A small 4 voice counterpoint and a ballroom waltz!

Hello everyone! This time I have 2 pieces I would like to post here. The first one is a small 4 voice counterpoint. I know it is not strict counterpoint and it breaks rules, but I'll revise it deeply soon. I have never done a 4 voice one, and I feel I am trying to run before I can walk. But hey! I will do my best to make it perfect soon. I am a late-romantic composer, and the counterpoint has some late-romantic influence in it (plenty of 7ths and some augmented). I plan on using it as a small "introduction" for the collection of my other pieces (that is why its called "Invitation to the dance" 🙂 ). I may adapt it to a string quartet when its ready!

The invitation to the dance: https://youtu.be/F8ugWxTrHeA

The waltz is a late-romantic ballroom waltz suite for orchestra that consists of 4 waltzes and a coda. Orchestrating has always been so fun because the waltzes transform from a simple (sometimes dry) piano score into something amazing and full of life. This time I went as graceful and sweet as I could, because this waltz was made for someone special who has those qualities (therefore the title of the piece). I am very proud of this waltz, and I hope you like it!

The waltz Jocelyn: https://youtu.be/hhh0M6K0nT4

If you want to take a look at the orchestra score and parts let me know and I can share it!

I'll say a few words about the "invitation to the dance". It is quite distinctively a simple chorale/hymn harmonisation to my ears, with some interesting harmonies. You mentioned counterpoint. Simple chorale harmonisations are homophonic pieces featuring no counterpoint, largely due to the rhythmic regularity of all parts. This is a small detail but it nonetheless might play an important role to your decision making. Do you intend the introduction to be a polyphonic piece? If so, you will need to probably look for a different form altogether.

If you wish to go ahead with the chorale texture, I think it's good practice to learn of the rules. There are many good sources online for free that help you with these. I don't think following a traditional Baroque harmonisation to the letter is completely necessary for this kind of style. For example you can probably choose to treat dissonances a lot more loosely. But at least some observance of the style should be given, for example, voice-leading, especially if your goal is to transcribe this for the orchestra. The only place which sounded off to me was mm. 11. The soprano B-natural clashes quite badly with the doubled C below.

I really enjoyed your "romantic - turn of the century" waltz.  Please get me a dance partner!  As for the choral work ... I not so sure; it seems best suited for a string ensemble.

Mark

On 6/24/2022 at 2:38 AM, muchen_ said:

Simple chorale harmonisations are homophonic pieces featuring no counterpoint, largely due to the rhythmic regularity of all parts.

Ooh okay. Yea I had a chorale in mind at first. 

On 6/24/2022 at 2:38 AM, muchen_ said:

If you wish to go ahead with the chorale texture, I think it's good practice to learn of the rules

Yes! I think I'll revise it using chorale rules and keep that texture. I am glad that following a baroque harmonisation perfectly is not necessary. I'll edit it until the voice leading is good and then transcribe it to probably string quartet. I have never done one and keeping track of 4 voices for me feels a bit tricky. I'll check measure 11 asap too. Thank you for the feedback!!

On 6/24/2022 at 11:12 AM, MJFOBOE said:

I really enjoyed your "romantic - turn of the century" waltz.  Please get me a dance partner!  As for the choral work ... I not so sure; it seems best suited for a string ensemble.

Yes!! Thank you! And you are right about the choral work being better suited for strings. I think I'll do strings (I heard some parts being played by woodwinds and didn't really work).

The choral is beautiful with nice counterpoint, I see you thought it for strings. In fact, some points are very hard to play in the piano because of the wide intervals).

There is only one little spot I find it uneasy having in mind the rest of the piece. In the second part, although they'r supposed to be secondary tones, the dissonance formed by the A in the bass, the C - C in the middle and the B in the leading voice, doesn't sound good.

On 7/5/2022 at 11:43 AM, Luis Hernández said:

The choral is beautiful with nice counterpoint, I see you thought it for strings. In fact, some points are very hard to play in the piano because of the wide intervals).

There is only one little spot I find it uneasy having in mind the rest of the piece. In the second part, although they'r supposed to be secondary tones, the dissonance formed by the A in the bass, the C - C in the middle and the B in the leading voice, doesn't sound good.

Thank you!! Yea, listening to it more carefully the dissonance actually threw me off a bit. I fixed it, and now I am thinking about adapting it to strings. I'm glad the choral was nice 🙂