Guillem82

Hi, it sound really good and feels approviate for a religious porpuse. Well done!!! I would like to see some organ or keyboard score to have a closer look to the harmonies...I am terrible reading C key. By the way is ther a particular reason of using C keys? I sing in a religous choir myself and I have seen it very seldom.

Hello, here my last composition for string trio and continuo in binary form.

Thank you @Luis Hernández for the comment. Agradezco tu comentario.

Thank you @PeterthePapercomPoser. That is indeed a very educative book and one of my favourites.

@Fugax Contrapunctus I am so sorry that you recieved my comments in such a negative way. I never said your melodies are weak or that your are a bad composer, not even that you must change a comma in your work...Sorry if I sounded arrogant or something like that, but I just pretended to openly say what it standed out to me after two listenings...Probably I am an old-fashined freak with not sensibility for innovation 😉. To be honest, if you post your music on the forum you should be open to certain criticism in a respectul and constructive way and don t take it so badly. Have a nice day! Guillem

Hi, Here a piece for I wrote for strings in baroque binary style. Let me know your comments.

Hi, that is a great composition with really good interaction between the two violins and nice modulations. Only remarks the harsichord part only in the bass cheaf looks a bit rear to me, I see a clear trio sonata texture. What about writing it for Cello and 2 violin? Harsichord part will be then played on the bass harmony giving some chords. Common practice would be write some throuthbass numbers unter the baseline, but it could be laborious if you are not familiar with that and one need a clear idea of harmony and dissonances, on the other hand could be a good exercise of voice leading and even inprofe some "weak" melodies. Then also the double notes on the violins look a bit out of the style and distract a little bit, also I see some unresolved dissonances. Final point the last bar is a bit strange. You resolve first in minor and than in major. But are fine, but I would choose one of those. One think I feel very common practice is resolving to the major chord with a decorated forth suspension on the harpsichord part.

Hi @PeterthePapercomPoser Thank you for the comments! I still think I could shorten a bit the developement minor section.

Hi Luis, I am happy you like that.

Thank you for the comment. Yes, I will try to compose a full concerto.

Hi, wrote this piece in Concertato style after studying Corelli (particularly some of his trio sonatas). I think it has some elements of Galant Style there as well, but I have explored the possibilities of imitative counterpoint, fugato passages and exchange between first and second violins, which are in the essence of Corelli and baroque music. Also I have recently installed Musescore in my computer and I am quite impressed of the available sounds out of the box. All sounds used from the free libraries. I hope you enjoyed it and will be happy to hear your comments.

That is a lovely motet and dedication. Well done! Have you inspired by a particular composer or set of motets?

Beautiful imitation style and interesting modulations. I also like the final pedal with the upper parts conterpoint. It seems I need to study also Bach's chorale preludes. Thanks for posting.

Hi Markus, thanks for sharing. Very nice binary form. I like the imitation interplay within the parts. From the first listen I could also identify some of the galant schemas. I have heard a Monte-Romanesca in the first part, a fifht cycle, the falling third harmony before the repetition and also a Prinner in the second part. I will relisten later and have a closer look to the score. But overall really enjoyable piece as always. Looking forward to your suite 🙂Regards!

Thank you! Im happy you like that.