Kathreptis

Here's my submission. Hope you guys like it. http://www.youngcomposers.com/music/3315/mirror-suite-for-organ-in-d-minor/

A little late in the game, but I will sign up.

Updated. I hope the score is less aggravating this time around. I also made sure the midi wasn't an octave higher than it needed to be (had to do that for sibelius in order to make the pedal notes more readable).

LOL that's quite kind of you, schrodin. As for the pedals, DeMaistre, I had that midi up an octave so I could make the score more legible. I'd neglected to sink it back down so it sounds higher than it should be :x (you'll notice that the score says something about 32' in the beginning) I wasn't going to post this just yet, but a lot of you seem interested so here ya go: I think I should start using another host.... I've got a good prelude going, more or less complete, followed by the chaconne (some changes were made, mostly minor), a fantasia that's incomplete, and a fugue that I absolutely hate at the moment (I will more than likely end up scrapping it and starting over), and two very brief ideas I can expand upon (ideas for movements come out of nowhere when I least expect them). As I said, this poor beastie is very incomplete and sketchy as it is. Until I get it to a point where I'm satisfied I don't want to post it just yet. I've been going so overkill on this project I'm going to have to stop and take a nice long breather soon to get my creative juices goin again. Thank you all for listening and giving your opinions/insights. I must admit I'm kind of shocked you guys seem to like this so much... can't say I feel I've really earned it.

Since I'm not writing in music notation I might get the terms a little confused. At the moment I've taken Morivou's advice on the pedal part and moved it into the upper voices, and some other minor changes. I am thinking of writing this as part of a small collection. Something like, Prelude Chaconne Interlude (very brief) Fugue I am probably in over my head here, but I'm trying to write a double fugue out of the chaconne theme. I start it off with an exposition of the derived theme, but after that things get a little hazy. Anyway, the idea is to kinda hint at the chaconne before re-introducing it as a fugue subject. Rhythmically, Theme B seems to work well. It's the counterpoint that needs some adjustment. It may be a little while before I'm satisfied enough with my work/revisions to post it. Thank you all again for listening and giving your advice

*laughs a little sheepishly at himself* yeah, Morivou I still am not so good at reading sheet music so I wouldn't know a good/proper score if it smacked me in the face and screamed at me. That, and I don't use Sibelius enough to know its foibles much. Really, it's very silly of me. If I just stuck to it I could probably get better at reading it. I was a little worried about the feasibility of the pedal section at measure 60, too. It's a strongly mutated variation of the ostinato. I have that uppervoice in the ostinato just to reinforce their shared notes (or at least that was the idea). The more I look at it the better suited it seems to being done in the upper ranges by the hands. I play keyboard/piano, though not as well as I might like. I try to keep in mind the limitations of the player, though sometimes I am sure I slip up. Thank you for your insights and opinions.

This piece to me evokes the image of gigantic teddy bear walking through rolling hills with sparse forest. I imagine that a boy is sitting on his shoulder (oh god I almost wrote 'sitting' with a *coughs* H in it. I'm glad I noticed >_>). I imagine that the two of them are having a friendly conversation about candy. (this does remind me slightly of winnie the pooh, though its definitely different) As for continuation of this piece? Well, just start experimenting and decide what you like. Who knows, maybe this boy and his giganto-bear end up in a forest of Seqoias or something, and the huge bear ends up looking like a teddy bear by comparison XD. Sometimes, all you need is a little break to give your mind a chance to refuel. Keep it up!

Thank you for the reply, Wendel. I'm sorry to say you may not like my revision, since I heavily edited/axed the section more or less after 2 minutes. One thing I still need to do is add some breathing space against that constant onslaught of 16ths in the second half (something I've always been a bit weak in).

Hello. This is an attempt at chaconne form. I studied ones by Buxtehude, Pachelbel, and I think a few others. I'm not quite sure if I pulled it off. What I do know is that this work is a set of variations on a bass theme. The ostinato is not as simple as it could be, probably a bad thing, and its long (15 seconds). Does having a chaconne theme that is as complex as mine (by comparison) disqualify it from being such a work? Mediafire download for the Mp3. No more worries over that ISP of mine. Updated 10/6: Whew! Another heavy revision. I can't seem to keep my hands off this piece. I've added another section between the inverted ostinato section (measures 77-100) and the coda, and there are many other spots where I've changed things. There is now a recurring motif/texture/rhythm that is used very often. There are 15 iterations of the ostinato. 2 of them are heavily altered (measures 17 and 53), most of the others more or less remain the same (some have minor changes). The 3 inverted ostinato statements show no variation, though they do a decent job of building tension. I try and hold this tension for a short while (measures 101 through 108) with some improvisation before returning to the normal ostinato (another 3 statements of it, 109 to 132, the 'new' section I'd written). The coda has also been altered. The prelude and fantasia are more or less complete (as well as a shorter, minute long piece). The fugue is what's holding things up more than anything else. Chances are, there is still some fixing up to do. Bazelis-2-Chaconne-v3.mid Bazelis-2-Chaconne-v3.pdf

I was talking to SSC about this piece the other day, actually. He said this was not so much atonality (as defined by Schoenberg) as it is free tonality and extended harmony. Basically you are right. I am striking elements of G minor and then striking the notes most dissonant to it. Some parts aren't really dissonant at all.

It gives me an image of my head of moths in the rafters of this huge ancient hayloft. I'm still trying to learn/understand dissonance better but it seems that you have a firm handle on it. Even the different sections have a consistent feel to them. What's that about a passacaglia, voce?

I see what you mean about the ending being arbitrary, so that's definitely something to revise. As for the tempo, I haven't done any timing dynamics yet but slowing down parts of it might not be a bad idea. The false endings would sound better with a gradual slowing, and a resumption of normal tempo when it doesn't end. Thanks for the insight and for listening. I've given it a shot and think it turned out ok.

Updated MP3 for prelude. At least I think it's atonal. There are infrequent tonal elements here and there. This piece is built around variations of a basic theme in 3/4 time, as well as frequent imitation. Phrases tend to be begin placed in tonal positions relative to G minor. I'd been intending to write a chromatic piece and it just kind of evolved on its own since I started it last night. It's just kind of ironic that the fugue I wrote this prelude for is like almost the opposite of the prelude. The prelude is so chromatic it barely has any consistent elements of G minor, except phrase placement. The fugue is so tonal it barely has any chromatic elements at all. Edit: Well, attempted to add a more convincing ending as well as better timing dynamics. Added a Sibelius 4 file, as well. Bury-It-4.mid Bury-It-5.sib

I'm not quite sure how many organ ones there, but a lot of the keyboard ones I know of are some of the most chromatic pieces I know of (as far as Bach goes, at least). The fugue for BWV 906, for instance (though they call it incomplete). . The fugue starts at 4:07 . This one is hard to play, and as far as I can tell very chromatic. Yet it never breaks out of E minor, oddly enough. This is me (badly) playing the start of it. You can tell I'm still a novice player. is also another good candidate for its use of chromatics.These have been interesting to study. I haven't quite gotten the hang of how Bach sets up his melodic minor phrases. He mixes them in so well I can hardly tell (unless I'm playing them). In regards to chromatic fugue organ pieces, comes to mind (the Wedge fugue), BWV 534 in F minor (fugue starts at 3:33), and lastly BWV 540 in F Major.As far as randomness in the piece goes I was mostly trying to get my different sections to flow into one another more convincingly, rather than gaining arbitrary song length or filler material. I can understand that one might get that impression, however.

This is something I made in response to a prelude my friend Tobias had written (It's here, if you're curious). Chromatic Fugue in G minor Although it still could benefit from some cleaning up (it seems sometimes as if voices don't have enough silent moments in parts), this is the most complete I've gotten to a finished fugue. There are 5 expositions. I introduce the subject in the dominant. In the final exposition I use an entry in the pedals in augmentation, and a melodically inverted version of the subject during this. Edit: ah... well, I'll just change the thread title to then if using the word 'baroque' generates too much negativity. At any rate, I'm still learning how to handle my counterpoint (though I hope I've been improving). Thank you for listening, GK. I appreciate it. One thing that bothers me about this work still is how gratuitously thrown together parts of it still are (like the episode preceding the coda). I don't give my voices enough room to breathe sometimes (which sounds kind of disconcerting), and some of my phrases sound incomplete, or sound as if they were cut off before they were done speaking. These are the holes you are referring to, yes? Exp 1- G minor, Exp 2- D minor, Exp 3- A minor, Exp 4- C Major, Exp 5- G minor What differentiates a modern fugue from a baroque style one? The time period it was written or the styles and techniques being observed? ToTheLast.mid