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I just finished this Classical-style clarinet quartet after working on it on and off for the past month. Pretty pleased with it at the moment, though I'm sure the glow will wear off. I'd appreciate any comments or criticisms on it - or on any of the movements, if you don't want to listen to the whole thing. The whole piece is about 22 minutes long.

Hello. My chronological journey of music brought me to Romanticism, in which I have been immersed for months. I study its methods, harmonies, etc... And that has led me to study also the neo-Riemannian theory, since many chord progressions are explained through it. I write some things practicing these concepts. This Consolation III (as there were two others already) is very much inspired by Liszt's, in its structure and some resources. I have also based it on a pop song whose harmony is fantastic. You have to absorb from all sources....

I have to disagree with this. Harmonic regressions which move in the opposite direction as the progressive movement can sound very good and be very useful in a chord progression. The most common example of this is just movement from the tonic to the dominant (I - V). The whole concept of negative harmony is based on this idea and it can often sound very good and interesting. Progressive movement can be considered "stronger" but "stronger" is not always better. I have a rule to propose for what can make sonorities sound good when following one another. If the outer voices (or more precisely, the melody and the bass) are chosen logically it helps create a good skeleton for the resulting sonority progression to sound good. (I also call them sonorities because if they're pan-diatonic you're probably going to think of them the whole scale/mode at a time like @AngelCityOutlaw mentioned). Great topic!

Hi @JorgeDavid, For me it works since I conceive the piece rather in a ternary structure with the first and last 8 bars as the A section, B section in between. The V/iv followed by a I sounds archaic to me which fits the English mood along with the false relations. I’m just a bit off for the ending chord of b.10 and 12 since they end on a second inversion chord, which seems less in the style. Thx for sharing this nice little minuet! Henry

I think two chords is very little for a chord progression. Only if you have V - I will determine a tonality. I also belive that even in tonal music, every chord can follow another one with success. It depends on the effect you want.