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A short violin tune. I tried to make it sound very-very dark this time.

Sinfonia in F major - scritto a mia moglie Trine Vacation from wrok and some spare time i wrote a new Sinfona for baroque orhcestra. This time in the key of F major and dedicaed to my wife. Insted of writing full suites or momenets my sinfonias are two moment works (Grave - allegro). A slow lyrical movement with a fast fugual movement. Grave: Calm, lyrical and from my perspective romantic movement. Keeps for the most part in the clam key of F major. Allegro: Majestic theme, 4 part fugual exposition in F major. Middle section in d minor breaks up the fugue with sudden change of charachter and emotion.

Sheet music seemed ok to me given it's an example. You can trim the bars at the end when ready. Point is, composing melody is so personal a thing that it's difficult to give feedback. Always easier if they have a context/a background against which they're set. I found them rather choppy and angular but a) that's just me, b) in another form they might transform to something very lyrical. I mean, just changing #2 to a legato and perhaps altering rhythm and stress makes quite a difference in mood. 'Choppy' might be what you want (a sprightly ballet scene or something) in which case fine. It might still be worth looking at traditional melody writing (if you haven't already) just to broaden your repertoire. Traditionally you'd have, say, two balanced parts, the first ending on some sort of imperfect cadence, the second on a perfect one. Also worth learning a bit about modulation as melodies usually lead somewhere which might be to a new episode/melody in a different key. Likewise you might have a surprise modulation in a melody but need to know how to get back to the home key. These things take a bit of practice across time but they come in the end. Sorry if you already know this but in case others don't.... Usually, combining melodies counts as 'development' which often needs movement around different keys. (for those who want to explore this from scratch have a look at almost any Mozart Sonata first movement or Eine Kleine. There's a further point... writing for a melody instrument other than keyboard, the harmony is implied in the melody. You seem aware of this but it's worth experimenting with greater variety in a tune like this. For example, bar 3, shift the whole thing up a minor 3rd (to A flat) then back down in bar 4 to get back in the home key. Can you forgive me quoting your tune but changed thus, as an example? Must admit I've never thought about compositional goals. It's been about self-expression above and beyond the capabilities of words and, if I get the chance, make a little money out of it with some commercial fragments or at least a decent dinner and a few beers if working with someone else for nothing! (which has little to do with self-expression but what the 'client' wants!) Cheers.

Hi everyone, I have a quick basic question that I can't really find a proper answer to. Basically, can I write the bass line in the image below? (it's not a real thing, just written to illustrate my point. I actually realize it has other problems cause I wrote it mindlessly, but I just wanna discuss the specific question below 😅) I am in f minor, and want to make a scalar progression from D to F starting on beat 3. I use the ascending melodic minor to avoid the augmented 2nd D-E#. But the "problem" is that I already used an unaltered D in the same measure, in both voices. It seems to me like it's akin to a false relation (even though both voices are not on D and D# at the same time). Is that a "mistake" in the classical style, or is it no problem? I also find it a bit strange to have both the D and D# in the same measure and same voice Incidentally, it is not the focus of my question but it's also making a diminished 5th with the voice above... Is that accepted in this context? I am quite struggling with the practical details of melodic minor scales and I don't have a specific reference about it.

Hello guys, I think I’ve finally written a complete theme. However I’ve been struggeling the last few days. This is because I am totally lost where I want to go from here. Any ideas would be highly appreciated.

This is just wonderfull. I have really enjoyed these pieces, first one was very pleasant to listen to, and the third one was very engaging. And all 3 of them were just very beautiful. I am thoroughly impressed. Bravo.

I think any hobby becomes more rewarding when you have a goal to aim at. My mid term goal is to compose a piano sonata, my long term goal is to write a full scale piece for an orchestra. There are many shorter steps to take before I get there. I need to improve my harmony, learn orchestration etc. Music theory is a little like mathematics in that its best learnt sequentially, learning to count must come before learning addition and subtraction, and addition and subtraction before multiplication for example. I would highly recommend watching some YouTube videos on note value, rhythm and time signatures, then scales and key signatures. Then move on to melody writing especially the idea of the musical sentence. Learning these topics well will help you in your melody writing goal. I really like some of the ideas in your melodies and they are a great start. I took the liberty of reinterpreting the motif from your first melody into a simple sentence to give you an idea of how once you have a catchy rythm you can easily expand it once you know sentence structure.

I don't see the problem. Bach did it all the time. I mean, combining different minor scales. Invention nº2 in C minor:

I think it is a pretty nice piece! I do feel that this idea can be developed on much further and can be explored to greater lengths. Perhaps you could try varying the reprisal of the A section to make it more unique.