dmc

Thanks John, It was extremely generous of you to write such detailed explanations; I really appreciate you sharing your knowledge! You clearly know a lot! Time to begin reading Mr Aldwell and co. If you were in Australia, I would definitely book a composition lesson with you! Thanks again mate!

@JohnBucket Thanks so much for taking the time to write as much as you did! I spent many hours carefully reading what you wrote and i think i I really gained some insights. I have got my hands on a copy of "Harmony and Voice Leading" which I'll be studying. I understood most of what you were saying but just some questions: 1. Re bar 3 you say " in the absence of the fifth, the ear would interpret this as I6 over iii ". Does this apply to other chords to or just I6 and iii for example would you head V6 over viio? 2. In Bar 4 you say " Furthermore, the accented augmented fourth, while having an acceptable downward resolution, is too on the nose, " which notes are you referring to? 3. What do you mean by what larger harmonic progression do they represent? Could you please give an example of a harmonic progression they could represent? It seems a bit to me that because of the nature of counterpoint harmonies change constantly throughout a measure. Is it ok to have a I - V - I progression in opening bars just to establish the key? I imagine any harmonic progression is acceptable as long as there is logic to it? What is typical? What sounds good? 4. Re first 4 bars how do you achieve a point of closure (V-I cadence????) and why is it important to have this? 5. Re: unprepared 7ths in measure 5. How are they supposed to be prepared? I assume the 7th must be approached by step? Will do some research on this :) 6.Could you please explain how in C maj invention M3 closes on tonic. I see it ending on an f in the upper voice and a b in the lower voice? I understand what you mean if you begin on the sub dominant of the new key then it will sequence naturally and lead to this new key. Excellent. I like that :) 7. Re: Quantz' maxim does Bach not use in Invention 1 bars 3 and 4 four sequences? 8. Should cadences be PAC or IAC or does it just depend what you want? Thanks a lot for all your help, really appreciate it. I'm going to rewrite this. Perhaps it will have a new motive or similar motive but I'll just try and do essentially rewrite something similar in style but with your suggestions. Through doing this i hope it is easy to see if I have improved. Thanks again! Dan

Thanks Luis, Monarcheon and John for the feedback. It's really great because how else can you improve! Sorry about the chord names, i forgot to get rid of a few of them when i changed some things such as in M4. I have just changed the tempo of the file now :) I actually modeled it off Bach's invention no 1. He has the subject and then uses it in its inverted form throughout. He also uses the augmentation of the first 4 notes throughout especially during sequences where he modulates but also in other areas. His subject is in every bar throughout and i think in his invention 13 he does this too. However i can accept that his subject is more interesting :) Some questions: 1. I tried to stick to the counterpoint rules as it is 2 voices i made the notes consonant (i think). Haven't written anything in a while so may have forgot some things. 2. Could you please explain why " second part of measure 2: in the right hand you have A-G-F-G, and in the left hand F-G-F-A-G-F-E.... " is messy as if i understand why i can avoid doing it? 3. My understanding of how to write an invention (roughly) - introduce motive - repeat motive in lower voice while playing counter motive in upper voice - play counter motive in lower voice, while this occurs repeat motive perhaps in dominant. - play counter motive in dominant in upper voice. - use sequences to modulate to a new key (using alterations to motive) - circle progressions leading to a cadence - repeat for how many sections you have in different keys I understand that of course you can vary this a bit but is that not the rough formula for it? If not, could you please point me in the right direction (a website maybe)? Thanks again for your help!

2 part invention. Starts in F maj, goes to C maj, then to G mi, then to D mi, then back to F. Feedback is greatly appreciated. Please let me know what you think is good or bad or what i could have done differently. Thanks, Dan

ie 3 parts from the broken triad and 3 parts from the block chord?

Thanks PSaun! Really appreciate you replying and your advice. So (talking piano) that means if you have a broken triad in the bass clef and then a block triad in the treble. You have 6 parts to check for consecutive 5ths etc?

a