Look at and listen to a wide variety of WCT string quartet textures that you can steal ideas from. Many of these textures are different ways of presenting what might otherwise be just held block chords, a texture that is very rare  …

Extra Resources

• Reduced String Quartet Textures (two and three part)
• String instrument ranges.
• Writing for strings (techniques etc.)
• Folder of scores of Core WCT String Quartets (on Moodle)
• Folder of scores of Extra String Quartets and Quintets (on Moodle)

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SQ Model 1 – Mozart, String Quartet KV 156, I: Presto, bb. 1-19

• Melody dominated homophony with melody in first violin
• Oom-cha-cha accompaniment with second violin and viola filling in the harmonies. You could rhythmically adapt this to any time signature

SQ Model 2 – Mozart String Quartet KV 157 I: bb. 1-8

• Top two parts mostly in thirds
• Simple bass line adds energy with repeated quavers
• Note how viola fills in the gaps at the end of the second and fourth bars.

SQ Model 3a – Haydn, Quartet op. 2 no. 5, Menuetto, bb. 1-10

• Melody-dominated homophony at opening
• Texture is lightened and rhythm given a lift by lack of accompaniment on first beat
• parallel thirds between second violin and viola in bar 5 and 7 acts as a filler in between the fragments of melody in the first violin
• violins are in octave unison for the cadence – very common in early Haydn

SQ Model 3b – Haydn, Quartet op. 77 no. 1 I: Allegro moderato, bb. 1-20

• Simple homophonic texture energised by staccato crotchets
• Note echo of main melody in second violin in bar 4
• Note how the idea and texture is developed from the upbeat to bar 9 for the second half of the phrase.
• Note how the viola can play in thirds where necessary to fill out the texture (and the second violin could too)

SQ Model 4 – Haydn, Quartet op. 3 no. 5, Andante Cantabile

• Gentle pizzicato accompaniment in which the
• the violin II and viola move in quavers and this rhythmic idea is grounded by a slower bass part
• Notice that all the notes of the chord are covered all of the time

SQ Model 5 – Haydn, Quartet op. 76 no. 5 IV: Presto, bb. 1-20

Alternation of two contrasting ideas:

1. Homophonic repeated cadential idea (bb. 1-6)
2. Double pedal with melody first over the top in the violin and then underneath in the cello

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