I’ve now written about 140 measures of the first movement of my 3rd attempt at a quartet. It’s much easier this time around, for some reason.

Here’s what might be making a difference:

1. I’m ignoring the computer for now. It’s actually quicker to write by hand at this point.
2. Not having come up with melodies I particularly liked, I borrowed some. OK, stole. The quartet is based on Sephardic folk songs, not in a tedious theme-and-variations way, but just starting with the melodies, and then riffing on bits and pieces of it.
3. Theory. I came away from my semester (almost 2 years ago now) feeling like I didn’t absorb that much, but I’m actually finding it useful here and there, and it gives me confidence in playing with the counterpoint.
4. Listening. A lot. Of course, I’ve been listening raptly to quartets all my life. Now I have some scores to help me along, so I can see better what kind of bells and whistles, literally, the great composers use to create interestingly textured, rhythmic, and varied conversations amongst the string instruments. I’m leaning most heavily on Debussy and Ravel, but also Beethoven, Fauré, Brahms, and Frank Bridge. Every piece has its influences… I’m imagining Ravel in Morocco.

Once I’m done with a decent sketch, then I’ll put it in the computer and flesh out parts of it. Actually, glancing through Debussy on the subway this evening, it occurred to me that I don’t have to have melody operating everywhere; the texture and harmony can take up a fair amount of space in interesting ways and stand on there own. So perhaps when I think I’ve gotten to a good ending point for the first movement, I can expand some of the interior to make sure it’s long enough to be convincing.