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Well, I also Stravinsky but specifically this DOUBLE CANON. It is very interesting how these ancient techniques are applied to the music of the 20th century.

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Hello everyone. To end this time in which I have been trying to go a little deeper into the Fugue, I have written one for the little baroque orchestra that I have defined myself. It is a 4-voice fugue in B flat major. Bringing the Fugue to the orchestral level has its difficulties, because in addition to the relevant voices, often doubled, you have to add the continuo, and also at certain times a harmonic support. Someday I will try with a large orchestra. But for the moment this is what I did and I want to comment beforehand that some harmonies are more modern than baroque, that's why there are chains of dominants, and some sevenths as if they were principal notes. Also note that as the subject is so lively, the counter-subjects are made with long notes, otherwise the mess was guaranteed. The episodes are more subdued, but their material comes out of the previous. I hope that, at least, you enjoy it.

Overall I think this a nice piece! I think the second half could be extended, and venture into a minor key, for example a minor, this would bring some "drama" to the piece in contrast to the overall Major tonality. But with how short and the ultimate purpose of the piece I can see why you kept the second hand to 16 measures. To me this reminds me of a minuet (though the time signature says otherwise), I think looking into the Galant Schemas Monte and Fonte, which were common to start the second half of a binary piece during the classical era. Overall, again nice work! Can't wait to hear more!

Oh I'm sorry, entries are closed for this video, I should have specified. The video is already half an hour and I scripted / recorded it already. If the video does well I'll do another around a similar topic or so.

Sextet in E-flat for 2 Violins, 2 Violas, and 2 Violoncelli 1. Allegro (Sonata Form) 2. Andante teneramente (Sonata Form) 3. Menuetto: Allegro spiritoso 4. Allegro molto (Rondo Form) Style: Late Classical, circa 1790-1800 Composed: 25 October, 2018 - 26 February, 2019 at Austin I was right in the middle of composing my Six Quartets for 2 Violas and 2 Violoncelli this past autumn when the germ for this piece came to me like a bolt from the blue. I very quickly composed the opening movement, and by the beginning of January, the second and third movements were complete. Over the last couple of months I've been working on the last movement intermittently, and completed it just this evening. There aren't very many works for this instrumentation in the repertoire, and aside from a set of six by Luigi Boccherini, none in the Classical style. I think I'll let the music say the rest as I'm exhausted now. I do hope you enjoy this work. I surely had a blast writing it!

Well, just listening to this right now (score video ver here) Recently just found the existence of this work by Stravinsky: and I keep looping Anzoletti's music lol

I'm still listening Bach this week and these are ones I find particularly fascinating: The canon subject is from the bassline of the Goldberg Variation and just speechless.... This one is for sure an organ masterpiece. This one is beautiful, particularly the 2nd movement with pizz. strings. Last but not least, this one is so energetic. Henry

As Usual I'll start: I've listened to a fair bit of Debussy, especially La Mer: Also this week I started working towards my Grade Six violin exam, so I listened to some of those pieces:

So I probably should be finished with my video sometime mid week. It's a very long video (half an hour or so), and I will only premiere it if we can get a headcount of who would be available to watch. I'm willing to premiere it off hours, like at midnight EST Friday or Saturday if that's what it takes. Is it possible to have at least all 5 composers tune in next weekend at midnight EST? I'm going to start collecting headcounts because I think it can be fun if we can build our premiere viewership.

Yo Vince, I love the use of different register and texture here which results in this "orchestration here", as in the previous ( ) piece too! I love b.150 too since that LH is actually the restatement of the A major theme of the 1st mov., but in a much different context. It really is difficult! But who will play it except myself LoL! For the articulations, I am the composer and I am sure I know what all of them mean. Many of them are added after my playing of it. Yup I think the part somewhat artificial too with the intentional 5/8 time. Maybe you don't like the counterpoint in it too haha! Yup you said that in the ( ) post too. I will use 6/8 now if there will be a final update of the score, and take the first measure as the upbeat. I used 3/4 then since I believed a Scherzo must use a 3/4 time LoL. Maybe I will practice the 3rd mov now after several people including you want to have a look of it! Thx Vince! I always loon forward to your review. Henry