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  • Works With Few Reviews

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  • Topics

  • Posts

    • Frederic Gill
      2-part invention in counterpoint

      By Frederic Gill · Posted

      This was just an exercise from Applied Counterpoint book by Prof. Percy Goetschius. I made the inventory of octaves and there are 30! lol.  Here are the details. too many 8ves   1st beat, Primary accent  5 in V or V7 = me6,9,12,15,18,24,27,30.These are good according to Goetschius. 4 in IV =me13, 16,25(?) 3rd beat, secondary accent 8 in I = me19, 25, 31 3 in I = me5, 8, 26 NOT GOOD 2nd beat, ternary accent  8 in I = me17 6 in IV = me7, 28 BAD 4th beat, ternary accent 8 in I = me11, 14 2 in I = me12, 15, 18 BAD because foreign to the chord. 2 in vii = me30 other unaccented fraction locations: me10: G is either doubled leading tone or doubled chord 7th.  me22: F is doubled chord 7th According to Goetschius, these can be tolerated in fast tempo and at unaccented fractions. Is this fast enough? Any other mistakes I could learn from? Thanks.  
    • Fermata
      2-part invention in counterpoint

      By Fermata · Posted

      I don't think this theme was meant to be treated as the usual antecedent/consequent imitation at the octave, like in Bach’s two-part Inventions. The subject comes from a harpsichord suite by Sheeles (not by Händel); the ascending F–G–A–B is actually a codetta leading to the real answer a fifth above. As for your solution, it keeps hitting the octave far too often — you should avoid that, as it’s too harsh for two‑part counterpoint (and there are a few voice‑leading mistakes as well). The modulations to related keys could be prepared more effectively, for example by using simple sequences built from fragments of the theme. Introducing the inversion was a good idea; it adds a bit of variety.
    • Fermata
      Fugue in d minor

      By Fermata · Posted

      A four-part fugue exercise composed on a given subject, with no particular instrumentation in mind. Developing the subject contrapuntally wasn’t difficult, but after a while it became rather monotonous. The labels A1, A2, B1, etc. indicate the various fragments on which the episodes are built. (The slurs are only meant to highlight motifs for my own reference.)
    • MinGry
      Acceptance

      By MinGry · Posted

      @TristanTheTristan Thanks for the welcome! and thank you for taking the time of your day to check out my music! I really appreciate any feedback and looking forward to hear what you got say more!  It's already been very interesting composing for multiple instruments my primary background is piano. I especially am blown away how much you can get away with modifying the motifs cause it feels like the instruments themselves can ground a motif pretty well. 
    • TristanTheTristan
      Acceptance

      By TristanTheTristan · Posted

      Hi there, @MinGry, welcome to the Forum!   This is a decent piece of music, for a start, although, I do realize there a lot of compositional errors too.   Bars 1-2: One of my favourite parts. It kind of has a nice, catholic tone to it. I would say, this quiet opening really fits my style. Appreciate that, though stop writing tempo numberic markings, and start using muiscal terms more. (eg. Allegro; Fast, or Largo; Slow, etc.) Bars 2-4: This is where thngs start to get messy.   (not done yet, gonna come back later)    
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