Composers' Forum

Music Composers Unite!

Hi all,

I have been working on a number of works, including this one which is intended to be the first movement of a quartet.

I fear that I am over complicating things here, particularly with the development section. I note that there is more or less an absence of a secondary theme (or at least a prominent one) with various ideas that do not seem to be coherent. The overall tonal structure of the A section is sound (i.e. from tonic to the dominant) though I think the B section is cracking.

Be honest, as I would rather that. Where I left off I intend to delve into minor keys, hoping to recycle some material from the A section as at the moment I have not used anything from there for the development!!!

PS - I am having trouble uploading the files. I have posted to sound cloud as a result which is here:

PDF to follow here: Allegro.pdf

Best wishes,


Views: 156

Reply to This

Replies to This Discussion


Markus, it doesn't sound over-complicated to me. It bounds along with lightness and verve: thoroughly pleasant. The various ways you've developed the material easily held my interest to the extent I really didn't want to get analytical, not that it would have served any purpose! I noticed your use of imitative entries and various other devices.

I do think it's possibly time now to break into a recapitulation say up to about bar 43 or around there somewhere. This is always a matter of taste (where to round it off and whether it needs a coda) so it's back to you on that! 

Works of this tempo and lightness that I can recall from a period when something like this style was popular (dare I say later baroque) usually run for less than 5 minutes.  If you introduce a second subject it'll inevitably elongate the work. One solution would be to prune back some of your development section. If you chose this route a bridge around bars 42,43 etc comes across as a suitable point to a new subject. It may be time to put it away for a couple of weeks then consider pruning/change on return. To me, though, it works as it is, just needs rounding off.

Very nice work. So far...well done. I look forward to listening to it complete.

Yes thanks for your comments. Perhaps I just get bogged down in thought by the sheer amount notes and the harmonic revision needed in certain areas, coupled with the what appears to be a lack of direction. I must admit that I have limited experience with developmental areas, with sonata form in mind, probably because I would create a reasonable exposition but then get lost somewhere afterwords!

I have a number of such works on the go for this reason, and I just need to stick to things to completion. I listen to an awful lot of classical music and as such a lot of my ideas are auditory, not theoretical, although that said those ideas are underpinned by some theory (see ‘music in the galant style’ by Robert Gjdergiden). This means that when to comes to structure, I have more limited knowledge and experience. It had been more where the music leads me, though that is not really any way to operate.

This music is typical of C1760-70. I am interested in offering some indication as to what theory is behind it, i there is that interest. I will finish this and I think you have made good suggestions. I suppose I feel the need to veer into more diverse tonality within the development, and in doing so neglect what I would consider consistency. Slow movements are more straightforward for me, and dances such as minuets owing to the more concise structure...

Until next time

Is this not a major key, though? Forgive me as I am not very well experienced with wind instrument transpositions - at this stage I am more focused on the music opposed to playability admittedly..  

I noted that it wasn't transposed and that's a habit I'm getting into, for better or worse - write the rough score at concert pitch. Just easier when replaying it at a piano. It made your score easier to read that's for sure. . 

In fact there's a family of clarinets, one of which is a C clarinet written at concert pitch like your work. It would have been around during the period of your piece and you'll find players specialising in that period often have one. It's less common in music these days where, for a bright sound, players go for an Eflat clarinet ( transposes a minor 3rd down). I must admit I thought using one was was your intention.  So you could get away with it.! It would certainly add brightness to your brightly lit piece,

However, a modern ensemble would have a clarinettist equipped with Bflat and A instruments. 

Reply to Discussion


Sign up info

Read before you sign up to find out what the requirements are!


© 2021   Created by Gav Brown.   Powered by

Badges  |  Report an Issue  |  Terms of Service