Defearon

Thank you for replys! I'm happy to hear it sounds nice to others. Luis Hernández! My native language is not English, maybe I used 'minimalistic' as a non-proper for for a music without complex structure neither counter-point. In my vocabulary, 'minimalistic' meant to be simple :). But you are totally right it is choral style, maybe I had to use that phrase.

This is a minimalistic piece I wrote for the Feast of Corpus Christi. The melody I think is easy to sing for any amateur choir. I did not want to write a poliphonic and 'large', massive piece. I tried to express the beauty of the text by it's simplicity. You sing the verses between the repeat bars ( not needed to sing all of them), then you sing the 'Amen. Alleluia.' part. In theese short minimalistic pieces, I always let the conductor decide the dynamics and the accelerations-deceleration. Only the most important of them are written. As the harmonies I used, I'm open to any suggestion, that helps me to make the piece more likely fit in the mood it has. There might be more proper solutions I did not take into consideration. Thanks!

This document is intended to introduce the basic of baroque and classical figured bass, and to visualize the rules of its harmonization by examples with comments below (if needed). -- FURTHER INFO IN THE DOCUMENT --Figured Bass Harmonization.pdf Thank you for reading! Bests!

Thank you for fast reply! I was also thinking about a chatarsis or fullfilment for the song, because the first two verses are introductory-like. I mean, nothing important happens or draws up. But in the end of the poem (which I did not translate) the moral and the conclusion of the entire piece comes up, and this is the point I would like to have this chatarsis, when the soloist reach higher and stronger (forte or fortissimo) notes and melodies. But in the beginning, I think I used often pentatonic scales, lower sung melodies, and authentic-like (from B minor to A major) terminations, where "sol" in solmsation is on the top by the singer, because I wanted to keep the mood of the verses. They're about mental and phisical peace, spring, rebirth, etc. which I associate with placidity. Thank you for writing your ideas and remark, I really apprechiate them! I will definitely give the singer higher notes to sing and coloratura! The bests!

UNFINISHED VERSION! I am trying to compose one of my favourite poems for soprano or tenor voice (octave below), but I'm littlebit confused, right now. I have never composed for solistic voice and accompainment before, only pure choral and some orchestral pieces I have worked. I'm asking for advice, if my work fits in some style of solistic pieces, because just like I said, I have no experience with solo, nor browsed any sheet of the "old masters" to have a look at how it works basically. So the poem is about spring, and the first verses could make out a sleeping song too. This work is unfinished, I have 3 more verses, in which I'd like to use more themes, more joy and sadness, etc. My question would be if it works well so far. The lyrics are in Hungarian, so I try to make a freestyle translation. Here you go: When Spring divides its kissis, and within the greening forests, sunshine is present, Waking up on the wet lawn, Tiny, small, white stars of Earth. To the velvet of the fields covered with dew, Whitening and falling down thousands of starflowers, And above, the wind blows softly, So the trees are waving at the edge of the forest. (...)

This sketch was up to study how to write instrumental accompaniment for a simple chorus, how to write different variations of a melody, and of course, what sequence I should use. The lyrics are from the medieval ages by Albert Csanády, and it could be used as a sentence of a Christmas oratorio, or something like that. Again, I say it's just an attempt or sketch that I upload, and I'm up to get adives or criticism, in order to get the accompainment, the melody or the sequence better, according to classical construction style. Thank you!

This piece was composed by me, and as it's one of my favourite poems, I wanted to give it 'sounding'. Albert Wass was a Hungarian poet of the 20th century. As Hungary lost both wars, Transylvania was taken by Romania, where Wass was born. For he'd taken part in World War II., he'd to exile himself from the country to the U.S., and he could never return. If he'd did so, he'd been executed (or at least jailed) by the Communist Goverment - that took control of the country for 1989 - like many people. In he's poems, patriotism, nostalgia, the wartime losses, bitterness, and of course, the transylvanian-hungarian land(scape) has a strong role, and frequent presence. The poem is in Hungarian, but I translated it to English for you. Unfortunately, I'm positively not a poet, so I only cared about the content and the meanings, not about the form and rhymes. You can read the translation below. As for the sheet, the piece was recorded with EWQL Brass Section and Finale 2012, and it's up to ignore the dynamics I wanted. But please notice, that in the sheet you can find the correct notation. I was trying to accord to the poem, and 'paint pictures to music' I saw while reading it. I used many specific 'Hungarian folksong - sounding' melodies and harmonies. I take any advice, remark or criticism that helps me make my piece better. Thank you, and best regards! Translation by Defearon: Dearest love of mine, look at the mount's ridge! A coat is made thereon, by the blonde rime. And where the creek flows, recess-like, it visits the woodlands covered with death. And within the woodlands blood and death exists. Everything is cold to the bones... everything, that was scattered as a present, by the Summer. And sometimes, soft winds are sneaking through, sending a message, "the faith was vain", And - what is left here by the dead Spring - it's buried by the leafs of the beeches. And do you hear it? Magical melodies are heared from the clouds high upon! See? There are brother-crows marching through, a wandering pair in love. And they are flying together, forever, where the Fall made melodies and flowers fall... (Maybe I'm still a poet :) ) Dearest love of mine, come with me to the Fall, and stop with me high, at the rime-white edge, under the saddest but finest beech-tree, and see, what beatiful wilting is! And the megic left here... is only left for us!

This is a short piece by my for a solo trumpet and a continuo instrument. I'd like to let everyone know, I'm not a trumpet player, and also don't play continuo often. I'm opened to receive any critic or advice to make my piece more fancy, and better sounding.

Dear J. Lee Graham! I am truly appreciated you replied on this post with such satisfying, helpful, and honest comment. As my musical studies, I learnt in elementary music school for 3 years (piano, singing, and a bit brass), and graduated of six years curriculum of solfeggio with maximum score at the exam. That means I am really intrested in musical theory, and music itself. :) (By the way I am considering to apply to Liszt Ferenc University of Music in Hungary as a musical theory and conductor-teacher. And if everything goes well, maybe PhD of music in order to teach at university.) The parallel fifths was a mistake, because as you noticed well, I was trying to follow the classical composing style in this piece. When I'm doing that, I always avoid parallels as fifths, octaces, (firsts, if the similar note is doubled and it's not unisono,) and also reduplicative thirds in a dominant, predominant and tonic chords. I am really grateful you've noticed and let me know about the mistakes I made. Considering measure 9, where I used the fifths you mentioned... I think it was because I was trying to make a religious music. In such pieces, using open fifths even in classical style are close to me and I like, because it gives me the feeling of the religion. Or I don't actually know how to talk about this. Maybe in old-religious music they used only parallel fifths, fourths and octaves. Maybe it "tells" me I need to use it... But you are totally right, that I used the open fifths for too short time (2 beats with bmp circa 146). So I listened your version, and I think it suits the piece better then the original. To finish with, I'd be truly glad if you could show or tell me your list of suggestions. I am truly interested in that, and of course, my sheets are not under copyright. So if you would like, you are free to modify the originals and send it to me to show better voice leading and harmonies! Thank you again for your comment, and I'm waiting for your reply. Best wishes!

This march was written by me in 2014 for a student's band, but unfortunately, it has never been performed. The syntax tries to follow the structure of a classical march (with repeats, introduction, trio, etc.). I'm up to write a better ending for the piece. I think after D.C. al Fine, I should add a dominant 7th svorzando chord in eighth time, also staccato maybe, and end with a tonical chord with glissando (sol-la-ti-do) for the instruments carrying the lead melody. Recorded with EWQL's Symphonic Orchestra Gold Edition.

Regina coeli (Queen of Heaven) is a latin verse and chant for the Easter Holidays. In the spirit of 2016's Easter, I made this composition for regular SATB choir with the following syntax: The sentences of the verse before every "alleluia" are repeated twice. Firstly forte, then piano (as an echo). The "allaluia" parts are trying to follow the same harmonies and structure. I deem this piece as a minimalist-styled choral, because it's simple rhithmics, harmonies, and modesty. Recorded with Garritan Instruments' choir soundbanks.

This piece of mine was inspired by the lead melody (soprany) which I found in the Book of Evangelical Songs (149th, in Hungarian). I found the meoldy various and expressive, so I made a choral arrangement of it. The performance is available at: https://www.youtube.com/watch?v=n8Q2SE4aAqs The lyrics are in Hungarian, but I'm up to find the English appropriate of it. I think it's some variant of the well-known Oh come Immanuel lyrics but not the same. Hope you like it!

This piece is about the suffering and the passion of Jesus Christ. " Tenebrae (Latin for "shadows" or "darkness") is a Christian religious service celebrated in the Holy Week within Western Christianity, on the evening before or early morning of Monday, Thursday, Good Friday, and Holy Saturday." (Read more at: https://en.wikipedia.org/wiki/Tenebrae) With this composition, I'm trying to let pure emotions lead the melody and the harmonies. The first part is about the suffering, but from the middle part to the last (repeated) canon-like part of the piece, I tried to draw up the salvation.

This is an arrangement by me of the popular song SOS of ABBA.