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Here is the link to my string quartet that I wrote in February, performed wonderfully by the Tippett Quartet. Do like, subscribe and comment what you think...! I'd love to hear it 🙂

I wrote this short piece to practice counterpoint, creating some rythmic variety between parts and using some rythmic imitation. I highly appreciate your comments, and let me know if I have some forbiten parallels or weakness in the voice leading, my goal is to learn and improve 🙂 I have also a question: my baseline usually enters after the hard beat with the rythmic main motif and the resolution of the leading tone is delayed and resolved one octave downwards. I'm also not sure if this I a legant solution, because the 4th suspension between the oboe and bassoon is missing because of the silence, but on the other hand the resolution ends properly, so it's probably fine. I have tryed to put the notes missing on the hard beats and in the right octave, but it worsens drastically the flow...Can someone clarify that's is right or not? And how can it be explained? Probably my mind is just stuck with the classical pattern, where every note has to resolve in certain way and I'm just starting to open my mind... Also before the last cadence the dominant (F) should be resolved to the tonic one octave + a fourth upwards, though in the last beat the Bb is the missing one from the previous bar. Can it be analysed as a delayed resolution?

I've always wondered what's so 'stupid' about writing meaningful music. On the contrary, if all what flows from our minds is a collection of meaningless sounds arbitrarily put together (and quite often under pretentious, esotherical titles), we should be sorry. Anyway, in my view naming a piece doesn't convey any ideal, Romantic or whatsoever (heh, we all know Renacentists, Baroquists and Modernists did never, ever name a piece :P ). It's just a way to identify a particular piece from any other, just like a child is named to tell him/her from any other human being. When I name a piece, I tend to be quite generic (i.e. Piano Sonata N° 3, String Serenade, Symphony N° 1) - but even then a piece might be trying to convey a message, story or idea of its own, and quite often I'm not afraid of openly stating it (i.e. Adriana Suite, Emma Overture, Northanger Sonata). I don't think that doing either is by any means a symptom of stupidity.