Luis Hernández Posted December 4, 2017 Posted December 4, 2017 Christmas is coming... Just for fun I took some traditional melodies, some of them from Spain, and did something with them: CAMPANA SOBRE CAMPANA Partitura completa.pdf Hacia Belén va una Burra Partitura completa.pdf FUN FUN FUN Partitura completa.pdf NOCHE DE PAZ Partitura completa.pdf CAMPANA SOBRE CAMPANA - CAMPANA SOBRE CAMPANA (fuga).mp3 Hacia Belén va una Burra - Hacia Belén va una burra rin-rin (fuga).mp3 FUN FUN FUN - FUN FUN FUN.mp3 NOCHE DE PAZ - NOCHE DE PAZ.mp3 MP3 Play / pause JavaScript is required. 0:00 0:00 volume > next menu CAMPANA SOBRE CAMPANA - CAMPANA SOBRE CAMPANA (fuga) Hacia Belén va una Burra - Hacia Belén va una burra rin-rin (fuga) FUN FUN FUN - FUN FUN FUN NOCHE DE PAZ - NOCHE DE PAZ > next PDF CAMPANA SOBRE CAMPANA Partitura completaHacia Belén va una Burra Partitura completaFUN FUN FUN Partitura completaNOCHE DE PAZ Partitura completa Quote
Willibald Posted December 6, 2017 Posted December 6, 2017 Nice idea to work with some Christmas carols! Regarding your first piece, let me comment. Generally, I wouldn't call this a fugue, as it doesn't follow its method; it is more akin to an instrumental chorale (or chorale fantasia), which feature imitative texture as well, but whose main concern is presenting the chorale's melody. It is interesting that you use the subdominant for the comes, but it leads in harmonically strange waters in m. 16ff : A tritone in m. 17, as a diminished chord is featured in root position; followed by a dominant seventh and then a mediant sixth chord, which is unexpected and a bit odd, given the prevailing style. And then, in m. 19, again the tritone, topped by a diminished seventh chord in root position in m. 20. The semiquavers in m. 62 could be better prepared from the pacing; same seems true for the semiquavers in m. 85ff I am short on time and will leave it at that, though there were some other things to be noted. Quote
Luis Hernández Posted December 6, 2017 Author Posted December 6, 2017 Hi I appreciate your detailed comments. But I'm following strictly any rules. In fact I have never studied counterpoint in that style. I do it for fun and if it sounds good (to me) I don't mind what technical failures can be found. There are some b9 intervals too (I can't remember where). Quote
Willibald Posted December 6, 2017 Posted December 6, 2017 Don't get me wrong: I noted those things not because "of the rules" , but because after listening to it, I wanted to identify those passages that sounded strange to me and find out why. The same with the name: Anybody can call a cat a dog, fine, but then people will feel strange when they come looking for the dog, and all they find is a cat. But please don't be deterred by my comments, I just wanted to give some feedback. Quote
Luis Hernández Posted December 8, 2017 Author Posted December 8, 2017 Thanks @Willibald Of course, your suggestions are great. I only wanted to mean that I usually don't write pieces in classic styles. So, I'm not aware of those rules and patterns. Quote
alex2east Posted December 10, 2017 Posted December 10, 2017 Very nice and interesting compositions. Cool idea to use the xmas songs. I enjoyed them ;) Quote
Willibald Posted December 10, 2017 Posted December 10, 2017 Two further comments: Funny what you did to “Silent Night". A the waltz segment is especially effective in hiding the original feeling and mood without completely submerging it. I enjoyed it very much. a And “Fun Fun Fun" is short, but really well done and makes one listen for the a - g# - a expression. Quote
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