The Quartet Project is a six-volume collection of graduated string quartets by composer Geoffrey Hudson. Modeled on Béla Bartók’s Mikrokosmos for solo piano, The Quartet Project starts with pieces for open string and first finger and then, over the course of six volumes, grows increasingly complex.

The first printing of The Quartet Project coincides with the release of an audio CD featuring nine leading quartets Chiara, Brooklyn Rider, Miró, Parker, Borromeo, Lark, Jupiter, Apple Hill, and Artaria performing 38 selections from The Quartet Project. The Quartet Project is the culmination of an eight-year process, encompassing the commissioning, workshop-testing, and publication of nearly four hours of new music for string quartet.

Praise for The Quartet Project

“The pieces are really wonderful; they challenge the students at their level in a perfect way.”
The Chiara Quartet
“Geoff’s music is filled with so many vivid colors and characters… a wonderful resource.”
The Borromeo Quartet

Music Samples

Volume Title Description Audio Sample Sheet Music
Volume 1 Clang Factor Loud, bright, brash, Other than a few easy
natural harmonics, all four parts stay in first position
Download Download
Volume 2 Slow Turn Legato and singing with rich harmonies Download Download
Volume 3 Doo-wop A slightly off kilter look at 50s pop. Download Download
Volume 4 Insinuation Sul ponticello, snap pizzicato, tremolo.
Creepiness abounds in this 12-bar gem.
Download Download
Volume 5 Compulsion A four-note ostinato motive unfolds obsessively Download Download
Volume 6 Swing for the Fences Shifting meters and torrential energy. Download Download

More Information

Chamber music teachers around the world have expressed a pressing need for new high quality works for beginning and intermediate string quartets. The Quartet Project meets that need with a wealth of exciting new music for quartets of all ages and abilities. International response to The Quartet Project has been enthusiastic.

Level of Difficulty

The Quartet Project is divided into six volumes, each containing approximately 40 minutes of music. Volume 1 is for beginners, suitable for players at roughly the level of Suzuki Book 2 and above. The first two volumes can be played in first position throughout. Unison passages and homophonic writing (rhythmic unison) abound. From there, the music grows more demanding, in terms of both individual technique and ensemble skills. Volume 6 is roughly equivalent in difficulty to a Bartók or middle Beethoven quartet.

To get a sense of the level of difficulty, check out these sample pieces. If you want some advice on which volume to order, send us an email. If you’re looking for a specific piece from The Quartet Project, here’s a list of each volume’s contents.

 

Optional Violin 3

Since young violists can be scarce, Volumes 1, 2, and 3 include an optional third violin part, which can be used in place of a viola. It is always preferable to use a viola if that option exists.

About the Music

The Quartet Project offers beginning string quartets a chance to taste the harmonies, textures, and rhythms of today’s music. Clearly-defined themes and engaging melodies are the building blocks of The Quartet Project. For the most part, key signatures are not used. While triadic harmonies and modal thinking are certainly present, they usually occur outside of a traditional tonal structure.

Rhythmic independence and flexibility are also major themes in The Quartet Project. Shifting meters are introduced in Volume 3 and they play a prominent role from then on. In the later volumes, imitation of speech rhythms comes to the fore.

The Miniatures

Each book begins with approximately 20 “miniatures” — short character pieces, many of which last for less than a minute. These miniatures can be used in several ways: to focus on specific ensemble skills, to practice sight-reading, or as pieces that can be learned in one or two sittings (an antidote to spending an entire semester on a single movement from the standard repertory). For purposes of performances, several miniatures may be grouped together to form little suites.

The Full-length Quartets

Each book concludes with a full-length quartet—three to six longer movements similar to a standard four-movement string quartet. To get a better sense of the music, you can listen to selections and download sample scores and parts.

Errata

Most of the pieces in The Quartet Project has been “field-tested” and we’ve made every effort to ensure the accuracy of the printed scores and parts. That said, when producing a new work of this scale, there are bound to be errors. If you discover any or have questions about anything, please write to us at office@hybridvigormusic.org.

Click here for a list of errors.

About the Cover Art

Who’s responsible for the beautiful paintings on the cover? William Mead is a painter who lives and works in Woodstock, NY. See more of his work at his website.

Dedication to Teachers

Because teachers play such a vital role in opening the world of chamber music to new players, each volume of The Quartet Project is dedicated to a master teacher whose work has touched generations of musicians. We are all deeply indebted to these individuals and others like them for their artistry, wisdom, and enduring passion for chamber music.

Sally Robinson Bagg

“Sally has touched so many of us with her warmth and inspired us with her passion for music. Our gratitude and love come with this dedication.” – Elisa Saltet

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Doris Preucil

“Work to be the best you can be. Respect the abilities of others. Believe in yourself. Be grateful to be able to share the transcendental beauty of music with others.” – Doris and William Preucil

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Norman Fischer

“Norman is one of the great souls inhabiting the music profession.”

– Robert Sirota, Retired President, Manhattan School of Music

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Marylou Speaker Churchill

“I know that I’m not remotely alone in counting my years as Marylou’s student as among the most important and fulfilling of my personal musical journey.” – Sam Bergman, violist, Minnesota Orchestra

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Robert Mann

“His musical commitment and energy continue to inspire us; his influence on the musical community cannot be measured. When I think about the Beethoven quartets, I think about Robert Mann.” – Itzhak Perlman

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Jackie Melnick and Leopold Terapulsky

“We think Jackie and Terry would have loved The Quartet Project; it embodies perfectly their philosophy of making musical excellence and outreach work hand-in-hand.” – The Chiara String Quartet

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