violin ii

The most recent commission by the Martinů String Quartet to date, McKinley’s String Quartet No. 6 continues the exploration of overall form, similar to that of the previous quartet. The piece is played continuously, like String Quartet No. 5, although McKinley now turns his attention to the manipulation of form for each of the four distinct movements. This latest quartet outweighs the previous two quartets not only in length, but also in compositional stature and formal innovation. Jazz rhythms have less presence than the previous quartets, although several sonorities and harmonic progressions hint at the influence of jazz, which underpins so many of McKinley’s compositions.

In his String Quartet No. 4, McKinley achieves a synthesis between a high-modernist aesthetic and jazz influenced rhythms and harmonies. The viola’s subtle beginning of the quartet centers the listener on the pitch G. After the cello quietly introduces a G-Major pentatonic collection, the violins introduce the melody in double octaves.

The melody isn’t exclusively pentatonic, although it remains centered around the initial 5 pitches introduced by the cello. The doubled melody begins with an upward gesture, which permeates the remainder of the movement. The slow and steady cello and viola pairing establish a solid foundation, enabling the violins to soar over top. The violin pairing eventually breaks down, with only one violin playing on the initial melodic gesture. A sudden tutti interruption of blocked chords breaks the opening sentiments of the movement.

String orchestra version of first movement from Two Appalachian Settings for String Quartet