The Classical Idiom

Lately I have been going back to my roots so that I can grow from there. Though my roots aren't that strong. As you will see with my quartet idea.

I would like help with improving my small quartet idea so that it feels complete.

but more importantly I want to know how you guys view classical music, what makes it, things to be aware of, biggest common mistakes among amateurs today. More importanly the soul, I know classical music has it, when I listen to mozart, beehtoven, brahms :D schubert, Gluck, saleri,Weber, and Mendehlsson and many more and I can feel that soul in there pieces. I want to be able to capture my soul and really express myself.

any tips?

String_Quartet_Ideas.MID

Well, getting back to your Classical roots has created an interesting idea. This particular fragment reminds me of what Prokoffiev did with his "Classical" symphony - it's a creative impression, rather than being the authentic article, for what that's worth. This particular idea would probably best be pursued in that light.

As a Classical Revivalist, I can say that listening carefully to what Mozart and his contemporaries did in their work and mimicking it as closely as you can without plagiarising is a good way to start.

Examine their scores and see how they accomplished effects you like. As tedious as it may sound, take a Mozart, Haydn or Beethoven symphony you admire and write a movement of it out by hand, note for note. You are bound to learn a great deal about how he accomplished his ends. This exercise is just one of many that Classicists themselves did to learn their craft.

Above all, avoid breaking rules of harmony and counterpoint. Breaking the rules they followed scrupulously is the quickest way to an ersatz, amateurish result.

In addition to a good theory text, get your hands on these books: "The Art of Counterpoint" and "The Art of Fugue" from J.J. Fux's Gradus ad Parnassum, edited by Alfred Mann. Also, "The Great Composer As Teacher And Student," also by Alfred Mann. These will give you invaluable training and insights. Again, a little tedious, but if you're serious, "no pain, no gain."

Also, use instruments the way they would have. Avoid highly chromatic movement in the horns, for example. Horns and trumpets in the 18th Century didn't have valves, so they could only play the natural harmonics of the tube, with a few artificial alterations (look up the excellent article on Wikipedia about the horn for more information, though even that is not specific enough: http://en.wikipedia.org/wiki/Horn_%28instrument%29 - I keep threatening to write an article on period-authentic brass writing...I may yet get around to it). That's why baroque and classical horn parts are always so spare and "waldhorn" in character.

When in doubt, do what Mozart or Haydn would have done. Don't trust your own instincts primarily - they'll lead you astray more often than not.

That's all I can think of at the moment with several ounces of Bourbon in me.

Yup I completed all 5 species! whoo hooo, though I do tend to forget some of their wonderful knowledge.

I like the idea on prokofiev, I in no way want to consider a work of mine early mozart or late beehtoven, basically becuase its being very disrespectful to the composer. I'm planning on making this work in sonata form though definitely twisted:) and if I write a classical symphony I'll be keeping my horns on their do's and so's and tonics and dominants:)

Thanks for the info, and I'm going to be going back and reviewing my Fux Counterpoint.

I added about 24 more seconds! whippee!

which makes it 46 seconds long! planning on getting longer to, gotta take it in small doses eh!.

Anybody want to help me with form on this one? I use my material and I think I climax way to0 quickly. Well when dealing with simple materials its easy to do that.

String_Quartet_Ideas.MID

Well back again, this piece is now 2:09 seconds and it will be in sonata form and the 2:09 represents the first section A within it is small a's modulating from C to G to D to A to E then back to C which will soon begin the B section.

Also is this common for an A section of sonata form?

String_Quartet_Ideas.MID

What are common ways with dealing with a B section?

I'm planning for this quartet is still have elements on A just alot loosely based and I will be in the key Cminor.

If you're talking about sonata form, it is more common for the B section to be contrasting in material and character. However, Haydn sometimes used to vary his A section material for his B section, with the contrast being the treatment of the material, i.e. giving it to differing instruments, changing the underlying harmony, etc. I did the same thing in the opening movement of my Symphony in G.

Yes, in his surprize symphony. I was completely surprized on how he developed that.

Ok Chad, since you referred me to this thread; Here is my attempt on something ''classical''.

I deliberately tried to be (the) early beethoven here :thumbsup: