3 Part Canon in D Minor (Unfinished)

I started writing this earlier. It consists of about 2-3 solid hours of work, but I'm slowing down a bit so I was hoping for a little feedback before I ventured on with it.

[attachmentid=4090]

I'm still a little shaky with counterpoint, so any tips there would be especially appreciated.

9 downloads and no comments. Bullshit.

Anytime I download something and listen to it I at least let the composer know whether I liked it or not.

That looks like a real canon, Chris. Your exposition is really long so it's hard to tell right away. But you've done it correctly as far as I can see.

I don't really understand why you've put the key signature in A when the piece is clearly based in F, though.

Sometimes when people don't know what to say, they don't comment at all. I've been known to do the same. I figure in a community this size, if I can't find something constructive to say (liking a piece or not is entirely beside the point), no doubt someone else can.

But even a

"it was cool"

or

"didn't like it"

could be what someone's looking for.

I don't really understand why you've put the key signature in A when the piece is clearly based in F, though.

Maybe he fixed it - mine's in F - although in doing so, perhaps Chris put it down and out of the range of the Bass.

But I don't know if it's a pure canon. I mean, there's only two notes in the bass.

Anyways, Chris, this has moments that are very musical - like where the viola plays a very nice syncopated but melodic line from 17-20. But there are a few things that need to be worked on before this will become pleasurable to listen to for my fuddy-duddy ears.

The parallel fifths at m. 27-28 between the 2nd violin and the bass combined with a slightly less melodic and a bit more jerky (awkwardly anticipated) viola part make for something quite a bit less musical.

The static quarter note line introduce in the viola at 33 is a nice contrasting line that unfortunately produces a parallel octave with the first violin at beat 4 of m. 37. (This should be an easy fix for you)

The 16th note figures at 42 are just too busy set as they are against that funky line that the second violin is playing.

In general, the busier your lines get (with ornaments, arpeggios, and runs and such), the more forced it sounds, and the more trouble you get into.

There are a number of places where the vertical structures are too dissonant and just aren't resolved reasonably. For instance, the chord at measure 61 sounds bad because of the minor ninth between the viola and the first violin - and then you don't even attempt to resolve it to anything recognizable in terms of a triad, etc.. Though this type of problem is not rampant in your piece, it rears it's head on occasion.

Writing canons looks to be a good little excersize. I don't believe I've every attempted one myself. This one appears to be a valiant effort.

Only the top 3 voices are in canon...at least that was my assumption.

Leightwing, you have an uncanny knack for concise analysis. Are you a professional (educator, etc.)? If I were to go back to college and finish my degree (at this late date), facility at this kind of skill is what I'd be seeking, as well as honing my critical thinking skills in general.

Only the top 3 voices are in canon...at least that was my assumption. [/b]

Yeah, I'll bet you're right. I doubt that it's a hard fast rule that to call something a canon you have to be strict about all parts

Leightwing, you have an uncanny knack for concise analysis. Are you a professional (educator, etc.)? If I were to go back to college and finish my degree (at this late date), facility at this kind of skill is what I'd be seeking, as well as honing my critical thinking skills in general.
[/b]

Yes, I’ve been teaching grades 5-9 now for about five years, having been an underemployed musician (mostly rock, folk, jazz - but some classical too) previous to that. No, wait - I still am a musician. It’s funny you should mention going back to school, ‘cause that’s what I just did. I’ve been teaching math, music, and few other things ‘under the radar’ at a private school up until just two months ago, and I just picked up my undergraduate degree (your basic liberal studies BA) at night school - No music courses per se, but my school picked up the tab. So even at this great age for these forums (I’m older than you), I have a young streak in me. Though I did go to a bit of music school in my youth, it was more jazz/pop oriented - so my classical chops are mostly from just listening. Anyways, I can promise you that going back to school is fulfilling - at any late date, and I encourage you to do it. There are lots of institutions out there that can be pretty creative when looking at your transcripts and giving you credit - after all, they want your money, right? Just be pro-active, shop around, etc.

As far as these analyses are concerned, I don’t consider them any great feat. I couldn’t/wouldn’t do them if all I had was a piece of paper to look at. But Finale (or any similar program I suppose) makes it real easy. Finale changed my life! All you have to do is (put on your powdered wig and classical ears and) listen, and when something sounds wrong, you look at the score and figure out why. I’m sure you do it the same way, don’t you? Anyways, this forum is all you need to hone those skills. Heck, that’s what I’m doing now.

leightwing, thank you very much. That was exactly the type of feedback I was looking for.

All you have to do is (put on your powdered wig and classical ears and) listen, and when something sounds wrong, you look at the score and figure out why. I’m sure you do it the same way, don’t you?

Yes, I suppose so. It isn't always very easy for me, though. I'm not always able to distinguish easily between something that's really "wrong" and something that is just different from the way I would do it; both send up red flags to my ears, and then I need to try to sort it out. Sometimes I have the focus, sometimes I don't.

Anyways, this forum is all you need to hone those skills. Heck, that’s what I’m doing now.

I suppose so. I'm phobic of beginners' works, though, and those are the ones that need guidance and feedback more than anyone else (I'm not talking about Chris, because he's actually been composing for a few years now and with this piece seems to be honing his classical technique).

I'll keep working at it.

Sorry to hijack your thread, Chris. It does bump it to the top, though!

How dare you hijack my thread!

Hmph!

What is the world coming to when a YC thread can't stay on topic!