Gnomish

Thank you for your words of inspiration and encouragement. Of course, I do realize that patience is something needed in composing, so maybe it'll just come with time. I've been a composer for a year and a half now, and I've come to understand a great deal about harmony, though I've let use of counterpoint elude me since I've gone on to compose in other styles, mainly influenced by Enya. Perhaps I'll just wait until college and see if I can develop my s tyle further there. :D Even if I don't manage to get real knowledge on how to compose a piece in Baroque style, at least I have a great respect for the Baroque masters, including my favorites Corelli, J.S. Bach, C.P.E. Bach, J.C. Bach, Vivaldi, and Scarlatti. :) I'll just let my compositional style co-exist with my love for Baroque music for the time being, I suppose.... :)

That piece is hilarious! "Have friends help here." Lol! Oh, and regarding "Ridiculosity in Music"... *cough* P.D.Q. Bach *cough*. :P

Although I've consulted other forums and composers on how to compose a piece in the style of a traditional Baroque composer, I've never been able to receive a clear reply. I thought I'd try my luck here. :) Does anyone here have any suggestions on how to compose a piece of music in Baroque style? Key elements that are present in Baroque music? Every time I've tried to think of a Baroque melody or even pen down the opening bar(s) of a piece in an attempt to match that style, it comes out rubbish. :huh: No matter how hard I try, I'm never able to imitate my favorite genre of classical music. :P Key things I'd love to learn: 1) How to compose and implement practical imitation of various voices. 2) How to compose fugal pieces. 3) How to compose an authentic basso continuo. 4) How to modulate quickly when attempting to use fugal entrances. Anyone able to help me? :) If this were a simple thing, I'd have learned how to do it so far, but after purchasing multiple theory books, I'm still not able to grasp these concepts and many others at all. (My music theory book list includes: Study of Counterpoint by J.J. Fux, Study of Fugue (excerpts of Fux) by Alfred Mann, and Treatise on Harmony by Rameau. These are three great Baroque-style works, but I've struggled with each one in the fact that they give knowledge but not a practical means to use it in the way the Baroque masters once did.) On a side note, I have a small bone to pick with the Baroque section under the Musical Era heading on the front page. It says, "Of course, baroque music isn't as complex as the music today...." :blink: How so?! Is this to imply that Bach's Die Kunst der Fuge doesn't stand up against "modern" music?! I always interpreted the Baroque Era's fall to be a sign that complexity was slightly left in taste of stronger melody, less voice independence of the lines, and more fundamental modulations. Am I terribly mistaken?