Hane

Following my previous keyboard Suite in A Minor, I have composed a second, more experimental, Suite in G Major. In addition to Bach and Handel, the influences for this suite include the French Baroque composers, Couperin and Rameau. I. Marche: I have experimented with a tonic bass pedal in the opening bars, and an unorthodox modulation and cadence in the final bars. II. Menuet: with a fugal A section, and a contrasting minimalistic B section. III. Sarabande: I have tried to travel from Handelian grandiosity to Bachian linearism throughout the course of this movement. IV. Gavotte: perhaps the most conservative of the five movements. V. Gigue: a minimalistic gigue in the style of Rameau. I hope you enjoy it. Best wishes, Hane Htut Maung HHMaung - Suite in G Major - I. Marche.MID HHMaung - Suite in G Major - II. Menuet.MID HHMaung - Suite in G Major - III. Sarabande.MID HHMaung - Suite in G Major - IV. Gavotte.MID HHMaung - Suite in G Major - V. Gigue.MID HHMaung - Suite in G Major.pdf

This is nice. It reminds me of some of the Neoclassical piano exercises of Stravinsky. You're right, some of the intervals make it unplayable with two hands. However, this can be fixed by altering the compound intervals in bars 5 and 6, that is, by changing the tenths into thirds. Also, some of the notes are not necessary in the final chord, as chords playable with two hands on the piano, with each hand spanning an octave, can sound very full anyway. Best wishes, Hane Htut Maung

I liked this. You have some good ideas here. If I may be permitted to give my analysis, your piece sounded like it was based on a limited number of tones and intervals in a repeated series, which alludes to a personal synthesis of minimalism, serialism, and a Neoclassical passacaglia-like form, a bit like the works of Schoenberg, Berg, and Webern. I do agree with The Nightfly that the piece would benefit from more development. Despite the atonality, you have succeeded very well in creating cohesion within the piece through consistency of rhythm and repetition of the serial pattern. However, more development, such as gradually introducing notes with shorter note values, would build up the pace and tension to give it a sense of direction. That could be easily achieved without increasing the length of the piece. Also, you said that you don't have any idea where your songs come from. I think you use a very unique and vivid tonal palette. Perhaps what would be useful would be to take a look at your piece and analyse what tones and intervals you have chosen to use. That could increase your awareness of your musical language, allowing you to harness the tonal palette you have used, and use it in a more versatile way. I look forward to hearing more of your pieces. Hane Htut Maung

Thank you all for the comments! They were very encouraging. I composed the suite between April and July of 2005. Each movement took less than three days to complete, but they were composed at various times throughout that four-month period. I turned primarily to the keyboard suites of Bach and Handel for inspiration, with the Menuetto, Bourree, and Gavotte being influenced more by the former, and the Allemande and Gigue more by the latter. I was aware that the Baroque suite usually takes the template of Allemande, Courante, Sarabande, and Gigue. However, I did choose to deviate from this rule. I was experimenting with different combinations of dance movements, and I found that the one I used, Allemande, Menuetto, Bourree, Gavotte, and Gigue, achieved a pleasant balance. Hence, I will probably use this combination as the default template for my future suites. Attached is the score in PDF format for those who requested it. Best wishes, Hane Htut Maung HHMaung - Suite in A Minor.pdf

I enjoyed this on first listening. It certainly possesses a Bachian studiousness and intensity. If I may be permitted to make three suggestions, already brought to attention by Euler: Firstly, it does sound like you are alluding to three-part counterpoint in bars 9 to 26, and again in bars 35 to 42. I think it would, therefore, be a good idea to separate out the voices on the score, so that it is notated as two voices in the treble and one voice in the bass. Secondly, there are parallel fifths in the piece, such as in bar 19. Watch out for these! It would be a good idea to fix them. Thirdly, the piece contains a number of open fourths and fifths, such as in bars 10, 20, 22, and 38. These intervals can often give a sparse, dry texture. I'd recommend that some of these be filled in with thirds and sixths, which will give a richer texture. Aside these, you have written a very charming piece, with freshness of invention and warmth of expression. You also have a good sense of form and development, with the pace and tension gradually building up until the magnificent explosion of semiquavers between bars 27 to 34. After polishing up some of the technique, it'll be excellent. If you make any further drafts, I look forward to hearing them. Good luck! Hane Htut Maung

I like this very much. I think you've successfully extracted the qualities of Bach's melodic lines and expressed them in a wonderfully parsimonious fashion. I look forward to hearing your following Bach Studies. Well done! Hane Htut Maung

For me, the greatest composer is Wolfgang Amadeus Mozart. To me, he embodies musical perfection. While I also rank Bach, Handel, and Beethoven highly, Mozart to me is on a different scale altogether. Bach's music is great because it is well-constructed, but one can see how it was constructed. It even sounds constructed. Hence, his technique can be learned and reproduced, as evidenced by the colossal number of truly brilliant fugues posted on this site. However, with Mozart, it is as if everything just happens to fall into the right place. It is as if he sees the music on a higher level. Like Bach, he has shown himself to be a master of technique, such as in his choral works, late symphonies, and works for mechanical organ, but, to me, his music also possesses a Handelian warmth and Beethovenian emotionality that Bach lacks, as well as a natural melodic elegance that all three of the above lack. Every aspect of his music is in a delicate balance, and yet he excels in all of them. For this reason, I feel he reached musical sublimity. Hane Htut Maung

J. Lee, This is one of the most inspiring lessons in fugal writing I have encountered, and a truly remarkable fugue on a well-known theme. Thank you for this. Yours, Hane Htut Maung

This is truly excellent! I can't praise it enough. I am still struggling with fugal writing, so I'd love to know how you acquired such bold contrapuntal technique! Best wishes, Hane Htut Maung

This is an easy Baroque keyboard suite for piano in five movements, composed in 2005. I. Allemande II. Menuetto III. Bourree IV. Gavotte V. Gigue I was still struggling with the Baroque style when this was composed, and I think much of it still sounds cliched or rushed. Nevertheless, I hope you enjoy it! Hane Htut Maung HHMaung - Suite in A Minor - I. Allemande.MID HHMaung - Suite in A Minor - II. Menuetto.MID HHMaung - Suite in A Minor - III. Bourree.MID HHMaung - Suite in A Minor - IV. Gavotte.MID HHMaung - Suite in A Minor - V. Gigue.MID

A symphony in four movements in the style of Mozart, composed in 2001. I. Molto Allegro - A fast sonata form movement in G minor. II. Andante - A slow binary form movement in E flat major. III. Menuetto & Trio - A fugal minuet in D minor, and a trio in D major. IV. Allegro Assai - A fast sonata form movement in G minor. This is an early composition of mine, and was performed by the Jesmond Combined Schools Orchestra, at St. George HHMaung - Symphony in G Minor - I. Molto Allegro.MID HHMaung - Symphony in G Minor - II. Andante.MID HHMaung - Symphony in G Minor - III. Menuetto & Trio.MID HHMaung - Symphony in G Minor - IV. Allegro Assai.MID