Simen-N

I love it!, as you say its baroque, but not quite. Either way, i really love it! Great work! 🙂

Fantasia per organo pleno in g major. Its been a long time since I have written music, close to a year I believe. This week a felt like writing something again, this is a four voiced fantasia for organ written in the "stile antico". The structure is based on two melodic lines that follows each other in imitation and harmonic modulation. Both melodic lines are always together in the exposition. The inspiration for this is watching my 5 year old and 2 year old sons play (this time in harmony). My 5 year old does one ting, right afterward my 2 year old is doing the same ting, only a little bit different. Please tell me what you think,

Hello Guardian! In my opinion this is the best baroque piece i have heard form you. You really the melodic language in your head. There are many who try to sound baroque, if one try to arrange it its impossible because the melodic material is modern in nature. This problem is not something you have, and that is great. I think this piece as a whole is very plesant to listen to, you have some very good ideas. There are a couple of things you should focus on: Harmonic rhythm. Harmony/progressions. I think you main harmony (on the strong beats) works overall good, but its the passing notes and unprepared harmonic changes that is the problem. Often the tempo can cover this up, as it does here. For example look at score below to see more clear what i mean. Great job, keep it up! 🙂

Guardian25.pdfHello Guardian, Very fine opening and very nice mood. I think ms 2 should be Eb5. As well there are some modulations that is a bit sudden. Might be because you miss the thirds when you end on tonic (like ms 8). Ms 14 is tnot goot enough prepared. Progression to 15 does not work to well (you have g minor that seems to resolve to c minor, but you miss the root note C on the first beat). If its Eb it dont work. Thorugh the piece there are things like this that would improve both modulations and haromic quality. Allwas look to the previous chord when moving to a new one. I liked you opening so much that i made a lille adagio of it to demonstrate what i mean by mondulations, structure and missing thirds/root note. (Dont mind the parallel passing octave in ms 15 - 18. Its because of the basslines melody.) Love that you are doing baroque, good job.

Fantasia for solo cello. Its been a long time since i wrote something for solo cello, so i did a little movement today. Free form in the key of g minor. Please tell med what you think. (playback with horn sound for better quality) SimenN

Aria in c minor written to my son Jonas 05.05.23.

Thank you very much. Minor late in the dobule fugue because the that is where the two brothers start to fight 😉 The first play happy by themself, then together before the fight brakes out. Then the become friends again. D# it could have been yes, thanks for pointing out. 🙂 Thank you very much, well im too grounded in tradition 😉 But it could have been fun. If i where to do so it would be some chromatic stuff. But i did not feel that it was sutible for childhood play 🙂 Thank you very much! 🙂

Thank you very much for listening and commenting. If you could not hear it, i sadly did not succeed. Williams subjejct is the first. The opoening in the alto is just free counterpoint. The entry i 28 is Jonas-subject. Semiquaver beat parallels is done all over the baroque era, should be avoived, but it has something to do with the subject and the figures in this case. 🙂 Im glad you noticed fsharp minor section, that is where the drama between the brothers happen 🙂 Thank you very much for listening and commenting. I had marked inn the names for the subject, but something happend when i editiet the score. I use organ sounds because the sound better. Not much scorewritten dymanics in baroque, not in my music either. Up to the performer or conductor. The lines of the music talk for themself 🙂

Double fugue in g major. Free fugal form in the mid italian school. Inspired by looking at my two sons interact. Subject 1: William (0,5 years old). Calm and majestic subject. Subject 2: Jonas (3,5 years old). Energic and moving forward. Please telle me what you think. SimenN

Very impressive fugue! You have a great theme and sense of counterpoint. Love the ending as well, a good break for the fugual texutre. Where you really shine is in your episodes. My only cirtic is: - This soundes baroque, is there a reason for that key? - I agree with Luis, the reason why your episodes are perfect is because you dont overuse the counterpoint, its mor immitative and calm. The rest of the fugue your counterpoint is very heavy, draw some inspiration form buxtehude 😉 Overall great work, im very impressed

Hello, This is concerto no. XIV of my Italian concertos for violin, strings and b.c. This piece was written back in october 2015 in the venetian tradition, i have made some very minor chages in 2022. The tile "La luce" transkates to "The light" and its written in the bright key of D-major. 1. Allegro - The light 2. Adagio - The dark 3. Allegro - The light Please tell me what you think.

Pastorale in G major for keyboard written to my oldest son as lullaby for me to play. Playback with organ. Please telle me what you think! "Good night"

Congratulations on wonderful and well crafted piece of music! I really enjoy the contrasts in this music, in the language you are true to the style. I really like ms 21 - 34. This shows how good you are. Very dramatic in my ears. While i was ilistening i thought to myself, the motive fits perfect for a sequence of fifth, and in ms 134 it came. Very ncie. The "coda" in 144 an onwards was a little too far form the style for my taste. For me the first movement was the best, that one sounded most classical. Movement 2 and 3 was very nice too, but each movement sounded more modern and not classical like the first one. Still very well crafted. The last movement was fire and fury. You are more classical in style here, but still less then the first one. Still very good. SimenN

Thank you for listening! 🙂 that type of voiceleading is not uncommon in early/mid italian/north german baroque style. Tends more to the renaissance. I would say that this piece is written in stradella/schutz/preatorius influence. Glad you enjoyed the music. Thank you again for listening and commenting.

Yes i do 🙂