Bach Study #3

I wrote this exersise to help me hear the best possible chord inversion to go with my bass line for a composition.

In this exersise there is a set of chords that modulates through keys, but every time it modulates it begins in a new inversion of the chord structure. SO the first pattern is played in root position on all chords, it modulates to a new key but this time it begins in 2nd inversion then modulates again and is played in 3rd inversion. Every other modulation the chrod pattern turn from minor to major on the last chord.

The bass pattern stays the same for all keys except every other modulation where the pattern turns from minor to major.

I am not sure how usefull it will be to anyone..but it has helped me.

I wan tto learn how to compse like Bach.

I'm not an expert on Bach by any stretch. But it does sound a bit Bach-like. I think Bach would make the bass-line a bit more melodic though - with more timing variations. Not sure exactly what you are trying to achieve with this piece though... if you are trying to write a song, why not just write it, rather than writing a separate piece to work out the chord-inversions??

It sounds fine up until the fourth chord, at which point the chain goes in the wrong direction. There are several reasons why this piece doesn't sound much like Bach, lots of which finrod mentioned. The first, fundamental reason is that Bach (nor any baroque composer) would have written a piece using one 'formula' to generate an entire work. They might use sequences of chords from time to time (generally the circle of fifths, with which this begins) to get from one key to the next, but Bach is very sparing in his use of these - they provide a welcome element of predictability, and for this reason their employment should be limited. In fact, in almost every instance where Bach uses the circle of fifths, it's consciously disguised with suspensions, other melodies and as many added interests as possible. I can cite only a handful of instances where the sequences is presented in clear arpeggiation. Vivaldi and Telemann use sequences (both rhythmic, melodic and harmonic) regularly, but not constantly. . . . you used all three the whole way through, which made the piece rather unexciting.

If you want to write baroque music, think in terms of individual melodies interweaving, rather than of block chords that are split up into arpeggios. Try writing a few baroque melodies over a chordal accompaniment perhaps. If you want examples in Bach, look at the Schemelli Gesangbuch (Schmelli Songbook) or any of the recitatives from the Oratorios. These demonstrate the importance of melody.

Just out of curosity, why do you want to learn to write like Bach? I mean, nothing against him just...people have been copying him for hundreds of years now. We even have machines writing like Bach nowadays.

As for the piece, it does sound a Bach-ish as people have stated above.

~DISCLAIMER~ My opinion!

Good piece of work you've got here. My only question is, why emulate Bach? I'm a baroque fanatic myself, Buxtehude and Bach are my 2 favorites, but I want to combine my style with theirs, learn their rules but compose it my way if you know what i mean =).

Studying bach is great, (in my opinion it's the most intellectual music ever written) but you should be yourself at the same time. We all know that I will never be as good as Bach at composing his style, you will never be as good as Bach at composing his style, everyone alive at the moment will never be as good as bach composing his style. I say you should aim to succeed as yourself, rather than to fail (which is inevitable, because who can surpass bach at being bach?) as someone else.

But ya, one thing i've noticed about many bach compositions, it's not very blocky as some have stated. Don't think bach is very chordy now that i think of it, if that makes any sense =)

Well....

Bach himself said that there was really nothing special about him and that any body who works as hard as him at puts in the same amount of time will be just as good if not better.

With enough practise you can be just as good. If not better.

Also this is not really a performance pices but an exersise for inversions of chords...as stated in the op.

Bach was just being humble. I don't know how old you are, but I will bet my house that even if you devote your life to composing you may become a master composer, but you will still not be as good as Bach. Would love to see you prove me wrong though.

Bach wrote something in similar vein: Kleine harmonisches Labyrinth, BWV 591.

My word! I had a recording of this, but had never heard it. It's really rather amazing. The composition above sounds nothing like it though.

Very interesting exercise ... although, to me, it's pointing in the direction of late Gershwin, not Bach!

In Porgy and Bess there are numerous examples of the sort of symmetrical patterns you're using here. If you get a chance, have a look at the piano/vocal score of the entire opera (not just favourite excerpts such as Summertime). For instance, the lengthy "b" section of Gone, Gone, Gone is built almost entirely around patterns such as you've used. (Sorry – don't have my score with me so I can't cite page numbers.)

(I have a vague inkling that Gershwin was using ideas put to him by Schillinger. Anyone have leads on this?)

As an experiment, try converting each of the R.H. chords in Bach Study #3 into a four note "jazzy" shape: a sixth, seventh or perhaps ninth chord ... instant Gershwin Study #1!!