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Concerto for 4 unaccompanied violins, G major, 1st movement. I'm late for class, sorry I didn't say anything else

Fredrick, didn't you basically say that someone BEFORE Franck used cyclic form (Berlioz in particular),which utterly contradicts your claim that Franck invented cyclic form. BTW, you're all horribly wrong. Palestrina SO invented Rap, Jazz, AND New Age... Why??? Because I said so, and since I'm full enough of myself to say so, it obviously must be true!

Just like we compare the fact that normally most people calm down when we've told them the umteenth time to stop acting like they own the musical world... which evidently has been a big mistake on our part. Oh, and since when was Franck's symphony not orchestral- I quite obviously thought it was originally written for a-capella choir... and yes, Fredrik, I am speaking with much sarcasm.

Thanks QC, that's relatively interesting, and makes much more sense than quoting random stuff out of a book because someone doesn't actually have any clue what they're talking about.

All that I can really suggest, and I'm not a master of the topic, is that those styles refer to the baroque era substyles of italian music. Now that I've just restated the obvious, I'll go into what I do know. The Venetian style was exemplified by Vivaldi- and is more instrumental in nature, the Neopolitan Alessandro Scarlatti- more vocal in nature, and I suspect that the Roman style refers to those composers still writing in older styles like Palestrina. When looking it up on various sites (cited below), it seems that the styles are also inherent in how opera plots were made: Venetian operas had mythological plots, Neopolitan operas were much more politically based, or at least more historical, and the Roman style was that of the Sacred Opera. Alessandro Scarlatti: life and work, in Rome and Naples Baroque Era - Vocal Hope that was somewhat helpful. I suspect that if you wanted more info on these subjects searching for a book on Scarlatti or Vivaldi would be helpful.

Since when in heck did we start calling Franck's first theme the "Theme of Faith..." hmmm... blazing orchestration.... Setting the instruments on fire might actually liven the piece up, although since you obviously mean "blazing" as "amazing," then may I suggest to you a slew of other Romantic composers who were considered masters of orchestration; Beethoven, Berlioz, etc... Seriously, but when you're a late romantic composer, being good at orchestration doesn't exactly fit outside of the mould, if you know what I mean. As to form, I can honestly assure that you Bach, Mozart, and Beethoven were all completely capable of creating cyclic works before it was "invented," and inventing something that was already created doesn't exactly qualify as being original now, does it? And now you're telling us that your favorite Franck pieces are his 3 chorals for organ... did you manage to hear them before they were composed?

Yeah, he just accused a professional composer of perusing Wikipedia to comment on a piece. What Frederik isn't telling you is that everything he wrote to tell us about that symphony utilizes Wikipedia... Notice also how he managed to ignore QC's comment about "modulating to distant keys" describing any late Romantic composer... If this goes into a "Franck invented Death Metal" alla "Wagner invented Jazz," I'm not going to be surprised in the least. QC, if I may give you Frederik's credentials... he has a major in BSing, which means that he is qualified to act as if he's everyone's better.

Wow... and now it's my turn to say that this discussion has neared pointlessness. Although, by this time it's safe to say that the score is Robin, SSC, and co. - uncountably large number New people who are idiots- 0 To address gianlucia... They've all raised intelligent points since you've stopped posting on here... so maybe when you say you're going to address intelligent points you must mean points that only you can attack while sounding like you know anything about what you're talkinga about. To address the topic: Music is defined in Merriam-Webster's dictionary as "the science or art of ordering tones or sounds in succession, in combination, and in temporal relationships to produce a composition having unity and continuity." If you (gianlucia) must blather along about art having to be emotional, I again refer you to the same dictionary, in which art is defined as skill acquired by experience, study, or observation concerned primarily with the creation of beautiful objects." Don't you dare give me any of that bs that states that any of that has to do with emotion... Math can be "beautiful," and yet I daresay beautiful math will not make any of us cry/become happy/angry/etc. I'll take my dry, "boring," and utterly emotionless Bach because it's what I LIKE... not because it makes me feel emotions... Saying that emotion is the core of music means that rap is inherently better than anything else because it makes me angrier than hell (sorry to all you rap fans) faster than anything else makes me happy or sad.

I can't make a pdf right now because I'm not on the right computer (which is a good 200 miles away, so you'll have to forgive me for that). If someone can make a pdf file... that would be greatly appreciated.

Hi, I hope that the piano section is the right place to put this, if not... well...sorry. It's been a long time since I've actually added anything that's been finished here, and I know that one major problem with my composition has been in being interesting harmonically (let's not get into the counterpoint issues, but the last of my finished works that I uploaded- a flute concerto... was kinda glued to g minor beyond all measure of reason). So, now that I've had time to start composing again, I've decided to start back at writing short pieces to get to grips with harmony and counterpoint so that I can deal with larger works better. With that in mind, (sorry for the long intro), I wrote this minuet for keyboard earlier this morning, and then edited it as best as I could. If someone could review it, that would be great. It has a relatively simple theme, and as far as I wrote it it's a 16-measure minuet, so it's a fast listen. I'm still a little worried that it's somewhat glued to C major, but as a 16-measure work I hope that that can be somewhat expected. If anyone has any advice on it, it would be well-taken. Minuet in C Major.MUS Minuet in C Major.MID

Yup... Technically, it's a Requiem Mass, so yeah.

Umm, the parallel octaves would be the parts where two instruments are playing the same lettered notes at the same time. If you're so good, oh Great Apollo of Music, then that shouldn't be hard to find.

Well, I know that the requiem mass is usually considered dark... here's a rought translation of the lines that I have so far. Eternal Rest Grant unto them, Lord, and may perpetual light shine upon them. A hymn becomes unto you, O God, and to you a vow shall be repaid in Jerusalem. This to me, because of my faith, doesn't necessarily translate to me as something that requires minor chords... it should be a lot more uplifting, a lot more hopeful. Thank you very much for the review... I will have to go back and change a few things to get it closer to what I want.

Yeah... great in whose eyes... yours or the rest of the world's?

Hey everyone.. I started writing the opening part to a requiem mass a few weeks ago... and I haven't come back to it, but I want to know if what I have so far is worth continuing. Back when I wrote it, I had the exact text-to-note in my head, but, as all composers do, forgot to notate it, so I penned those in as best I could. I just want to make sure that it's not too unnatural. Forgive me also on the two solo parts for Alto and Soprano, as the string accompaniaments are quite literally chords on the string parts. Also, I wasn't exactly able to save a midi or an mp3 file or pdf... sorry but this is my computer that has only notepad on it. I almost forgot to say thanks... but thank you so much for looking at it. Introit.MUS