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Willibald last won the day on March 23

Willibald had the most liked content!

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About Willibald

  • Rank
    Intermediate Composer

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  • Favorite Composers
    Georg Philipp Telemann, Joseph Haydn
  • Notation Software/Sequencers
    ABC, Lilypond, Musescore
  • Instruments Played
    Guitar, Piano

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  1. Piano Trio in A-flat Major, Opus 18

    @pianist_1981 Thank you for your statement with regard to variety in composing styles. I couldn’t agree more.
  2. Piano Trio in A-flat Major, Opus 18

    I fully understand your stance towards publishing scores. This is really a high-quality work and could easily tempt others to pass them as their own. (I worry far less for my own forays into music as the worst that could happen is that some hapless student tries to hand them in as his own work at school and gets the deserved bad grade for supposedly writing such a sloppy piece.) I really enjoyed listening to your trio; in my purely subjective opinion, it could need a tad more variety -- probably without changing anything except dynamics and tempo markings in the score, just by modelling the contrasts more like Harnoncourt would have done. All in all, this is close to half an hour of music, so you need to keep people engaged. Of course, this is also a matter of taste. The scherzo is really fine, energetic and full of the sort of contrast I mean; the rondo is also very effective. I look forward to other compositions from you! -- The other day, I listened to the winners of a competition for string quartet, and I wonder if those composers really write music they themselves enjoy to listen to. The market for modern "classical" music is stylistically very focused on a certain type of academic late 20th-century compositions (except for film music, which is much more colourful and varied) that does not work very well for long pieces. It was a very tiresome experience.
  3. My Rose

    Very smooth. But could it be a tad to difficult for grade 3? You could simplify some of the harmonies to lower the requirements.
  4. Sinfonía Liviana

    A very expansive work, covering a lot of ground. It surely consumed a lot of time to compose it. Time well spent as the symphony is really pleasant to listen to. Sometimes, you are in danger of losing sight of what you originally wanted to express in a movement (or to put it differently: You really have a wealth of ideas, sometimes I just get the feeling you could structure them more effectively.) Also, the danger of producing a sound carpet is imminent, especially as you deploy a rather larger orchestra for your music. Often, thinning the texture could increase variety and give you options for exploring different soundscapes without needing new material for it. I write in general terms as I can just give you a few impressions. Unfortunately, I do not have the time to analyse your score in detail. Nonetheless, I hope this helps a bit.
  5. Writing something with counter point in mind

    @Some Guy That writes Music Hah, I found something that could help you. One is a very accessible course at openmusictheory.com (http://openmusictheory.com/contents.html), starting pedagogically with two-voice counterpoint in a Fuxian manner and then proceeding to four-voice compositions. The part on how to write a cantus firmus actually also gives a good idea how to compose an easily singable melody. A very compact, but accessible worksheet with comments and hints is found here: https://finearts.uvic.ca/music/current/theory_materials/Counterpoint online.pdf There is a worksheet with Fuxian cantus firmi against which one can train counterpoint here: http://www.ianstoner.com/pdf/fux_workbook_0.1.pdf .
  6. Writing something with counter point in mind

    Counterpoint arises out of a simple idea: Two people want to sing together. The first singer picks a melody, and a second singer sings another melody that fits to the first one, but is nonetheless a melodious line in its own right (and thus also easier to sing) That is the start of counterpoint. Two voices, each sing a different melody, but they fit together. Later on, composers developed rules which combinations of intervals between the voices and between the stages of one voice would work well and which would not work. E.g. if both voices proceed in parallel octaves, they are no longer identifiable as separate voices. Now, you may combine counterpoint with harmony theory, as has been done since the Baroque. However, you won't get very far with the approach to always put the root of the chord in the bass. Some find it easier to learn counterpoint as an extension of harmony theory. Others find the approach via Renaissance counterpoint with its emphasis on the melodic lines easier. Others learn it by the way of Gradus ad parnassum, the venerated book by J.J. Fux, a Baroque composer at the Imperial court in Vienna. Of course, most people do not use the original book but its method is widespread. But I am certain you have already written counterpoint without knowing it, as when you have written an melodic bass line that is not simply a filler to the upper voice. For good ways to learn counterpoint in English, I am at a loss. Ebenezer Prout's "Counterpoint" is surely a bit dusty, but available at imslp.org http://imslp.org/wiki/Counterpoint_(Prout%2C_Ebenezer) and archive.org https://archive.org/details/counterpointstri00prouuoft. Peter Schubert's and Christoph Neidhöfer's "Baroque Counterpoint" is said to be really well done, but also to be really expensive. Be aware, however, that many counterpoint books focus too much on certain prohibitions and ironclad rules that were never that strictly applied in real compositions. Also, for more esoteric questions, the rules may vary considerably from one author to the next. I have just read a book on Renaissance counterpoint that shows very nicely that the old texts of the Renaissance weren't that strict: They told more about what one should do to write good-sounding counterpoint rather than what one shouldn't do.
  7. Poverty

    Thanks for sharing this very touching piece. Very well structured, and emotionally moving. Some of the suspensions really sounded harsh (around 0:27 and 1:13), but it befits the topic. Slightly off topic, I have to disagree with @Monarcheon regarding the form. Forms where parts or the whole of a theme resurface again provide not only a good structure for the composer, but for the listener as well, and for something about a “cycle of poverty” it is even more fitting. I would not advise anyone to abandon such forms that structure early music as well as modern pop songs, though in different disguises and under varying labels. (But of course, tastes differ, and I fully accept the possibility I am totally wrongheaded.)
  8. forsake, afraid, discouraged

    It is interesting that you set such an uplifting passage (“It is the Lord who goes before you. He will be with you; he will not fail you or forsake you. Do not fear or be dismayed.”) such a claustrophobic music and thus push for further interpretation of the Sitz im Leben and meaning of the text (which, I guess from the thread title, was your intention.) In my purely subjective opinion, however, the music stresses sometimes words of minor importance (like “Et” in the beginning, and “erit”). The music for the “non” is a great idea and really makes it count.
  9. 26 Minuets for Piano (incomplete)

    What an effort! And, after listening to some of them, you have quite an ability to craft melodies. Yes, you have your work cut out for you in improving the harmonic structure here and there, but you know that already. Beware of Paukenbässe (e.g. c' c c' c c' c): They are difficult to pull off satisfyingly and thus should be used sparingly. Good that you did not fall into the trap of many composers that are not aware of the rich diversity of historical minuet compositions and compose only short Minuet & Trio-sets. However, some minuets could use some increased harmonic tension by following the standard procedure of the 18th century, that you employed e.g. in minuet V, a binary with the harmonic structure |: I - X :| | X - I :|, where X is normally the dominant, but can be the relative minor / major or even something else, if you are able to lead the music smoothly into and from it. However, even in the 18th century, this structure was far from mandatory. Your “twelve-tone minuet" is fine in its jumping mode, but hardly a minuet. Not even remotely danceable! The modern minuet XXV seems like a character piece, but lacks a dancing feeling as well. The chromatic surprises in minuet XIV give it a peppery flavour, well done. Thanks for sharing this impressive collection.
  10. Short Jazzy Melody

    For me, it feels like two great archs, one to measure 6, the other one the rest, not necessarily like on melody. Both could be used as starting point for further elaboration.
  11. Symphony No. 1

    Very smooth, sometimes very relaxed, a touch of jazz. btw interesting instrumentation. (The vibraphone is nice!) You're right, however, that the score is a bit of a mess. It would be difficult for an orchestra to use. I'm not sure if all the changes in time signature are really necessary, especially between 2/4 and 4/4. Thanks for sharing!
  12. Interesting piece, but I would be hard pressed to call this a "slow, romantic movement". Sounds more like second half of 20th century, when composers discovered that you didn't have to choose between tonal harmony and new things like tone rows, or extended playing techniques, but that you could mix and match. This is actually a very difficult style to write in, and your changes in texture, harmoniousness etc help move the piece forward at a satisfying pace. However, it really lacks somethings that makes it seem purposeful, an overarching principle. Well, it probably doesn't lack it, but I do not register it.
  13. I don't know if it's better or worse

    The notes you quoted are what I meant by "main motif" - the one characterising the whole piece. Now, even if your whole piece is based on this motif, some passages are clearly infused with it and others are probably conceptually based on it, but not in an audible way for the casual listener. (Which is totally ok!) M. 68ff means "measure 68 and the following ones" More timeless meant: The effect is great, but for a timeless passage, it's rather quickly over. Probably you could use this part for a meditative digression. Alas, I don't understand the Hebrew text in the score, but it seemed to me like this passage is rather central to the piece.
  14. Reverie

    The oboe and clarinet work together quite nicely and convey the dreamy atmosphere well. Sometimes, they are really engaged in call and response, which adds depth. The addition of imitation is also a nice touch, though I am not sure they always work well (though I haven’t checked the counterpoint, that’s just an aural perception.) Modes are a topic that can fill endless pages. Just this as an introduction: Modes were the dominant way of constructing scales before the advent of the Major/Minor-Tonality. They were constructed in times when people where not so much concerned with how to write music in many voices, but how to describe and notate the melodies sung by people in church (but also at other occasions, but the first European books with a method to write down melodies were developed and written by monks.) You get the feeling of those modes if you start on any white key of the keyboard (except the b) and play the octave. Most medieval folk tunes and church chants can be sung using on of those four modes: Dorian (d - d, like d minor with a sharpened sixth), Phrygian (e - e, like e minor, but with a flattened second), Lydian (f - f, like F Major, but with a raised fourth), Mixolydian (g - g, like G Major, but with a flattened seventh.) The b could be flattened in some circumstances, the raising of the seventh to get a leading tone is quite common in modal music. Modes are nowadays used again in jazz and pop, even the mode on b, but in a different musical texture than originally. Dorian, for instance, offers a distinct flavour and is very easy to fit into modern conceptions of harmony. Wikipedia is btw not the worst place to start a search about modes, the article offers a wealth of information, though I can’t guarantee all is correct. https://en.wikipedia.org/wiki/Mode_(music)