nippon276 Posted June 14 Share Posted June 14 (edited) TLDR: wrote my first piece ever, looking for ways to improve it PDF + WAV Hi all, I recently finished a free composition course called Write Like Mozart which is essentially an introduction to classical composition for beginners like myself. At the end there's a final project which has the following requirements: In rounded binary form (A-A'-B'-A')—my A is mm. 1-7 and the B is at mm. 15-18 3/4, 4/4, or 6/8 time 20-30 bars Scored for piano and one of concert flute, C trumpet, oboe, or violin One deceptive cadence—I put this at m. 18 One half cadence—see mm. 6-7 One perfect authentic cadence—last measure At least two different texture types - homorhythmic homophony, melody and accompaniment, polyphony, or monophony—I'm perhaps still a bit unclear on the differences between some of these but I think at least there's a melody/accompaniment/polyphonic thing going on and homorhythmic homophony in mm. 14 and 25 One sequential progression—my B section is basically a circle of fifths progression One basic progression that has been elaborated with diatonic substitution, chromatic substitution, and/or secondary dominant/leading tone chords—In terms of diatonic substitution, in m. 12 I used ii instead of IV for the predominant and vii° instead of V for the dominant. For chromatic substitution, I had planned to use modal mixture by swapping out IV for iv in the second bar of the A section, but it just sounded a bit off so I relegated it to half a measure in m. 20. Overall, I think it sounds okay, but I'm not sure what I should focus on to make it sound good. Creating the flute's line was already kind of difficult for me, so when it came to the treble staff I mostly left them as simple repeated intervals; I would've made it more polyphonic, but I wasn't really sure where to go. It was kind of hard to strike that balance between variation and repetition. You may also notice I got some "inspiration" from Mozart's K. 545. Again, I think it's okay, not sure if I would say the way I applied it is amazing. Perhaps it's also obvious I couldn't decide on a rhythm for the bass line either. I think in addition to general feedback, I'm particularly curious in the transitions. For example, I'm not sure if having the first bar of A being almost exactly repeated three times sounds too basic (or disjunct with other parts). In terms of voice leading, I think I started out with okay part writing but I kinda didn't focus on the rules so much when I started creating the melodic lines, but do let me know if there are any egregious errors. Somewhat related, I couldn't decide on the ranges of the "alto"/"tenor" lines at some parts so occasionally they're an octave lower, like with mm. 4-5. I know I shouldn't expect myself to write something amazing on my first try, but I just want the rough edges rounded off a bit. Note: I'm already aware I shouldn't have vi in first inversion in the deceptive cadence. Edited June 14 by nippon276 Quote Link to comment Share on other sites More sharing options...
murphybridget Posted June 17 Share Posted June 17 Thank you for that. That maybe just what I need. Quote Link to comment Share on other sites More sharing options...
JorgeDavid Posted June 17 Share Posted June 17 (edited) Hello @nippon276, and congratulations on completing your first piece! The piece is nice and I enjoyed listening to it! I also took half of that course in the past (I never finished it, though, so I never composed the final assignment). I remember it was a nice course for starting to compose things and getting the hang of how composing worked. Since you finished that course, I would recommend you to learn the following: 1) Counterpoint: Particularly in two voices, there are many books that teach two and three voice counterpoint in the style of Bach. For example the book "Counterpoint" by Kent Kennan. 2) 4-voice part writing: I do not know many resources for this. I learned from "Harmony Treatise" by Korsakov, which I highly recommend. Back in the day it was one of the resources that helped me the most to start composing with a little bit more confidence. These two skills are really practical and t you would be able to apply them to your compositions really soon, specially now that you have the basics grasped from the "Write like Mozart" course. Regarding the piece, others will be able to give more and better feedback but I will point out a few things I saw and I think might help you: 1. Second Inversion Chords Measure 2 is a second inversion IV chord. Second inversion chords require, normally, special treatment (many times the bass move by step). The second inversion IV chord is somehow similar to the third inversion ii chord in that the bass note (F) normally moves by step to the E. In this case, it might sound better if you have a D in the bass (first inversion IV) instead of the second inversion IV. You can look for the common treatment given to second inversion chords since there will be information online. 2. Melody and Accompaniment When you have a clear melody and an accompaniment (like in this case) you do not need to worry too much about the melody creating good voice leading with all the notes of the accompaniment. Focus on creating good counterpoint between the melody and the bass mostly. Then fill in the rest of the accompaniment voices without taking to much into account the melody. In other words, you can focus only on the accompaniment having good voice leading internally and those voices could double the melodic notes. Of course you can also avoid doubling the melody notes in the accompaniment and there is nothing wrong with that. I just comment this because for a long time I was obsessed with writing perfect voice leading of accompaniment and melody together, when, in real compositions, many times the melody tones are doubled in the accompaniment and the accompaniment has good internal voice leading without too much consideration to the melodic contour (except in the melody-bass case). 3. Melody and chord-tones I believe in the course they teach about passing notes, arpeggiaturas, etc. Always be aware of those when creating a melody (even if, in the end, you decide to write the melody without following those "rules"). For example, in the m.2 you have a IV chord but the last four notes of the melody in the measure are: A-G-E-D. G and E do not form part of the main notes of the chord (Bb-D-F-A). It is not necessarily wrong so, if you like it, it is perfectly okay as it is, but in this case maybe it would sound better by doing A-G-F-D. That way you use the G as a passing tone and, in addition, you do not sound the leading tone E before the m.3. Many melodic movements are possible but always be aware of the underlying chord to be sure about your choices. 4. Melodic-Bass Countepoint As commented before, be specially careful about the counterpoint created between the melody and the bass. For example: a) m.4~5: You have a main melodic contour of F-F-G-E, with a main bass contour of F-F-F-E. It might sound better if the melody and bass did not coincide at the beginning so many times. Also, since you want to do the F-E movement in the bass, it might be better not having the leading tone E in the melody. b) m.15: In second and third beats you have the same noes in the bass and in the melody (A-Bb). This is not too bad since you are sounding the C after the A, and also the F in first beat on the bass. Good Job! Edited June 17 by JorgeDavid 1 Quote Link to comment Share on other sites More sharing options...
Rich Posted June 28 Share Posted June 28 Not a bad start--- I guess if we all knew what made something "sound good" we'd all be master composers. It's hard to write to all those parameters/requirements and start out.. My recommendations: Listen to a LOT of music---classical/rococco/gallant period might be best--Mozart Haydn, even Schubert and early Beethoven, Pleyel, Stamitz.....-- 2. read scores with the music where you can . IMSLP is online and free--Dover publishes a bunch of cheap scores, and many can be had used for UNDER $5. **SEE HOW THEY DO IT!** 3. Write another piece, this time don't worry so much about technical requirements vs. a melodic line/chord progression that sounds authentic and whole. USE YOUR EAR/inner ear! Just concentrate on line, phrasing---- antecedent./consequent, and large scale form. Ultimately, your musical imagination is what will really count. You need to Muscle build using the above. The checklist: Do I LOVE my melodic material??? Do I love my chord progression??? Do I love the orchestration? Do I love the form/flow? If you check all these off, you will be on your way. If you don't like any element, keep WORKING until you do. BE YOUR OWN CRITIC!!! Composition is the most difficult thing--- to be original while following scores of rules and limitations!!! Even Mozart and Haydn worked extremely hard to master it for MANY YEARS. BE KIND TO YOURSELF!!! Quote Link to comment Share on other sites More sharing options...
Recommended Posts
Join the conversation
You can post now and register later. If you have an account, sign in now to post with your account.