Passion for String Quartet

This is the beginning of a quartet piece of mine that I have been sketching out for a few days. I've tried to think of a form for it, but I've been going back and forth between trying out rondo or sticking with sonata. I suppose so far it's looking more like sonata form from my knowledge.

All in all I'm really proud of what I have so far, despite the short length. I figured I'd upload it even though it isn't finished, so that I could get some feedback as I'm working on it.

Edit:See second post for edited version

At the moment this can't be a sonata exposition because at the repeat marks you haven't modulated to the dominant or another key.

If you are going to write a sonata/sonatina movement you need at least a rough structural plan. What you have here is a collection of themes and motifs that with a little tidying would provide the basis for the first subject group. I would advise simplifying the harmony in the opening statement in order to create a more grounded sense of tonality; what you write here moves too quickly into remote harmonies to be an effective starting point and would be better in the development. You should then think about how to move to the dominant - it should not happen too quickly but should also not take too long (music will sound monotonous if it hangs around the tonic for too long). Some composers such as Schubert move to the subdominant on their way to the dominant in order to give the exposition some drama and progression. Bar 16 onwards sounds more than anything like the end of the second subject group, so you will need to transpose it to the dominant and write the preceding material.

Notice I've been talking about the first and second subject groups: rarely other than in very short sonatinas does a section of the exposition consists of only one theme. Examine a Haydn sonata or symphony to see how short sections can be strung together to provide contrast, whilst still remaining in the same key area. This is what you should aim for in an exposition.

Apart from the final cadence (which you've written), the other key point you need to aim for in this section is called the medial caesura, and it's the point between the two subjects. Often there is a literal pause on chord II here (the dominant of the dominant) before the second subject starts. You need to carefully set up the approach to this point so that it is the work's first major dramatic peak, which you can then come down from with the new subject area.

So, to sum up:

- Organise you material into first and second subject groups (a 'main theme' for each followed by subsidary sections)

- Make sure the first subject group reaches its first climax immediately before the cadence which will start the second subject (the medial caesura)

- Make sure the second subject is in the dominant when it reaches the cadence at the end of the exposition

Alright I changed somethings per your suggestions:

-Simplified the harmony in the beginning

-Modulated to and created a more definite second subject (first to subdominant and then to dominant)

I'm not sure if I complete understand the concept of the caesura-I tried to put mine in m.22? Is the caesura just the use of that II chord to switch to the dominant, or is that a misinterpretation?

Also modulation is one of my weakest areas. M.15-22 I didn't really know what to do, so I did what sounded "right". I'm not sure if it makes sense from a classical theory stand point.

Thanks for your help by the way.

Added more. I've started on the development. I tried my best to have it all make sense, yet still keep the "meandering" freedom. However I can't help but feel I put random crap down rather than trying to toy with the themes. I hope it's just me being paranoid. :veryunsure: