Elad_Hevron

Wow sir, this is something else, i really love it. the gigue you took from an already existing melody but you didn't pass the 11 notes rule. i loved that, I think the overture was too long but that's irrelevant, I think its the best harpsichord suite I ever heard.

My good sir, thank you for listening, first of all, it means so much that there are people out there who have the capacity to listen to an 18 m piece of music. i agree that the music lacks the adventurous feeling, harmony, and rhythm changes, I guess that is where I need to improve. you see, the Italian baroque is very flat, meaning that you have a lot of melodic sequences and the harmony is a bit in the key, which is hard to explain over text ;D I have a lot to improve... its my first cantata after all. if I will write a cantata again I will implement the tips you have provided me, I will listen to your music gladly. thanks again.

Hey Mark, its only one movement for now, if you are interested in looking at the score I can send you via email.

Yes my friend, thanks for listening! like in my rondo its ABCBA & coda. god bless you, Elad.

i invite you to listen to my oboe concerto which is my latest work, these kind of compositions i know how to do best! i hope 😉 in the italian style!

WITH PLEASURE, THANK YOU !

So i wrote this rondo a while back in late classical era style. the form is ABCBA which is the exact form of mozart alla turka rondo.

Great counterpoint! but when composing a motet you must introduce the subject from one of the voices, lets say you intoroduce a peice of subject from the cantus part along with the text. now, on the first BARLINE on the third beat (thats the common thing to do) you should insert the counterpoint from the alto part with the same text, it is usually accepted to write the counterpoint with the same ryhtm of the main subject on the third beat as i said. when the peice of text is over you will do the same thing but from the tenor & bass part, while filling in the blanks of the alto and tenor, after that you can basically do the same thing with the tenor and alto, while filling in the blanks of the bass and cantus parts, with the text of course. its very hard to explain like that but i hope you understand, your counterpoint in general is amazing, it is just the form that needs to be mend. keep it up. the main point is that motet never start when all the voices are singing on the first barline, no. you need to build it gradually my friend.

Dear henry, I am amazed that you have lisened to my entire cantata! thank you for that, it means a lot for me. i appreacite that you also gave me criticsm, i have much much to learn, you were right on many points and gave me some good insights. it was my first cantata that i ever written. the second recitative cannot be ARIA because theres not really a structure, there no ABAB form + the text is a continuion of the exposition, i mean thats the point of recitativo. anyways, it really means a lot for me that you have listened, i compose a lot of italian baroque style, although the cantata is german style which i am less good at. thank you for listening to my music, im sure gonna upload more contet in the future. God bless you and your family.

very unique, a tip. when composing a prelude it is expected to repeat the subject once you finish. the prelude you wrote is clearly not baroque, it doesn't sound even romantic. however, that does not mean that its not good, its very very good. well done!

your counterpoint is very intelligent!

Hat off to you man! this is something else, never stop.

AVE MARIA

This is so moving! i love this, well done!

very cozy recording! and an amazing composition, feels nostalgic!! how did you make the video like that? with the background picture and the score notation? its so beautiful! well done!