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    • Nice work, man. I'm just not so sure if I would use that heavy guitar as a base if you talking about a rock ballad. It felt a little bit uncomfortable at first but then you get used to it as the song goes by. 
    • This is the main reason. The bass sounds like it's doing a typical V6/4 - 5/3 - I motion (or V8-7 - I), while the soprano sounds like a prolongation of tonic scale degree 1. Sounds like you're trying to have it both ways.
    • Hi What you hav there in the end of the Phrase A' is not a perfect authentic cadence in terms of baroque-classicism. The authentic perfect cadence is this: 1. Harmonic movement V - I.  2. The bass must be the fundamentals and move an ascending 4th or descending 5th. And the conclusion has to be in strong position.  3. Melody moves the leading tone to the tonic. In this case n.2 and n.3 are not written. OK, take the F in the bass in first part of next to las measure as the strong note (is the first in the measure)..... The Bb in the bass should be also in the firt pulse of the last measure, not in the third. The melody doesn't go from leading tone to tonic. That's the authentic perfect cadence, usually reserved for the finals of sections, movements, etc.... At least that's how I was taught. OK, you can call it whatever you want, but any cadence that goes out of those "rules" is weaker. On the other hand, octaves (and unison)  is the weakest interval in counterpoint. If you have several octaves one after the other, your are not making harmony. That's why parallel octaves were avoided in counterpoint (the same happens with fiths).   In the other cadence, happening before, there are parallel sevenths, which was considered dissonant.   I don't know exactly what it means open and close authentic cadence ¿? Do you mean imperfec and perfect authentic cadences ?
    • I have gotten this response from some people giving feedback on my Minuet in Bb: I addressed why I ended the phrase and the piece in octaves, but got no response back on this forum, so I thought I would address it here. Here was my reasoning behind ending it in octaves: Here is the A section of my Minuet with the structure highlighted: As you can see, it is structured as a question and answer type of phrasing. The first cadence at measure 4 is open, it poses a question, because, while yes, it is a Bb major harmony, it ends on an interval of a fifth, and fifths give a sense of openness. Also, the diminuendo combined with the left hand arpeggiation further adds to that questioning feel. The fifth poses a question which is then answered by the consequent phrase. The second cadence at measure 8 closes off the section. It ends in octaves, and as I said in the previous quote, I think of octaves as being the most closed of cadential intervals, especially when preceded by a leap in the bass as it is in measure 8. The loud dynamic further reinforces that closing off of the A section.  However, when I adressed this reasoning to more people, they weren't on my side of the argument at all. They also thought that a different harmony would be more effective at measure 8. So now, I'm a bit confused. Octaves are the most closed of cadential intervals and yet aren't effective in the ending cadence of a section of a Minuet? How can that be? In a lot of works from Haydn onwards and even works by Bach, having a closed cadence end in octaves is not only common, it's the norm. From Beethoven onwards, octaves become the norm in all circumstances, be it tremolo like in a lot of Beethoven's own works, or leap like in those of Chopin and Liszt. So how is it that octaves are the norm in closed cadences, yet my own closed cadence in the A section of my Minuet is not effective, even though it ends in octaves?
    • @Hendrik Meniere The melody is great. Unfortunately, the flute and oboe are just about useless (in terms of being heard) at such low notes. By the way, the flute can't go below a middle C. Also, I'm 2.5 minutes into this and still haven't heard any singers, just the same motif being repeated over and over again. Might want to give it a little variation if the intro is going to be that long. The choral part is quite spacey. You have a lot of clustered harmonies in the bass region but very few in the treble/soprano region. This is going to sound unbalanced and heavy. The altos and tenors double quite a bit, with the altos simply singing the same notes one octave higher. Again, this is going to make it sound thin in the high registers. The score needs some work... all the staves should be on the same page if they share bar numbers. I'm also curious as to why Bass III sings higher than Bass I or Bass II. Conventionally, they get lower as the numbers get higher. Why are the notes in Bass II written as D# instead of E flat? Your phrasing with the Latin is off. You have Re - quiem _ a - e - ter - nam. The correct syllabication is Re - qui - em _ ae - ter - nam. Same number of syllables, but the stress and pronunciation is different. Overall, you have a great sense of melody and a good understanding of harmony. All of the issues I've mentioned are quite easily fixed with experience. With practice, I've no doubt you'll become quite a formidable composer! Keep it up!
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