Luis Hernández Posted September 11, 2016 Posted September 11, 2016 Sometimes, just for fun and to develop imagination, with no compositional intention, I write inventions in different tonalities, as Bach taught us. They're very short. MP3 Play / pause JavaScript is required. 0:00 0:00 volume > next menu inventio 1 inventio 6 inventio 14 inventio 16 inventio 21 > next PDF inventio 1inventio 6inventio 14inventio 16inventio 21 Quote
Monarcheon Posted September 12, 2016 Posted September 12, 2016 All very pleasant to listen to. They're short but the development in them regardless is really quite admirable. I like 14 the best, it flows the best in my opinion. Cheers! Quote
fishyfry Posted September 12, 2016 Posted September 12, 2016 Really enjoyable little pieces. Developing short, fast-paced motifs is fun for the composer, and the results are quite fun to listen to. 14 and 16 were my favorites, I think because I felt they had the most of your personal sound in them. There are a couple of places (most noticeably in m. 14-15 of inv. 14) where the melodic rhythm confuses the beat in a way that feels out of place to me in a piece in this style. Quote
Luis Hernández Posted September 12, 2016 Author Posted September 12, 2016 Thanks! I think this kind or little pieces should be done by everyone who wnts to be a "composer" or Composer... At least in the first weeks, months or years... In fact, I do it now and then for fun but it helps to improve the melodic variations and the modulation tools, too. Quote
KJthesleepdeprived Posted September 19, 2016 Posted September 19, 2016 Delightful, and also a very good idea for an exercise. I think I'll try it out sometime soon. Quote
Ken320 Posted September 20, 2016 Posted September 20, 2016 (edited) All very nice. My favorite was #6. One thing a composer can experiment with is to alter the variations to a cantus firmus by offsetting it back and forth in time (usually by a quarter note) which will probably make it sound wrong in places. Especially wrong if there are modulations in the cantus firmus. This forces the composer to listen to it in a different way and to make adjustments in pitch in the variations to remain somewhat coherent so that you are not locked into a die hard canon. It's just an exercise to get a composer to think outside the box. Although there's nothing wrong by adhering to strict 18th century counterpoint in your studies. Edited September 20, 2016 by Ken320 Quote
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