In the Key of K

I have 2 completed string quartets. The first one I wrote as an undergrad and I completed the score using some obscure cheap notation software that I don’t have anymore. I still have hard copies but I haven’t properly notated it yet. I don’t even remember if it was any good or not! I haven’t looked at the score in decades.

I began outlining the second one between my undergrad and grad studies. I ended up cannibalizing the ideas for a string trio early in grad school. Why? Because I had access to a trio to read through it. I didn’t have access to a string quartet on campus at that time.

I completed No 3 to have it performed for my graduate recital in 2007. Below is a really terrible midi version to listen to while you look over the scores linked in each paragraph below.

Movement I was taken from a two voice counterpoint study I wrote a few years earlier where I was trying to make something similar to JS Bach but mine. I arranged it for solo guitar and called the piece “Respectfully” and performed it at various gigs for probably a year or so. Then I converted it to a string quartet movement. And that is it’s final resting place. It structure is A A B B C A. Short and sweet. I would not write like this today I was really trying to conform my ideas to adhere to more ‘normal’ academic writing. I still like it though.

Movement II is a fun piece that is inspired by folk melodies. The “A” section melody fits nicely over a 3/4 count or a 4/4 count. I wrote it as 3/4 though. The long notes in this piece are an idea that I have toyed with on at least four different occasions. It’s fun here. The form is: A A B A.

Movement III is also in 3/4 but more firmly so. I received a little flack because I wrote the “A” sections so that the violins share sort of equal responsibility–they trade the melody a little bit. The performers for my graduate recital didn’t seem to like that very much. The form is A B A C A

Movement IV is a vast departure from the first three movements. I wanted it to be more adventurous and less typical. It’s mostly in 5/4 and the main theme was written in a register that overlaps with each instrument so we get to hear that theme as it would sound with the timbre of each instrument. What I didn’t realize at the time was doing this makes it a bit too repetitious. I’m tired of hearing the theme by the end of the piece. Still, it was a fun idea at the time. The K I am today would edit it back a little. Note: there are a lot articulations that the midi software just couldn’t play correctly so you don’t hear it on the recording. Trust the score. The structure here is a little different too–here is one way to analyze it: A B C A D C’ B D A. The second C section has a spot where violin 1 is supposed to improvise.

I still like this piece as a whole but I don’t think it really reflects my style then or now. I feel that it was highly influenced by academia (not a bad or good thing just an observation)–the simple timing, structure, and tonality in the first three movements are not my normal thing. The fourth movement might have been more in style if I wasn’t hung up on timbre and orchestration “let’s play with this idea to drive home how it sounds on every instrument!” Everyone gets to play the lead! I still think viola gets a bad rap for being mostly filler but I can only do so much to help with that. 🤷‍♂️

I do have a version of this from my graduate recital in 2007 with real instruments and people playing but honestly, out of respect for the ideas and the performers, would rather not share it. Those students were performing for free and had a lot of other stuff going on. It was not a great performance but I am still very grateful for their efforts.

If you like this, check out my Symphony and Brass Quintet!