The J Posted April 28, 2009 Posted April 28, 2009 yes i know its by listening :) i brought 2 samples of my attempts, which i know arent too good at this style. i should probably invest more time in studying other people's work... but if you feel like helping i'd very thankful! The-J - orchestral exercise1 - SoundCloud The-J - Woodwind exercise - SoundCloud Quote
Max Castillo Posted April 28, 2009 Posted April 28, 2009 You should start with studying this type of music. The fact you can't even spell baroque correctly tells you haven't studied it much. Quote
The J Posted April 28, 2009 Author Posted April 28, 2009 well, that was a good start...besides my obvious ignorance and spelling errors, any recommendation of listening? Quote
Tokkemon Posted April 28, 2009 Posted April 28, 2009 well, that was a good start...besides my obvious ignorance and spelling errors, any recommendation of listening? Bach, Bach, the other Bach, Handel, Bach, Handel, Bach, Bach, Bach, Handel, Bach, Bach...and more Bach. Quote
The J Posted April 28, 2009 Author Posted April 28, 2009 yes i know bach but he wrote several hundreds pieces, any pieces that utilize just strings or just woodwinds? Quote
Qmwne235 Posted April 28, 2009 Posted April 28, 2009 It'd be good to study Telemann and Vivaldi for what NOT to do. You might also try Buxtehude, keeping in mind he is considered Bach's primary influence. Hey, Vivaldi was pretty cool. If you want to study extended techniques and bizarre harmonies in Baroque music, Vivaldi, Rameau, Couperin, and Biber are musts. Oh, and NOT PACHELBEL'S CANON!!! Quote
Tokkemon Posted April 28, 2009 Posted April 28, 2009 Bach was so good that the Baroque period died with him! During his funeral, his sons spoke to him in the coffin saying, "So yeah dad, ummmmm, I think we're gonna do somethin' diferent now. Ya know, now that you mastered the fugue and counterpoint and all. I think we gotta, ya know, shake things up a bit." Quote
Qmwne235 Posted April 28, 2009 Posted April 28, 2009 Couperin is the epitome of Frenchness. There would be no Debussy without a Couperin. Plus, his use of unresolved dissonance is pretty epic. Really, study as many of the great baroque composers as you can, and learn as much as you can about baroque counterpoint/harmony (especially the former) rules, then see how they are applied in the music. To go for a more holistic approach, study that time period in history, and study how they approached music. Also learn about the mechanics and availability of different instruments at that time. For classical, do the same thing, but with classical music. Quote
The J Posted April 29, 2009 Author Posted April 29, 2009 fuges are way off my composing levels, i own the brandenburg concert(i especially remember one really happy one at the end), i'll check it out. is it ok to post here a version of computer generated orchestra of the original? Quote
jawoodruff Posted April 29, 2009 Posted April 29, 2009 well, that was a good start...besides my obvious ignorance and spelling errors, any recommendation of listening? Obviously, study Bach and Handel - but don't limit yourself to them. Telemann, Vivaldi, Purcell, Monteverdi (later works), Rameau, Scarlatti, Lully, and one of my personal favorites Corelli. Corelli, I think, wrote well for strings. I always enjoyed playing his work. Quote
almacg Posted April 29, 2009 Posted April 29, 2009 fuges are way off my composing levels, i own the brandenburg concert(i especially remember one really happy one at the end), i'll check it out. is it ok to post here a version of computer generated orchestra of the original? If you want just strings try Air on the G string by Bach (make sure you hear the string orchestra version) and Adagio in G minor by Albinoni (actually written by Remo Giazotti). Try these: Quote
The J Posted April 29, 2009 Author Posted April 29, 2009 insane stuff..so above everything else..makes me feel ashamed at my composition skills :) let me get something out of those crazyness, in air in g the video transcription showed only 4 staffs, they are all doubled and played in unison simply? also in the adagio, when the orchestra hits a chord sounds like abit more than just 4-6 different parts...how many are there usually, if there is such a thing usually?(i'm guessing too many lines would be too complex for the regular ear) p.s. thank you all for sharing your knowledge! Quote
The J Posted April 29, 2009 Author Posted April 29, 2009 i find it very hard to hear the progression in classical themes since i'm jazz disciplined , I hear progressions by chords, and it repeats it self after 15-60 bars, here it goes and goes..time to go back to counterpoint classes.. Quote
The J Posted April 29, 2009 Author Posted April 29, 2009 i know its not much, but here's something i've worked on the last 2 hours, and actually related to the forums and my post The-J - the clown of the court - SoundCloud dont mind the ending..i just got tired of it in the end. Quote
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