that really, this is the inevitable result.

Wow, have I put a weird spin on things :wacko:

I really enjoyed this work, it's very thought provoking. Thanks for sharing :nod:

I dont mind your take on this. Every composer is influenced by events in his/her life - and whether we intend it or not, those influences do come through in our music. Good insight on this!

bump

The Larghetto was the best, even with all the repeats. I think it would be better if you varied the second A and B instead of flat out repeating it. Even just some simple re-orchestration, maybe some pizz. maybe some unexpected new harmonic turns. Even with the repeats, the predictability works for this kind of stately movement. The last chord should be held longer.

The first movement, if it's supposed to be a 'crazy movement' could be way more crazy. Right now it's kind of dull. Sometimes things happen suddenly, but it just seems awkward, not shocking.

The last movement has a great opening. But then I didn't like it as much, general predictable. The material first appearing at 64 is really cool harmonically, though I feel the piano could be doing something better.

It's mainly the extreme rhythmic squareness which bothers me (except in the second movement, where it works). I know people have mentioned this before, but I would really consider working on it, because I think the rhythmic inflexibility is holding your music back.

The Larghetto was the best, even with all the repeats. I think it would be better if you varied the second A and B instead of flat out repeating it. Even just some simple re-orchestration, maybe some pizz. maybe some unexpected new harmonic turns. Even with the repeats, the predictability works for this kind of stately movement. The last chord should be held longer.

Yeah, I see your point on the last chord. I did reconsider altering the orchestration - and plan to change it slightly. This was the final draft after 37 drafts - so, aside form maybe minor alterations, I probably won't change a whole lot.

The first movement, if it's supposed to be a 'crazy movement' could be way more crazy. Right now it's kind of dull. Sometimes things happen suddenly, but it just seems awkward, not shocking.

Yeah, the opening does have a crazy atmosphere to it - and the midi recording does make it sound dull. A live performance, however, will make a lot of this really pop. I plan to add more articulations to the string part to bring out more of what I want. I was talking to a violinist about it and she played through the violin parts... they sound 200% better than the midi, and far more crazy. SO I think a lot of this is the rendering.

The last movement has a great opening. But then I didn't like it as much, general predictable. The material first appearing at 64 is really cool harmonically, though I feel the piano could be doing something better.

The final movement, I've added a lot to - but haven't posted yet, nor will I. Mostly articulations and dynamic changes. Again, This work took me a great deal of time to compose and overall I'm fairly happy with the entire work as a whole.

It's mainly the extreme rhythmic squareness which bothers me (except in the second movement, where it works). I know people have mentioned this before, but I would really consider working on it, because I think the rhythmic inflexibility is holding your music back.

I tire quickly of even irregular rhythms, they aren't as interesting to me as they are to most people. So if you want works with more rhythmic orientation - my music, probably isn't for you. I prefer the square, proportional rhythms far more - and I use those far more. That said, though.. I apologize that you don't find my music rhythmically flexible (whatever that term means).. and I would like to hear you go in depth on how you feel it holds my music back. Perhaps your looking towards the more modern aspect of my musical language and thinking I should be ultra-rhythmical to make my ideas work? I really would like more of an explanation on that. Thanks.

No I don't mean make your rhythms 'modern' or 'irregular'. Take a look at how Debussy handles rhythms, or Mozart, Beethoven, or any great composer in the romantic era. It's also the larger idea of pacing, and how the material is developed, which is a part of why it feels so square. Also the overuse of just transposing a motif over and over, especially as the movements go on, gets tiresome and repetitive.

You can't ignore rhythm, even very simple contexts, it's very important. Look at the music of Satie, can't have simpler rhythms than that really. Still there's often unpredictability on some level rhythmically, otherwise there would be no point in listening. I mean rhythm more broadly. On the micro level of each note, it's fine to do what you do. On the scale of phrases and sections, you can't be completely predictable (in this style, obviously if you were doing something minimalist, it would be different, but it doesn't seem like you're going for that). Look at Bach (ARCH EXAMPLE), sometimes very unpredictable (yet always perfect).

This isn't a good explanation, because I'm just trying to explain why I get bored when listening: a feeling. I just try to understand those feelings. If you want me to hide the way I feel about your music, then I will, but personally I find other people's negative reactions the most helpful thing.

Of course you could just ignore what I say, but you did ask for suggestions.

This piece isn't really in my usual tastes, but I find it interesting nonetheless. I didn't find the first movement zany. Just maybe a kind of sad insanity, but not zany. The piano's descending chromatic lines seem like a kind of "fake crying" mixed with laughter, if you get what I mean.

The larghetto is loaded with heavy feelings. Almost funereal, but interestingly keeping one's interest with those incursions into the dissonant world. It's quite meditative in a dark way. I think it's the one I like the most.

The presto's A theme (insert lame pun here) is DEFINITELY zany. Theme B is a strange waltz that honestly didn't really catch my interest much. Section C's transition from A is quite unexpected and interesting, regardless of its shortness. I do that sometimes too, short little bursts of something different, just because. :P

I like how you managed to make this strange while keeping very traditional forms.

By the way, if you want to prevent the audio from cutting, try leaving around 5 empty measures after the end before recording. Works for me.