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Arranging Presto Agitato, Any suggestions for the sixteenths?

I am arranging Beethoven's Moonlight Sonata for a string quartet. I might add a double bass if I think it is necessary, but so far, no issues with it being a quartet, at least not in the first and second movements. Now I'm arranging the Presto Agitato and as if it wasn't hard enough with the need to smoothly transition from the viola to the violin in those sixteenths, if I keep the interval relationship, the notes are going to be too high. I could get away with this octave displacement in the previous 2 movements(With the first movement, I basically did this octave displacement for the entire bass line to fit it into the cello), but now, the octaves the sixteenths are in are crucial to getting the right sound out of the Presto Agitato.

There are 2 things I can think of as to how to get the Presto Agitato to sound right, one of which keeps the instrumentation, and another of which keeps the original octaves.

Option 1: Add Double Bass

This would keep the original octaves, and I could have it play the bass line and have the sixteenths start in the cello and rise upwards to the viola and second violin.

Option 2: Move bass line to Viola for first measure of each arpeggio run

This would keep the instrumentation I have going of a string quartet and for everything except the bass line, the original octaves would be kept as well.

Which one of these 2 options do you think would be better? Any other suggestions?

NOTE: I'm only asking about the arpeggio runs, the scales and Alberti bass are easier to arrange.

Flute Sonata in Eb, need some feedback

If you haven't seen it yet, here is the link to my flute sonata:

https://musescore.com/user/50070/scores/5703661

I nicknamed it The Haydn Sonata because I am trying to get across a Haydnesque feel to it. I have noticed these things predominant in each composer of the Classical Period Trifecta:

  • Haydn: Humor, melodic and harmonic surprises
  • Mozart: Alberti bass, effortless grace
  • Beethoven: Sheer power, even when the melody is more lyrical


Haydn is the one who inspired me to write this flute sonata. I wrote the sonata exposition in just an hour and this is the first sonata for a duet that actually has a finished exposition.

There are quite a few surprises in my sonata exposition. Here they are:

Bar 5: Sudden entry of the flute and absence of the piano 
Bar 6: Sudden reentry of the piano 
Bar 10: Short diminuendo, like the theme isn't quite done yet 
Bar 11: Short staccato variant of the theme over a syncopated bass 
Bar 14: Sudden forte cadence, theme is now finished 
Bar 15: Piano dynamic in transition material right after a cadence at forte, sudden absence of the flute 
Bar 21: Forte dynamic when transition material is taken up an octave, flute comes back 
Bar 26: Piano dynamic yet again, descending trill motive 
Bar 41: Very busy texture as the repeat comes closer 
Bar 47: Sudden change in texture, sudden dynamic change as it repeats

I'm wondering, is my sonata exposition Haydnesque in its nature? I tried to get a Haydnesque feel to it by being more humorous than serious with the music. Anything impossible for the flutist? Does it feel like a Molto Allegro to you(tempo is at quarter note = 140 BPM)? Or should I just take the Molto off and just have Allegro as my tempo marking? 

Polonaise in Bb, Feedback Wanted

I have been composing a polonaise in Bb for the past few days. The A section of the polonaise is what I have written down. The A section of the A section is what my first few questions are about and is the exclusively diatonic section. The B section of the A section is more chromatic. I am asking these questions because they came up to me after listening to my own polonaise a few times.

1) Is the bass in the A section of the A section(bars 1-8 and 23-30) too dense?

2) In the consequent phrase(bars 5-8), is the bass too close to the melody? Should I bring it down an octave?

3) In the B section of the A section(bars 9-22), am I handling my chromaticism correctly or not?
 
4) Is it too much of me to expect a pianist to play a polonaise rhythm in octaves for the whole B section of the A section?

5) Do I smoothly transition into the inversion(left hand becomes right hand kind of inversion) or not?
 
6) Is my A section too repetitive with 2 periods and a motive sandwiched between the 2 periods and the repeat sign?

7) Is 30 bars enough for the A section of a piece that I expect to be 200 or so bars long, or should I extend my A section further? 

Here is the link to my polonaise score:

https://musescore.com/user/50070/scores/5682039

How else do you think it could be improved? Right now, I'm thinking of what to put in the B section of my polonaise.

Treble Clef vs Alto Clef

I have this strange way of reading music.
My first instrument was violin, meaning I first leaned how to play in C treble clef. I learned how to read bass clef for piano, then Bb treble clef when I started writing music, as well as Eb treble clef, then finally alto clef when I started playing viola last year.
BUT instead of reading the note on the alto clef music (for an example) as an F, in my head I immediately call it a G, relating it to C treble clef music; I also do that with Bb tc and Eb tc. Does anyone else do the same?
In a way, it's a good thing because I can easily relate to the basic C tc, but if someone asks me to play a certain note (viola-wise, for an example) I'll play the note they said as in C tc, if that makes any sense ;)