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Willibald last won the day on May 29 2018

Willibald had the most liked content!

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About Willibald

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    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. @Eddy67716 Thanks for your comment. Indeed, I aimed for the sound of an "improvised" prelude, though it is anything but.
  2. A really fine piece. The effort you put into composing – painting – shows. My only point of critique would be that towards 1:10 and at the end (ca. 2:00), you sequence a certain melodic pattern four times which always holds the danger of making music tedious. However, your instrumentation, rhythm and structure is really well done. I long for the day I could match these skills.
  3. It is quite a challenge to compose a write a through-composed song to such an expressive poem. So kudos to you. The low bass in the beginning is real low and together with the block chords a real contrast to the first bars of the singer. (A surprising contrast; I am not quite sure what these chords express.) The singer, however, has to sing rather fast at the beginning, like in a buffo opera; I would give her more time to breathe and phrase the melody. The block chords in m. 34 following could use some arpgeggiando to soften the texture. Overall, you have to be careful that the accompaniment does not drown out the singer as thick chords are wont to do. Your harmonies and progressions are for sure colourful! One last problem I stumbled into myself repeatedly: The volume settings for dynamics in notation software are often too extreme, especially for human voices. So, to get a better impression of how it would sound in real life, you probably have to edit the playback settings.
  4. @luderart Thank you for your comment. Yes, the arpeggios are not played like they would sound when performed on a real instrument. Theoretically, I could have worked around the limitations of the playback software with an elaborated hidden score but alas, I lack time. Regarding long notes on the harpsichord: On a real instrument, though the sound decays quickly, the open string has still an audible effect. Therefore, many composers writing for the harpsichord employ long held notes for added colour (provided partly by string resonance) though the effect is of course weaker than on a modern piano. @Luis Hernández Thanks!
  5. I like the experimental nature of these three pieces. To start with a counterpoint in parallel fourths and use parallel fifths and a hidden octave all in one measure (measure 3 of the first piece) produces a sound that is really off -- but as these deviations from classic counterpoint are used throughout and consistently, they provide an interesting colour. Fittingly, instead of a cadence, there are just two parallel octaves sinking to the tonic at the end, a technique used in the second piece as well, defying expectations of real closure. I would just say that using the term "fugato" could be bit misleading, as one would expect a more thorough counterpoint then, but nonetheless three interesting explorations of two-voiced imitative writing in a cross-over style.
  6. Reminded me a bit of background music to the strategy game "Battle of Wesnoth" (which has some surprisingly good tracks). Dark foreshadowing (there is something sinister brewing ...), a good rhythmic drive and enough melodic variety to hold the listener's interest - what’s not to like?
  7. I actually liked the opening and expected a tense energetic piece which then didn't materialise. So I think the problem is the disconnect between the opening and the rest, especially in a piece as short as this one. (Thinking about it, this is what @Monarcheon alluded to: "especially since it never comes back again.") Also, the later parts feel a bit generic and lack tension. This all could still make sense if it illustrates a certain story or film sequence. That said, you have a lot of good ideas and are also quite good at blending instrumental sounds together. There is a lot of potential there.
  8. Thank you for sharing your three preludes, which have really nice ideas and have a generally good flow. Some comments: Prelude in e minor: The time signature change in measure 2 feels a bit forced as it does not add really to the musical structure. I would just shorten the measure. Measure 2 then rhymes very well with measure 4. Same goes for the repetition of this part at the end. The block chords feel really thick. Probably you could thin the texture a bit. Prelude in D Major: The open end on the first inversion chord is charming, however, it could be staged more effectively, e.g. by slowly petering out. Or you follow @Youngc and add a proper cadence. Prelude in c# minor: You use the inherent chromaticism quite nicely. Just an idea: You could change the last f# into a double sharp for a provisional leading tone to the dominant, but this is just an idea.
  9. This prelude in c minor is part of my endeavour to write a small collection of six preludes in various imitative styles. It follows a more associative development typical for imitative-figurative preludes of baroque music and is heavily indebted to this article by Vasili Byros, “Prelude on a Partimento” (http://www.mtosmt.org/issues/mto.15.21.3/mto.15.21.3.byros.html). However, this prelude is not based on a partimento but on a simple plan I devised myself. The score still needs some improvement, but should be readable. As this prelude has a really baroque feeling, I opted to use a harpsichord soundfont, “Petit Italien“ from Soni Musicae. (see: http://sonimusicae.free.fr/petititalien.html ) Critique and other comments as always welcome!
  10. A charming piece, like a slow, sometimes hesitating exploration. I find the title interesting, as it is clearly outside the usual virtuosic toccata literature, but it is clearly "singing" albeit rather slowly. Some strategically placed diminution could provide the piece with even more interest without sacrificing its harmonic structure.
  11. Be careful with the dissonances. As the piece feels tonal enough that clusters of dissonant chords without resolution feel out of place, especially at the beginning where tonality is established. Nice ending!
  12. A very interesting meditation which manages to keep the listener interested by varying intensity (dynamics, pulse), sprinkles of polyphony and melodic passages. The solo violin conveys the feeling of a lonely persons at midnight, combatting conflicting feelings but also its own sleepiness, well. However, the piece should not be any longer (it's alright as it is).
  13. As I have the opportunity to listen to brass music frequently, I have to say this is absolutely on par with new pieces performed by professional brass ensembles in my country. Here and there I would have made different choices, but these are purely subjective. And this could easily be the first movement of a small cycle (divertimento, suite, or whatever name you prefer and fits). What helps is that new brass music has the freedom to be far more eclectic than e.g. orchestral music where the limits what is acceptable new music are far stricter. Classical influences, jazz, atonality, folk music can all be mixed and matched for a new piece, even renaissance, baroque and world music.
  14. One easy way (surely not the best one!) to harmonise a given bass and melody with full chords is to look if you can harmonise everything with three chords, an idea that goes back to the 18th century: the tonic, the dominant and the supertonic, and some simple rules: The tonic (I) starts and ends the piece and can lead to all three chord types; the supertonic (ii) precedes a dominant; a dominant (V) can lead to back to the supertonic or to the tonic. Supertonic and dominant can be used as seventh chords with the seventh being resolved by going one step down, thus the supertonic seventh always leads to the dominant, the dominant seventh always to the tonic. You can use the chords in root position or inversion; the final cadence should see the dominant and tonic in root position. If the music has left the key, simply use the three chords of the new key. See e.g. Daube's Musical Dilletante for more information on this method of harmonising a melody. If you write out which notes belong to which triads and seventh chords, you will easily see which chords can fit to the given melody/bass-combination. There are far better methods than this one, but hardly easier ones.
  15. And, by the way, a nice idea to have a suite based on "Amor and Psyche" as it enables a lot of associations for the various musical phrases.
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