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Found 5 results

  1. So, here is the final (?) version of my very first, serious, String Quartet. I'm very excited about this piece -with its newly minted final movement. A bit of detail is in order: I. Andante con moto: The first movement, in an expanded ABA form, is in Episodic Form. This form, patterned after both the Medieval Estampie and Baroque Fugal Forms, consists of alternating exposition and contrapuntal series. I took care here to focus the material to create a sense of ABA form itself -where as the material itself dictated. The chief material for this movement is the nomenclature for my first name: JASON =DbABbDE. This was arrived at adjusting the note to letter key by removing Fb and Cb -as I didn't feel comfortable having either in the score.... it just didn't seem right, lol. II. Moderately: This movement is more through composed in that the material dictated where to go next -with the exception of the end. This movement plays with the theme from the first movement and introduces a, rather stark, GCD motif (I'll let people figure out the meaning of this chord). This chord is not elaborated on or development -just sort of sits in the ethereal of the piece throughout. However, the chord does impact the material that comes after its introduction in a profound way. III. Largo molto Sostenuto: Resignation to fate. I feel this movement is perhaps the strongest of the three -and the most interesting. While I love dense contrapuntal textures, this movement rests its laurels on a delicate suspension that begins with the GCD chordal motif introduced in the second movement. The JASON motif is imposed within the chordal motif using what I call the Shostakovitch crescendo (see his String Quartet no. 15). In a sense, that work deeply inspired this movement. I hope you enjoy! I may rework the second movement to make it less bulky at the ending -maybe fix the transitions? I'm not sure. Technicalities aside: This work is rather personal -obviously since I used my name as the chief material. The hidden programmatic nature of the work is probably easily noticeable to many of us on here. We have all gone through vast struggles in our lives to get to the points we each find ourselves. This work is biographical in that respect. I won't bore you with details.
  2. This work was written for a call for works for violin and cello duo. An episode is a form that I created a few years ago. The concept behind the form stems from my love of contrapuntal textures. For this form, which I've explored more within my piano writing, the concept is the weaving of contrapuntal textures and more homophonic explorations of the material -similar to the estampie model of the renaissance. This would be the first episode that I've composed outside of my piano works -so, to me, this work is an excellent embarking of the form to other genres! Anyways, I'll be revising this piece based off the performance -should it manifest! Hope you enjoy.
  3. This short work just sort of came to me. The form is fairly straight forward but follows a modified sonata form complete with recapitulation. I probably won't make many changes to it -except maybe expand the ending a tad (not too much though, as I'm quite happy with the overall structure of it). Hope everyone enjoys!
  4. Hey!! I finished this piece with the intention of making 2 other movements to compliment it, but I run into a problem on what the other movements should sound like. I'm debating on if I should mimic the styles of Britten's "Simple Symphony op.4" or if I should follow the concept of Bartok's String Quartet no.4 Let me know what best suits this quirky piece, enjoy!!
  5. Hello guys. Haven't been active in this forum for a long time. So this is my second draft of my first string quartet. So you're advices/critiques will help in my venture in writing the next parts of the piece (yes some parts are not good).Hope you like it. https://flat.io/score/5e6f38d9b35b8f06521c6575-string-quartet-no-1-in-e-minor-2020
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