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Improving transcriptions from IMSLP- Proofread me Group

Lots of people are copying scores from IMSLP to Musescore but it is not always easy to keep these transciptions mistake free.
Sometimes is easy to spot mistakes for people who know the pieces just by listening them, so I created the group  Proofread Me.
This group is aimed to two kind of people: copysts that want their work proofread and people who want to spare a couple of minutes to spot any mistake on those transciptions.
Just upload here the scores you want to get checked (or send a link to them), or join this group if you want to help proofreading the submited scores.

Do you think this is a good movement structure for my Suite?

I have been working on this Weather Music suite for a while now and I think I have decided on a good movement structure. Here is the overview of the movements.

First movement

Here I'm aiming for a warm feeling, like a sunny day kind of warmth. So far,  I have decided on string quartet + piano for the instrumentation.


Warmth of the sound(which I think primarily comes from my choice of having a string quartet in this movement)
Harmony is in ternary form
Melody is improvised and doesn't follow a specific form
Moderate tempo(which adds to the warmth of the sound)
Ends with a Plagal cadence(I'm aiming for a bit of finality but not total finality, thus the Plagal cadence)


G major

Second movement

I'm thinking of having this movement represent windy weather. As such, a  flute piano duet makes sense for this movement. And it will probably have these characteristics:


Allegro tempo
Minor key?
Melody that sounds a bit chaotic on its own
Harmonic grounding to the melodic chaos


D minor?

Third movement

This movement, I am thinking of having represent cloudy weather. It makes sense if the second movement is to represent windy weather. As for instrumentation, I have no idea. I'm thinking of having these characteristics to it:


Andante or Adagio tempo, not sure yet
Perhaps end on a diminished 7th to lead smoothly into the Storm movement?
More reserved dynamically speaking(forte becomes a rare dynamic in this movement)


G minor?

Fourth movement

This is the movement I started working on first and I plan for this to be the most intense movement of the suite. That's right, this is the Storm movement of my suite. I decided on piano solo for this movement. I figured that since the pianist has rarely gone solo so far in the suite, that it should have its own movement to shine. As a result of this, here are the characteristics that I decided on:


Scalar passages with leaps
Fast octaves
Forte becomes more of a default than an exception
Presto tempo
More diminished 7th chords
Quite a bit of staccato

Overall, this will be the most Beethovenian of all the movements.


C minor

Here, I would have a calmer sounding interlude after the storm, not really it's own movement

Fifth movement

This I'm thinking of having represent snow. Maybe not the most logical but it will still bring some happiness after the Storm movement. This is where I'm thinking of having flute + string quartet in terms of instrumentation. The pianist is probably going to need a break after the Storm movement


Lots of staccato
Overall higher sound(this is why I thought of adding the flute here)
Allegro? Andante? Moderato?


Bb major

Sixth movement

I'm not sure what instrumentation to use here but it would be more mellow than the Storm movement for obvious reasons. Here are the characteristics it would have since it is a representation of rain:


Slower tempo
Minor key
Very few diminished harmonies
More sad than intense


E minor most likely

Seventh movement

This I plan on having feel very happy after the more emotional movements, like a rainbow. I also plan on having all the instruments that have had a role in the suite play in this final movement.


Most likely the longest movement
Might be in sonata form
Ends with a perfect cadence to give a sense of total finality


G major

What do you think of my movement structure? Any adjustments that you would make to the movement structure?

Getting stuck figuring out a countermelody

As you can probably tell, I have a main melody and I want to add a countermelody. And, though it isn't explicitly said in the title, I also have a bass line. Here is my melody(Key of the melody is in D major but the piece it is in is in G major, thus the 1 sharp key signature):

And here is the bass line I have going with the melody:

As you can see, I have the piano part in full chords and the cello playing just the roots of those chords.

Here it is together with the melody. Full instrumentation of the piece is shown.

As you can see, I have the melody in the first violin and with good reason. Outside of solos, the only instruments in a piano quintet expected to go into the third octave(which the melody does) are the piano and first violin. The violist or second violinst might do it, if the section is a solo. That isn't the case here. But if you listen to this melody and bass by itself, it sounds bare. And while I could theoretically make a canon out of this melody to make it sound less bare, the results of that are to put it lightly, displeasing. I tried transpositions by both interval and time and just couldn't find the perfect one. All the ones I found had dissonant strong beats which defeats the purpose of turning the melody into a canon in the first place.

So canon is out the window. I could turn this into a fugato, but then where is the subject? Is it the first 5 bars? Is it the whole 20 bars? How does a whole note work as part of a countersubject? So fugue is basically out the window as well. This leaves me with only 1 contrapuntal solution left. Countermelody. Sure, fugues have countermelodies. But there is an inherent structure to the fugue which is similar to sonata form. If I just try to write a countermelody, there is no inherent structure. The structure depends on the melody, and sometimes, it might be non-existent. You can see looking at the picture of the score here that I have up to 2 octaves of space for a countermelody.

But I am stuck as to how to go about writing this countermelody. I know rhythm is part of it. But, given how slow the melodic and harmonic rhythm is already, I don't think rhythm is quite the importance as it would be if say the tempo was fast and involved 16th notes. The tempo here is moderate and the fastest notes are eighth notes. The fact that the fastest notes are eighth notes means that I probably shouldn't go any faster than eighth notes in my countermelody/countermelodies. But is there an easier way than just trial and error to find out what countermelodies work both harmonically and melodically? I am thinking of starting the countermelody(first countermelody if I end up wanting more than 1 countermelody) at bars 5-10 of this section of my piece.

There are a ton of different melodies I could try using as a countermelody here. Some would be going fast enough that they would sound like the main melody, even though that isn't my intention. Others would barely be a melody. Still more would require that I change my bass to fit it. And others might not work at all, even with a change to the bass.