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Its a short baroque style piece

You know, I've heard that the whole tone scale is full of augmented chords, and it is, by alternating notes of the whole tone scale, you get 6 augmented chords. But I would argue that there is just as much diminished within the whole tone scale, which nobody talks about. If you go up a third and then up a second within the whole tone scale, you get a diminished chord with a suspended fourth(or at least an enharmonic equivalent to diminished sus4(which that fourth if you can't already tell, would itself be diminished, so enharmonic to a major third, but wanting to resolve to the minor third, the diminished triad)), because like the fifth, every fourth in the whole tone scale is augmented, ergo, it's a tritone, the minimum you need to get that diminished quality. And like with the augmented chord, there are 6 of these diminished sus4 chords in the whole tone scale. So there is just as much diminished as there is augmented in the whole tone scale. And yet, absolutely no one that I have heard talking about the harmony of the Whole Tone Scale even mentions the diminished sus4. Why? Why is the diminished within the scale just forgotten about and it is augmented that gets all the attention? That seems unfair, especially considering that the diminished chord in all its variants(seventh, sus4, etc.) is way, way more common in music than the augmented chord. Yes, augmented deserves some attention and it is usually through the Whole Tone Scale that augmented gets that attention, but forgetting to mention the diminished that also exists within the scale, that's unfair. So why is diminished just totally ignored when people talk about the Whole Tone Scale? I for one wouldn't do that. And just to show that there is as much diminished as augmented in the whole tone scale, here is a PDF of Whole Tone Scale Harmonies I made myself:

But how can you resolve that major third to a minor third if there is no minor third in the whole tone scale???

Thank you for all the feedback! I agree with everything you say really haha

Nice! The first movement main theme in the very beginning gives me a slight rhythmic illusion that the pick up notes are actually the downbeat followed by three up-beat eighth notes. It gives it a kind of rhythmic playfulness to it. I enjoy the many playful outlining of various chords foreign to C major. The movement also ends in a way that sounds like the last 8th note is an off-beat. The labored second movement is a great contrast and reminds me of an old man with a walking stick LoL. The third movement I feel moves into it's development section quite hurriedly before allowing the listener to be fully immersed in the melodic material/have a decently long exposition. That's just my personal feeling as I also tend to concatenate my expositions (or at least I think I've been told I do that). The main theme in this movement is quite humorous I just wish it was more fully presented as like a complete thought (like a period or some such structure) rather than like a fragment before moving off into the development. The fourth movements glissandi are a welcome character contrast giving the listener a sense of calm before being interrupted by those intense polyrhythmic triplet 8th notes. The final movement employs fun rhythmic meter changes and plays with the listeners rhythmic expectations. Meas. 74 reminds me of Ravel. Overall I thought your string quartet was a humorous quip at being in C major (which I know much of your music likes to do). Thanks for sharing!

Amazing! More later...working, should be working now...