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I composed this short guitar trio (for Flute, Bassoon and Guitar) within the past couple of days. It's a Siciliana in a sort of modern take on a quasi-Renaissance piece for quasi-Lute and winds. Thanks to @Thatguy v2.0 for checking over this piece for tablature mistakes/impracticalities. I'll definitely be consulting with him in all my future guitar pieces! I wrote this to be a kind of study/etude in hammer-ons and pull-offs (special guitar techniques). There are also some slides but I didn't notate those because of some wacky glissando effect that Musescore 4 performs with that marking. Also, I tried to get a better sounding Acoustic Guitar VST (since Muse Sounds doesn't have a guitar patch yet), but the one I downloaded didn't work with MS4 so this is MS Basic. Thanks for listening and I'd appreciate any of your constructive comments, suggestions or critiques! Edit: Thanks to @Henry Ng Tsz Kiu for informing me about the Siciliana! I've updated the title, and also added some reverb to the guitar part (I realized that Muse Sounds had some FX I could download including Reverb and Chorusing).

Happy new year sorry I took it down cuz it was so cynical lol. happy 23, soon we'll die in anarchy, enjoy the moments while you can, soon canned foods won't seem so bad so whistle the christmas song, as you build your bunker strong sooo many christmas presents, but dammit grandma I cant defend myself with socks the end is nigh and the story is about us, simplify your life move your couch and tell us.

Thank you for your feedback! I would love to turn this into something more substantial. 🙂

yeah it is! Thanks bro u too. Hmm I guess be more focused.

Well, it works and very evocative of times when it might be THE entertainment - finished with the roast wild boar, quaff a pint of good ale, get dancing everyone. Nice one. Nice also that you put in the tab. (Uhhh, tab is something I have to learn. I noticed one "mentor" on youtube put rhythm details under each fret position, sort of stems beneath, some dotted, quavers (1/8 note values) with tails etc)

Really nice combination. I almost imagine it play with a lute to from a trio sonata though. Nice counterpoint and funny harmonies, often skipping to other areas unexpectedly. I really don't expect it to end this way but it's light hearted. I think it more a siciliana than a minuet though. Henry

this is cool.. love the space the woodwinds add. The counterpoint is great, I know what that is now. The woodwind parts are really cool and I love the harmonies.

LoL - Please post the lyrics! Btw - is that you beat-boxing in this? Nice song! Happy 2023! Do you have any resolutions? I'm going to play and write for guitar more. LoL Thanks for sharing!

All I can say is....it needs development! You've managed to avoid the clichés of many who experiment, ending up composing conventional music using electronically generated sounds with a few surprise sounds thrown in. I remember reading that the first EMS and Moog synthesisers heralded the greatest breakthrough in sound organisation since the chromatic keyboard. They would break the bounds of the aural universe, they said. Seems a shame it just became another piano-alike for many! With this piece all that's missing is a small amount of reverb. Great. Thank you for posting it.

Just keep practicing and I'm sure you will get familiar with it and do it much quicker and more accurate!

Yes it's good! Congrats on that!!

Would this be a good solution?

I think the best is to use contrary motion. You can retain the E in the ii6 chord to the V chord, and finish with E-D in soprano. Since this step is smaller than the leap in bass, it is acceptable. Remember to use more contrary motion since it's always safer than the similar motion in 4 part harmony excercise. Finishing in F sharp will also be ok if it's not a final chord, but I prefer a PAC than an IAC in the final cadence, so I will use E-D progression in soprano to make sure soprano ends on the root. Henry

Dear @Guardian25, Now the exercise 1 has no obvious consecutives now. However, on traditional 4 part harmony major chords should only double its root or fifth but no its third since it will be too bright. In your IV6 and I6 chords third is double, which is not good in tra. 4 part harmony. Minor chords, like the ii6 chord, can double its third. In a strict sense, the last two chords has hidden octaves, since they both reach D in similar motion, with the leap from A to D in soprano bigger than that step of C# to D in tenor. But that's not allowes in the strictest sense only. Henry

I would keep this in mind for any future chorale harmonisations. I will focus on the first chorale. The V - vi⁶ - vii⁶ - I⁶ progression is problematic. It's not as serious an error as consecutive 8ves, but nonetheless not very idiomatic. Basically, it is a long sequence of chords ascending by seconds, which are extremely rare (as opposed to chords ascending by fourths or sixths, which are extremely common). And when most of them are used in first inversion like this, the tonic/dominant relationship central to chorales is particularly weakened. One solution is to just insert a IV chord between the vi and vii. Another solution (if we insist on harmonising at minim speeds) is to modulate to the dominant using V - V/V - V (seventh) - I. In addition, V - vi⁶ is itself extremely rare. I see no reason to not use a simple V - vi. The soprano line is also not very idiomatic (as opposed to the bass line, which is good) since it mostly oscillates between D and E. In an inner line this would be OK but you'd ideally want the top line to be a little more melodious. I also see some consecutives - when starting out I'd highly advise being rigorous, and doing checks for every pair of voices (6 checks in total).

Thank you so much for listening and for the kind words! I agree that I could expand the dynamic range and make some of the soft parts softer. Your synesthesia sounds fascinating. I would be curious to hear more of your work (I've heard your Adagio - "Night" and love it) and how your visual experience may influence or guide it. 🙂 I have one very brief electronic demo as I decided to dip my foot into the genre for my first college course and write something for synthesizers (inspired by the late Vangelis and Blade Runner), and I will attach the link again for your convenience. I hope you enjoy it! Thank you for your interest. Happy New Year!

Before I make some remarks - just a few questions: do you strictly have to harmonise the melody in minims or can you change chords at crotchet speeds? Do you plan on a complete harmonisation (i.e. with nonharmonic notes, suspensions etc. added)?

The dominant 7th is really useful, just make the 7th will resolve downwards then it will be fine! V7, V65, V43 are quite similar which usually resolve to a I, whereas V42 resolves to a I6 chord.

Just make a quick sketch of the ex.1. The bad thing is there is a repeated V chord used. 20230101_084006.pdf Henry

Then that will be ok! Now I check out the new version. I see the vii6 chord now has a G in it and E is doubled, which is good, but it has a parallel octaves with the previous chord now in soprano and bass (both from D to E). In ex.3 the I6 chord as a major chord has two thirds, which will be considered too bright in traditional 4 part harmony (Though it's used beautifully in Mozart's Requiem in the Introit). Henry

Nothing really to criticise. This work would be great in live performance. It might well be in 'the repertoire' so here's a hope that a quartet will be interested in it. It's well-crafted, engaging progressions enhanced by rhythmic twists. You've paid a lot of attention to detail in the score. It is possible for a saxophonist to get barely a whisper out of the instrument - it shares that with the clarinet, possibly because of the single-reed mouthpiece. On the other hand it suffers the range awkwardness with the oboe (the conical bore) so the very top notes get weaker. Hence my single comment is the high E in bar 91 is fine as mf but would be difficult to get louder. Possibly more could be done with the dynamics therefore but that's a small point. I too 'suffer' synaesthesia - relating visual to sound organisation - music in its broadest sense - hopelessly sensitive to atmosphere - so although I've forgotten what a key is(!) I have a sense of your relating keys to colours. For me, some keys/tonal centres emerge strongly as colours, others not. Anyway, a pleasant listen. Brilliant. A Happy New Year to you. Edit: Incidentally, I'd be interested in your electronic work as I consider my stuff 'contemporary'.... I'll watch out for it.