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Showing content with the highest reputation on 07/28/2023 in all areas

  1. Hello everyone. This is the first piece I have posted to this website. It is a menuet in two-part counterpoint composed for the keyboard, baroque in style - partly inspired by the menuets found in the Notebook for Anna Magdalena Bach.
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  2. Why not? I wanted to try to do it for two pianos. In Field style, which is much more "restrained" than Chopin.
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  3. Thank you for reviewing this from long ago. It's good to get things back. It's true that J. Field's nocturnes are a reference. I knew them after Chopin's, given their popularity. One of the things I always consider, when I do tonal music, is to look for harmonies, if not original, then less heard, as long as they fit in the style and flow of the work. It is true, I have a "problem" and that is that, I don't know why, there is a half-tone mismatch between what I write in the software and what it sounds like. It's weird, but as I don't see it as important either.... Greetings.
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  4. Hey @Luis Hernández, I'm digging this old post our yours! I do enjoy this nocturne in Field's style! Yes it's simpler than Chopin's style but sometimes that we need that simplicity. I really love your overall thick texture (except the passage in b.33, which I think you can add one more accompanying voice, but that's personal). Lovely harmony as well as you keeps inviting the Neapolitan harmonies, and it really provides the expressive power to move the music forward despite its dreamy mood. Your chromatic voice leading, for instance just the opening for the second piano, C-C#-C-Bb-C-D is very smooth. That progression from D minor to Ab major in b.11 is great change as well. One thing interesting is that your audio is a semitone down and is in C# minor, so this reminds me Beethoven's Moonlight more especially with those quavers in a group of three! Thx for sharing! Henry
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  5. Just wanted to drop this off here: I forgot you could do that! 😅
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  6. Thank you for listening and for your comments. I managed to find a solution for the odd phrasing and transposed it up to FM so that the flute sings better and the cello gets to play exciting notes in its higher register
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