jawoodruff Posted January 16, 2020 Share Posted January 16, 2020 Comments welcome. The work explores the possibilities of a 4 note motif -that is transformed throughout the entire work. MP3 Play / pause JavaScript is required. 0:00 0:00 volume > next menu Sentient > next PDF Sentient Quote Link to comment Share on other sites More sharing options...
Luis Hernández Posted January 17, 2020 Share Posted January 17, 2020 What I like most is how you build the part from m. 72 and the counterpoint afterwards. Quote Link to comment Share on other sites More sharing options...
Monarcheon Posted March 14, 2020 Share Posted March 14, 2020 Transition into 41 was nice, and I could have used a lot more of that smoothness throughout the rest of it, like the first transition; it felt a bit off to me. A little more rhythmic ambiguity ambiguity might be nice a la Bartok, since the syncopations there now I don't think quite get that effect. Quote Link to comment Share on other sites More sharing options...
maestrowick Posted March 14, 2020 Share Posted March 14, 2020 Typesetting: Add rehearsal marks to your scores and have the bar lines go through the entire quartet. Also bracket the systems. Music: once again, very bartokian. Some great moments in here. Repeat meas. 120-121, then try inserting that at 127 up a Maj 3rd to really bring it together. Also, maybe at 130, the violoncello could go octavobasso to give it more range. My $0.02. BRAVO. Quote Link to comment Share on other sites More sharing options...
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