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baroque What do you think of my cantata?
Elad_Hevron posted a topic in Orchestral and Large Ensemble
Hello, i am new in this forum! i hope you are all doing well. i wrote a cantata and I would like to hear what you think, thanks in advance! it took me a lot of time to write it, this is the first cantata I ever wrote. I used cantamus and musescore 4 with sound fonts to write this down. -
Handel's "And With His Stripes We are Healed," but with my own contrapuntal addendums, twists, and best of all, vocaloid! Let me know what y'all think! The PDF below highlights all of my addendums -
Something I composed yesterday. What do y'all think?
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Hi all! Here is the Allemande from my Suite WIP, imagined as a "chorale" fantasia on the theme "Littleroot Town" from Pokemon Ruby/Sapphire/Emerald. Stay tuned for the repeats - there's quite a bit of elaborate ornamentation! The playback has the theme being played on a coupled harpsichord whilst the rest is played on a single-manual, so the theme can be heard clearly. This would not be possible in a live performance, unless one plans to use a piano instead. All comments and critique welcomed! -
Hi all! Here is the Scherzo and Trio from my Baroque Suite WIP (think of it less as a Romantic contraption, and more as a pair of Bourrees). The Trio is a canon at the fifth over a free bass, and the Scherzo is a standard binary dance following an aria ritornello shape. In particular, the Scherzo is written with orchestral textures in mind (something like a flute + strings). Is this what you actually hear?
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Hi all! Here's a quick update on my Suite WIP. I'm currently composing a Scherzo and Trio, with the Trio being a canon at the 5th over a free bass, in ritornello form. I've attached the Trio here. It's my first time composing a strict canon. Please let me know of any grammatical errors and your general impressions! For context, the Scherzo (12 + 20 bars) will be constructed mainly out of 2-bar phrases.
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Hi all. First time posting here! I'm currently in the process of composing a complete keyboard suite à la Bach. Wanted to share a sample, in this case the Gigue, for feedback. The choice of the subject is up for debate but I've been known to use random nursery tunes in the past. In particular, are the sequences, and the final 12-bar stretto, convincing?
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Harpsichord version: Baroque_Suite_in_A_minor (Harpsichord).mp3 Constructive feedback is most welcome. 🙂
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First Fugue I ever wrote. Have been composing for 8 months. Have been inactive for the last 4 months so I decided to write a fugue to improve my counterpoint.
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I know it has the anachronism of using a piano with pedals, but during the 19th century there were a lot of baroque reworkings and pastiches that got away with this (e.g. Busoni), so I don't care. Also, people loved Gould, even though Bach played on the piano is an anachronism too. I like to think of this piece more of a 19th century transcription of a baroque piece for other instruments. -
So, I've made significant progress in this Gavotte over 5 days. This is how I've progressed over the past 5 days: Day 1: First Phrase melody and bass Day 2: Second Phrase melody and bass Days 3 and 4: Thinking about what to do for the B section, listening to more Baroque Suites, especially Gavottes, even playing some Gavottes on the piano Day 5: Third and Fourth Phrase melody and bass, First and Second Phrase countermelody Not all of my countermelody ideas worked out, but a few of them, like the inversion idea did work. One that didn't work out like I hoped is the suspension chain idea. I mean it kind of worked, but what I was going for was like an F# followed by an E or some other diatonic note in a suspension chain and only the F# suspension worked. I did get a chain of 2 suspensions with the C and B though, so not a total failure, just not what I was going for initially. I used another tied note to prevent parallel octaves and have a stepwise motion in bars 11 and 12. The countermelody I have though is just a draft and is unlikely to be the final countermelody when the Gavotte is finished. I was mainly going for a balance between leaps and steps, richer harmony, and no parallel octaves. And I made sure that if the countermelody got a ninth or further from the main melody, that it was at most an octave away from the bass. At first, I was a bit worried that I'd have to change the bass line, but somebody else told me that the motion of the left hand reminds them of the Baroque, so I've left the bass line as is. You can tell which line is the countermelody, because it has all the stems pointed down. I haven't decided yet if I'm going to double the Gavotte and have Gavotte II in G minor followed by a Da Capo to Gavotte I, but this Gavotte is going to be part of a suite. Here's my Gavotte as of now. -
Fuga a 3 in g minor.mp3I recently have been reading and working through Jacob IJzerman's "Harmony, Counterpoint, Partimento" which I highly recommend, and I was inspired to write some short 3-voice fugues, mostly just to see if I could write them convincingly. Here's one of them. I scored it for flute oboe and bassoon so that the different parts could be heard easily.
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Hi forum 🙂 I've been away from composition for a while, due to time and motivation matters... Anyway, here's may last one, a piece for string quartet I would qualify of neo-baroque-romantic… 🤔 Hope you'll like it 🙂
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Just joined here and decided to put one of my favourite pieces, my flute sonata which I wrote approximately one month ago.
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Hello, This is my sonata for violin in g major in the early italian baroque language. I did a very lazy conitnuo realization.. so please dont mind that 😛 I. Grave II. Allegro III. Adagio IV. Vivace SimenN
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After a two-year hiatus, for the month of December I decided to go back working on this set of 26 minuets which I have been working on off from 2016 to 2017, and stopped in 2018 when I have other things to work on. Here's the status of the minuets as of April 2018: Anyway, after that and up till December, I have gained new musical knowledge and experiences which can be reflected in this new version of the set. More dynamics are added, the pitch range has also been expanded as well and incorporating other forms (Rondo and Sonata) into a few of the minuets as well. Many of the musical ideas for the minuets are taken from several sight-reading books, string quartets by Mozart and Haydn and other composition and theory workbooks. It has been quite a lot of fun finishing the set, exploring new musical ideas and many major/minor keys, and through this I have grown as a composer. I plan to move beyond the piano and work on a set of preludes and fugues for string quartet after this. I also hope to live record these minuets one day, especially the whole tone (XXV). Any suggestions on how to improve, or if you need to understand some of my thinking behind the minuets, you can say so in the comments. (I'm still working on a commentary by the way, but need to tell you that the last uses two different octatonic scales for the minuet and trio respectively.) For those who are not able to listen to the whole set, I suggest looking into these: II (A minor), IV (E minor), VI (E minor), VII (A major), IX (E major), XII (G sharp minor), XIII (F sharp/ G flat major), XIV (E flat minor), XVI (B flat minor), XIX (E flat major), XX (C minor), XXIII (F major), XXIV (D minor), XXV (Homage to Debussy), XXVI (Homage to Prokofiev).
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So, I am working on a set of canons as a prelude to the fugue. No, not literally, as in I would put these before the fugues I write. No, what I mean is that I view the canon as being simpler than the fugue in all sorts of ways and thus as a preparation for fugue writing. I aimed for a more Bach like feel to this canon than the Pachelbel like Canon in Bb that I composed for woodwind quartet. I even went so far as to write it for harpsichord instead of piano to further get that Bach feel to it. Now, why am I mentioning Bach? Well, he is the composer that keeps encouraging me to go ahead and write a fugue. I put some text in the score related to keys and counterpoint. Now I have been told that my canon is really a canon at the sixth. Alright, I'm fine with that. I have also been told that my canon is full of dissonant strong beats and just in general, unresolved dissonance. Here is the first canon in my set of 48 canons. What do you think of it? Does it sound Baroque in its nature? Where are my counterpoint errors exactly? And what are those errors? Do you think I should add a bass line to this?
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Hi all 🙂 Just wanted to give it a try to a duet between a recorder and a cello... Here it is ☺️
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Hi all 🙂 Here's my last work : Hope some of you will like it 🙂 Have a nice day
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This prelude in c minor is part of my endeavour to write a small collection of six preludes in various imitative styles. It follows a more associative development typical for imitative-figurative preludes of baroque music and is heavily indebted to this article by Vasili Byros, “Prelude on a Partimento” (http://www.mtosmt.org/issues/mto.15.21.3/mto.15.21.3.byros.html). However, this prelude is not based on a partimento but on a simple plan I devised myself. The score still needs some improvement, but should be readable. As this prelude has a really baroque feeling, I opted to use a harpsichord soundfont, “Petit Italien“ from Soni Musicae. (see: http://sonimusicae.free.fr/petititalien.html ) Critique and other comments as always welcome!
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My first proper attempt at writing something baroquey. I was wondering, what's the best way to describe this piece, academically speaking. Fughetta, Fugue, Double Fugue, Counter fugue?
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Hello. Posting some old works that was performed some years ago. Concerto nr. 36 in the late Italian baroque style, written to my better half! Sadly I lost the recording from the concert, so this recording is from a rehearsal. For me this second movement of this concerto is the most expressive slow movement I have written. I. Allegro II. Adagio III. Vivace (La danza dell'amore) Please tell me what you think! Performed by new baroque ensemble 2016.
