Largo for Winds

Hello,

It has been a while since I have active on this forum. Please accept my apologies. I will be more so going forward.

My musical projects mostly revolve around learning and applying classical "patterns" to my own work. For those who are interested in learning about these patterns, I would recommend Robert Gjerdigen's book, Music in The Galant Style, as a starting point. Listening will also help a great deal as it will enable one to learn to recognize patterns by ear, and hear how they are strung together. Galant music is very accessible, as with its simplicity as, generally speaking, the increasing complexity of counterpoint up until the 1750s was intentionally scaled back in favor of more straightforward and relatable melodies and harmony. 

The schematic guidance should enable the composer to produce a skeleton for the sequential events in your music. This makes it particularly useful for there will always be inspiration to draw from. How interesting you make it will depend on your character and experience.

By way of illustration, I will go through one of my works with a step by step guidance on the schema used (please see attached score and visit http://openmusictheory.com/schemataSummary.html for a free reference which illustrates each schema used here). Please also consider visiting you tube channel https://www.youtube.com/channel/UCugHqLqLkl8Rwq0E7hxJDxw which contains audio examples of many schemas, or pattern discussed here:

https://soundcloud.com/markus-alexander-boyd/largo-for-winds

Bars 1-4: This is basically a sol-fa-mi, where the upper melody moves step wise from the 5th degree and cadences on the 3rd degree. I have varied its presentation, however, resulting in a harmony, not entirely consistent with the schematic design...

Bars 5-8: This consists of a step wise ascent from the 4th to the 6th, in the clarinet, and this is to prepare for converging cadence moving the music to D Major to prepare for the second subject. To quote Robert Gjerdigen, "The converging cadence was an exceedingly popular schema and developed several sub types with characteristic features". This sub-type is one which falls from the 6th degree (of G) and closes on the 7th (or 3rd or D), whilst the bass ascends chromatically to D to resolve the passage.

Bars 9-12: This is a Meyer, which I use regularly in my music due to its versatility. In its basic presentation, the the upper voice ascends from the 1st degree to the 2nd (which I treat as the question) and is answered with an ascent from the 7th to the 8th. Meanwhile, the bass moves from the 1st to the 7th, and the 2nd to the 1st respectively. Here, I varied the roles somewhat. However the basic outline is there. 

Bars 13-16: This is a Prinner, which presents a step-wise descent in the upper voice from 6th degree to the 3rd, whilst the bass moves 4-1 respectively. The former is played by the clarinet, however, with 7-6 suspensions. Basically, in accordance with the Prinner, the upper part descends in thirds with the bass. The bass as it does here also moves from 2-5-1 to present a convincing cadence as a standard.

Bars 17-24: Here I deviate to the relative minor with suspensions over a dominant pedal in the key of B Minor. The oboe, similarly to the prinner, is descending form the 6th to the 3rd of that key, with a suspended 4th above it. However instead of resolving on the 3rd, its stops on the 4th which enables the music to return to the dominant chord of D Major. A perfect cadence in D is then prepared however the sharpened A, resolving to the B, momentarily returns to B Minor.

Bars 25-29: This is Prinner, which is an elaboration of bars 13-16, which prepares for a long cadence in the key of D.

Second Part

Bars 30-33: Primary subject with some variation

Bars 34-37: Responds with Prinner, thereby resolving the opening with a perfect cadence. Note that the cadential flourish in the upper voice descends from the 7th to the 1st degree. This is a common type of cadence used during the second half of the 18th century, which we refer today as a Cudworth cadence.

Bars 38-41: This is a Fonte, which presents a convenient digression to the subdominant minor before returning to the home key of G. In its basic form, in the minor key the bass ascends step-wise from the 7-1, whilst the upper voice falls form 5-3. This movement/phrase is then repeated a step lower.

Bars 42:46: This is an Extended Prinner in the key of G, which provides a useful opportunity for imitation each part. The music then modulates to the subdominant of C.

Bars 46-49: This is could be treated as a Modulating Prinner, transitioning to the dominant of G, as again, there is initial step wise descent from the 6th of that key in the oboe part. However, the phrase ends on a converging cadence towards G, which provided a link to the second subject to return.

The rest is essentially repeated, with exception to some added imitation towards the final long cadence from bar 66. I suppose this could be considered a conservative piece, in the sense that for the most part it adheres to some of the more common type of schema from this period. However, I do note that my music has a tendency to be idiosyncratic between baroque and classical influences. I suppose this is a reflection of my listening habits, which generally ranges from 1720-1790.

My intention here is to ignite a topic on this type of music, as it proves a fascinating subject for those who love classical music, whilst offering an informed context on the traditional musical enterprise which underpins the great works of that era. Thanks for reading.

Beautiful piece. The counterpoint is so natural an elaborated, difficult with 4 voices.

44 minutes ago, Luis Hernández said:

Beautiful piece. The counterpoint is so natural an elaborated, difficult with 4 voices.

 

Thanks. I have found that in those passages, I would start with the bass and clarinet, then add the other two voice on top. The best approach for me therefore is to build a solid foundation before I attempt anything further complex... a lesson I have had to learn.

Hi Guys,

So I am finalizing the Allegro Movement of this, and I have a question to put to you. Should this be in 2/4 time or 4/4 time? I feel that It starts in 2/4, however I chop and change between the two without thinking properly.... 

Hi @

I enjoyed that a lot. I like the texture, the voice leading and the form you used.

I like the binary form you used: 2 parts with repetition, the first part closing on the dominant and the second closing with the tonic. Also the short modulation to the subdominant close to the end. That characteristics are very typical of the binary form of composers in Bach's period. It seems you have the idea of form very clear.

Good job!

Yes I suppose I do have a reasonable comprehension of form from that period. However, I do need to improve my experience with the recapitulation as I would rather not just repeat from the second subject (although as you say this was to an extent standard practice). Certainly, I think some variation within the recap is healthy.

It is very common in sonata form for the development section to end on the subdominant, as this allows for an attractive return to the home key... which thereafter is either followed by the first or second subject.

Interesting you say "Bach's" period - By Bach I presume you imply JS Bach. I would say from the second subject the music veers towards baroque idoms certainly, although there are also strong influences from Johann Christian Bach, whose music characterizes early classical idoms. So it is rather idiosyncratic. 

Hello Markus!

I thought I am going to give you a review too, and well, I can't..

I think it's very clear which of us can teach way more about baroque style to the other,
so all I could do at the moment is to Like this and to say: Hats off, Sir! 🙂

(PS. I'm going to remember you if I stuck with a baroque composition)