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So far, this is the best canon I've written: -
By GospelPiano12 · Posted
This seems like the perfect forum to ask this question...what chord fits best in mm.55? There's a great opportunity for an emerging, bright sound, but idk what chord works the best. -
By Fugax Contrapunctus · Posted
Nearly two months after taking down the original, I have decided to re-upload a revised version of this motet, with all contrapuntal flaws present in the first video having been hopefully corrected, as well as the main key having been changed from C minor to C-sharp minor and the Cantāmus rendering accordingly modified. The soprano line stands as a nigh unadulterated version of a theme I had been working on for years now, for diverse purposes and with varying degrees of success, as this is the only piece I have managed to finish featuring it. I guess it took me a while to realise just how fitting a religious hymn such as the Stabat Mater would be for this configuration, notwithstanding the slight redistribution and duplication of certain verses which in the end does not severely modify the text, save for the metrics of the original first three stanzas. Enjoy! YouTube video link: -
By Fugax Contrapunctus · Posted
Honestly, it may be both, though perhaps the modification at the end (which can totally be omitted by the way, as its purpose is merely to enrich an otherwise strict, though lackluster ending) makes it more of a round, as most proper canons in strict imitation opt instead to have each voice gradually fade out in order of entrance. I cannot really recall having had classical notions of harmonic phrasing in mind when composing this one, though I must admit the longer values at the 2nd half of each measure of the original theme are quite noticeable, so perhaps a little more internal motion between voices would have been preferable. As I will most likely end up revisiting this composition in the long term, I shall take your criticism into account once I set out to do so. Thank you both very much for your reviews of this humble work of mine. -
By Fugax Contrapunctus · Posted
First off, I hope you do realize you are referring to a very specific kind of motet. The term has been used at least since the very inception of the Notre-Dame school of poliphony and ever since, the form covered by the usage of this term has undergone constant change and evolution. I take it you may perhaps specifically be alluding to post-Palestrina motets. Even then, I wish we could move past the nitpicking over non-contrapuntal elements in music. Like you seem to have appreciated, counterpoint is the main focus in these compositions of mine. To me, contrapuntal standards are the bare basics from which form can deviate in whichever way I see fit. If it were the case that I was studying Palestrina's motets under Fux's tutelage roughly three centuries ago, then I would have no chance but to accept said constrictions in form. Thankfully, after all the evolution that has taken place in the history of classical music, only in exercises are such strict rules expected to be upheld without the slightiest deviation, which is one of the main reasons why I refuse to accept the labels "exercise", or worse yet, "pastiche" stapled onto my compositions. Had every composer since Palestrina or Fux followed the same set of rules without letting their own originality redefine them, at best we would still be stuck in the Early Classical period. I can, to a degree, understand the formal expectations when it comes to this kind of pieces. I shall not, however, blindly acquiesce to every single one of them. In case you are interested in checking out other pieces of mine which follow your purported guidelines, you can check these out:
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