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I am really inspired by @ComposaBoi's Seven Sorrows that I decide to upload an old work composed by little Henry (lol). It's an old work of mine finished in 2014 September, between my ( ) in piano solo and first Piano Sonata. I was way too ambitious then, as I would like to follow the model of Beethoven's String Quartet no. 14 in C sharp minor, op.131, one of my all time favourite piece. It's in the same key as his op. 131; contains seven movements, the same number as Bee's op. 131; and the movements will all be performed in attaca without stopping which also follows Bee's op. 131. At the time of finishing it I though I had completed a masterpiece but of course I am now highly critical of it. But I'm still quite proud of it since it was my first chamber work ever. Detailed are not added there as I didn't have the ability to add those when I composed it. I have some ideas on how to polish it, but I also would like to have you guys' precious opinion on how to polish it since you can always give me new insights and angles to interpret it!! Don't be afraid to criticize or compliment it!! Here is the brief synopsis of the piece: First Movement: Introduction: Adagio mesto e espressivo. C sharp Minor. I was trying to imitate Bee's op. 131, so I used fugue as the opening movement as well, though here it's more the combination of fugue and sonata form. This is my first ever piece in the contrapuntal approach, and I'm quite proud of it despite the errors. The movement introduces three important themes that will appear later on in all the movements: The opening theme (b. 1-11 cello), lamenting theme (b.59-62 1st violin) and a theme I don't know how to call it (b.104-105 2nd violin, appears in tonic b.116-117 1st violin) A quite tragic movement and I love it! Second Movement: Scherzando I: Allegro Vivace. A flat major. Still copying Bee with a scherzando movement follows immediately after a fugal slow movement. Third Movement: Andante. B major. Another fugal movement. I quite like the calmness in it but the fugal technique is not good enough. Fourth Movement: Moderato meastoso. Acts as the bridge to the second part of the Quartet. Fifth Movement: Scherzando II: Allegro Vivace agitato. C sharp minor. Too short and undeveloped to be called a movement. Sixth Movement: Andante molto espressivo. A major. A variation movement as in Bee's fifth movement of op.131 in the same key. The variation skill is not too good though. A transition is used to bridge the final movement. Seventh Movement: Allegro Vivace (No tempo and expression marking??!!). C sharp minor. I LOVE the finale of Bee's op.131: it's so concise and succinct. Here it's a mess. There are some lovely passages but the glue between them fails. Although I keep saying the bad things of this quartet, I am actually grateful for making it. Without it I will never acquire the skills I have to compose subsequent compositions! Here is the full score of the piece: 13-12-2017 String Quartet no 1 Full Score.pdf The score and mp3 of different movements are inserted below. Hope you enjoy it and the day!!! Henry P.S. Thanks to @PeterthePapercomPoser for giving me the suggestion on how to post this!

The Universe Messiaen is very big. He described several sacale-modes using repetition of interval groups (symmetry). The modes can be transposed chromatically a limited number of times, because the procedure reaches a point where the scale repeats itself enharmonically. The 4th mode has this pattern ST - ST - ST+T - ST - ST - ST - ST+T It is octatonic That is: C - Db - D - F - F# - G - Ab - B You can transpose this mode starting on Db, D, Eb, E and F. So, 6 transpositions (counting on C) Because starting on F# it is enharmonic: F# - G - Ab - B - C - Db - D You can use it harmonically, melodically, polyphonically.... You can make chords that resemble tonal functionality or use it as a mode without tonal center... The transformations you can do with Messiaen modes are endless. He described 7 modes of limited transposition.