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Sounds great. I suppose technically all those double notes are possible. The sound is acceptable except for the trills and tremolos...

That sounds fantastic. Perhaps a version without so many annotations would be clearer. Although for educational purposes it's great. And well, you've left me wanting the second part.

Hello! This piece is dedicated to a friend of mine, he gave me the text and i quickly got working on it, i finished it in 1 day and im pretty proud of it. I tried to mimic the style of Orlando di Lasso a bit but it didn't quite work out the way i wanted, so i just decided to stick with my own style. Enjoi! Text: Corpus omne perseverare in statu suo quiescendi vel movendi uniformiter in directum, nisi quatenus illud a viribus impressis cogitur statum suum mutare.

Thank you! I will check on the score.

And I am too young!

MP3 Play / pause Persichetti Exercise 2 - 57 0:39 1:25 volume > next menu Persichetti Exercise 2 - 57 > next PDF Persichetti Exercise 2 - 57 Nice! You have a nice sense of atonalism. It has an eerie and mysterious feel to me. (ending on a V7? That is one reason.) Also the use of the whole tone scale is nice and surreal. It is not fully used, but definitely has the characteristics of it.

I‘m glad to hear that, and to see that you are not too „disappointed“ or overwhelmed by the discussions. Since I see that you are (again) in „good hands“ with @muchen_ continuing a detailed discussion, I will not go so much in detail, but give only some more general thoughts. I‘ve noticed your new version (v3.mp3 – not yet v3m.mp3). Will say that I put it together with the first one on my playlist and listened them, in a loop, perhaps a dozen times while walking. I do the same with my own compositions (where I use different piano soundfonts producing 10 different recordings of the same piece) and listen to them extensively while I take a long walk. This approach helps me to judge the piece whether it is fluent and I get distracted from my thoughts every time something „rattles“. Will say, a more relaxed review on the work thru listening only – being away from the score – is very useful to find out bars which need overhaul or get new ideas how a piece could be continued. Coming to the two versions of your invention I‘ve listened, I must say they are only slightly different (which is good in the sense that your corrections/modifications had no impact on the overall mood). The longer I listened them, the more I loved the subject with the repeated notes! Yes, in the first version there are the few bars, where the „octaves“ produced a bit „thin“ sound in the counterpoint. They have gone away in the newer version (what is good) except of – in my listening impression - two bars, one at the first subject entry in the lower voice and one bar nearly the end. So, I will now look to the score to see whether I can find out what I thought to have heard. ... The one bar which retains to sound „thin“ is bar 4 and the other one is bar 22. Yes there is an octave on an A on the second of the repeated notes. But I think, it‘s not the octave only - there are other ones on a C in bar 3, last of the repeated notes and on a F# in bar 5, second of the repeated notes – which don‘t need „correction“ in my listening impression. I think the „problem“ in bars 4 and 22 is more harmonic nature, I would replace the three sixteenth notes in the upper voice [G A B] with [E# F# G#] emphasizing the dissonance between B major and the four repeated A naturals. Because this was more detailed than I initially intended to be in this repost, so take it not too seriously. The more general question I have – and you probably have yourself – is what do you intend with, for example, this particular invention. If it is an exercise, you‘ll have learned something, especially about „octaves“ – and can leave it at that, going to the next one. But perhaps this is not the best idea to continue with the 1601st exercise, as you seems to me to be already somewhat „overteached“ and „overpracticed“. If you are about to create a „full fledged“ composition of it, we could further talk about episodes, cadences and a more elaborated ending. However, I suspect that you would prefer for that purpose another piece with a subject of your own, which than will be „complete your baby“. For that case, I would suggest you to put your composition in a more larger „framework“, such as in a cycle of, for example of six or twelve inventions, calling it somewhat like „Mein Notenbüchlein“ 😅. I think, that‘s quite enough for today! Greetings, Wieland.

I have 3 new Symphonic Fantasies on my youtube channel, I think these are closer to what I want than in my previous post. They are more spacious and airy I think. Still, they follow my thoughts, I might occasionally develop an idea, but not in a fixed way. The developments are mostly very "free". All are written in Dorico 6 pro, and the sounds are all from Noteperformer 5. "Anticipation - Symphonic Fantasy": https://www.youtube.com/watch?v=RSttXzJnEDs "Arriving" - Symphonic Fantasy": https://www.youtube.com/watch?v=tCb13vp-pvk "White Mushrooms - Symphonic Fantasy": https://www.youtube.com/watch?v=s7EDQycTcGQ I have provided links to the scores in the description on you youtube.

It'll take some time though.

Oh yes, please do. I'm convinced it will sound different - and better.

Very expressive and tasteful writing — stylistically convincing, with beautifully balanced imitative lines. Honestly one of the prettiest pieces I've come across on this forum. (By the way, I noticed a parallel fifth right before the tenore's very first re-entry between the bass and alto (A–E, G–D), and I think I heard another similar moment elsewhere. Were these choices intentional? The piece is so stylistically assured that they caught my ear — not because they sound harsh (they don't), but because they stand out a bit against the otherwise very refined, Renaissance-authentic counterpoint.) A very enjoyable work!

Here is an extended and revised version of the piece. I’m still experimenting with having a wider variety of instruments, for now they are the same. I’m in over my head with making arrangements like this so all feedback is appreciated

This time I share with you a musical quote from "The Occult" by Colin Wilson. And if you've gotten this far, thanks for reading!

I could play this... Should I record?

“It’s a huge…comment!” Lol. Thanks for the supportive and constructive feedback. I have inserted my comments inside brackets: “It's a huge improvement from the previous piece. The countersubject you've written is very melodious, and you've exploited its scalar nature and its rhythm very well for the rest of the piece.” [The original motive is longer than you thought. There is an important stretto in this #10 (see pic) and I cannot take full credit for the scalar line and the rhythm]. “ The harmony in your counterpoint is very apparent and well-constructed too: the first bar outlines descending thirds, and the second bar is a dominant chord. The issues regarding accented 8ves are also no longer there. You can refine your countersubject slightly though. All of the semiquavers in bar 4 should be raised by 1 pitch. This will both highlight the underlying dominant harmony, and also lead to the E in the following bar more smoothly. “ [yes it sounds better! I made this change to bar 4, 10 & 22. I have also changed some registers because it became too high or separated. Then I made a few adjustments in bar 10.17 and 12.83 (see v3m.mp3) ] “With this change, your solution will be perfectly acceptable, but a slightly more musically "interesting" solution will be to turn the beginning of bars 3 and 4 into 4-3 suspensions.” [The motive ‘forbids’ that change, I suppose. It could be possible at bar 3. For bar 4, on the other hand, I cannot have there a 4-3 suspension because the 3 doesn’t belong to the V chord. In fact there was a 4|7 at bar 4 in the original motive, but I cheated and replaced it with a 8|7 because I wanted a VI, not a iv or a ii° chord. Am I wrong? Should I bring back the 4 of aiv or ii°? ] [And for the 3 other points, I’ll look at it closely and rework my piece. Thanks a lot for this precious advice ;)]

Very nice. It is tasteful. Its easy to follow, even for a child. And that's a compliment! It's not like other composers who try too hard to be original and sophisticated, sacrificing fundamental qualities of music like accessibility and consistency. Sophistication is in the details and originality is a subjective concept, unlike authenticity.

A musical joke. This is a revision where pizzicato trills were omitted.

Hallo @TristanTheTristan! Even your Sonatina has a length of a Sonata, I think it was wise to call it „Sonatina“ only, due to its youthful spirit and its refrain from the drama and heaviness of a „full-fledged“ sonata. So it is a cheerful, enjoying piece at all! However, what refuses me to count it as a piece that I would enjoy to put in my playing list is its hyperactivity expressed by the much to fast and repeating passages with ornamentations (trills, tremolos etc.) which heavily remind me on your signature „TristanTheTristanTristanTheTristanTristanTheTristanTristanTheTristanTristanTheTristanTristanTheTristanTristanTheTristanTristanTheTristanTristanTheTristanTristanTheTristanTristanTheTristanTristanTheTristanTristanTheTristanTristanTheTristanTristanTheTristanTristanTheTristanTristanTheTristanTristanTheTristanTristanTheTristanTristanTheTristanTristanTheTristanTristanTheTristanTristanTheTristanTristanTheTristanTristanTheTristan ….“. I can therefore only emphasize @PeterthePapercomPoser' questions about playability for a human performer and would love to hear the piece as it would be interpreted by a real pianist, whether it's a live recording or a recording from a MIDI file. In the latter case, however, more sensitivity to the technical abilities of a human pianist and their enormous nuances in articulation, dynamics, tempo, etc. would be required.

I've attached below the opening 32 bars of a movement for strings, chorus, and continuo in the late Baroque style. The text is taken from Goethe's Einsamkeit; the full text and a sample translation can be found at the end. The form of the chorus will probably end up being rondo-like: A B A' C A. Section A here refers to the opening 32 bars, and A' is A in the dominant key. Section B will deal with the next two lines of text, and likewise with C. I'm interested in how you might proceed with B & C. What kind of textures? What material from A do you want to use? How would B and C relate to each other? Einsamkeit Die ihr Felsen und Bäume bewohnt, o heilsame Nymphen, Gebet Jeglichem gern, was er im stillen begehrt! Schaffet dem Traurigen Trost, dem Zweifelhaften Belehrung, Und dem Liebenden gönnt, daß ihm begegne sein Glück. Denn euch gaben die Götter, was sie den Menschen versagten, Jeglichem, der euch vertraut, hilfreich und tröstlich zu sein. You who dwell in rocks and trees, o salutary nymphs, grant gladly to each what he silently desires! Create solace for the grieving, give instruction to the uncertain, and to the lover grant that he might meet happiness. For the gods gave you what they denied to men: to be a comfort and an aid to all who trust you.

Thank you!

It's a huge improvement from the previous piece. The countersubject you've written is very melodious, and you've exploited its scalar nature and its rhythm very well for the rest of the piece. The harmony in your counterpoint is very apparent and well-constructed too: the first bar outlines descending thirds, and the second bar is a dominant chord. The issues regarding accented 8ves are also no longer there. You can refine your countersubject slightly though. All of the semiquavers in bar 4 should be raised by 1 pitch. This will both highlight the underlying dominant harmony, and also lead to the E in the following bar more smoothly. With this change, your solution will be perfectly acceptable, but a slightly more musically "interesting" solution will be to turn the beginning of bars 3 and 4 into 4-3 suspensions. Then I'd raise the following points about the rest of your piece: As mentioned before, your piece needs strong cadences to serve as musical punctuations. You need a V - i (or I) in the tonic key at the end. You also preferably need another in a different key somewhere else. The tonal scheme of your work is perfectly sensible: tonic - dominant - relative - tonic, and so a second V - i at the end of either the dominant or relative section is desirable. A third or fourth strong cadence may also be added at your discretion. Your subject + countersubject together is invertible (in the sense of exchanging bass with soprano and so on) and so you should invert it! Every opportunity you've had (bars 7, 13, 19) you've presented us with a modified version of the subject and countersubject instead. You are allowed to do these pitch modifications (and I indeed like them), but given you have presented the theme consistently throughout the work as soprano -> bass pairs, you should also present these modified themes as pairs. Utilising these modified pitches as new motifs in your episodes would also be desirable. Whilst you will find episodes like these (i.e. repetition of one passage, with slight modifications) in the oeuvre, far more commonly you will see different episodes being constructed completely differently. They have different lengths, and are based on different harmonic progressions. Melodically they generally still play from the pool of the motivic material in the theme, but the exact details vary from episode to episode. The reason why is not because repetition is bad - repetition is good if done sensibly! But the journey you take to get from the tonic to the dominant must clearly be different from the journey from the dominant to the relative, so a different approach is needed each time. Writing different episodes will also allow you to place the much-needed cadences at will. When you can employ this repetition technique however, is when your starting and ending keys are separated by the same interval. In your case, this means you can reuse your episode between the dominant - relative (v to III) as an episode between the relative - tonic (III - i). If the subdominant was part of your tonal scheme as well then it means you can reuse a tonic - dominant (i - v) episode as a subdominant - tonic (iv - i) episode.

Here is v3, an improvement to v2 of #10. I removed all accented P8ves, also some parallel 8ves and 5ths. And other little things. The changes are in RED on the score. The plot: The leading tone, being absent from the motive, takes its revenge in the counter-motives, sometimes in obstinate ways.

Hi @TristanTheTristan! It's a vigorous sonatina brimming with your youthful energy! The only thing I didn't care for was the meaningless shows of impossible virtuosity. I think you are not composing for a human being but rather for the computer program which is a shame. Making music possible to be played does not make it worse which is something I don't think that you understand. But even with that - I enjoyed many parts of the piece - the adventurousness of the 3rd movement especially. But the 2nd movement was horribly boring and the melodies in the 1st movement were meaningless scalar passages. There are so many parts of your piece that are mechanical and robotic that I won't go through mentioning them by measure number as it would be too herculean a task. I don't know - don't you want to write music that could someday be performed? Or do you want to be known as a midi or Musescore composer for the rest of your life? Thanks for sharing.

I would be more along the lines of giving a good classical guitarist an electric to play around with for a couple of months.