August 30, 20241 yr I have the deep (and accurate, I would say) conviction that music is a continuous evolutionary flow. The patterns of an era or style remain alive afterwards, although transformed by the prevailing aesthetic prism. I wanted to make a small example using schemata in something that sounded a bit romantic. I chose two, which have in common, and complement each other. The common factor is the continued use of suspensions. The temps is a schemata that I described myself from a song by Leo Ferrer (Avec le temps) and consists of a descending pattern. Corelli's leapfrog is a schemata that follows an ascending pattern. Sound good?  Edited September 2, 20241 yr by Luis Hernández
September 1, 20241 yr Hi @Luis Hernández! I was going to say that I like the momentary Dorian inflection at measure 23, but then I noticed that the chord written above it says Bb major 7 / D. Is the chord wrong or is that B natural supposed to be flat? Apparently, now that I look more carefully, this also happens at bar 2. The whole thing has a melancholic yet sometimes momentarily hopeful vibe because of those Dorian moments, which I like (so I hope you don't remove them). Thanks for sharing!
September 2, 20241 yr Author 15 hours ago, PeterthePapercomPoser said: Hi @Luis Hernández! I was going to say that I like the momentary Dorian inflection at measure 23, but then I noticed that the chord written above it says Bb major 7 / D. Is the chord wrong or is that B natural supposed to be flat? Apparently, now that I look more carefully, this also happens at bar 2. The whole thing has a melancholic yet sometimes momentarily hopeful vibe because of those Dorian moments, which I like (so I hope you don't remove them). Thanks for sharing!  Yep! It's a mistake. I have to fix it.... the name of the chord.
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