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Willibald

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Willibald last won the day on December 7

Willibald had the most liked content!

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About Willibald

  • Rank
    Advanced Member

Profile Information

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

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  1. Concord Double Fugue

    Before I comment further, I have to admit that the soundfont you use doesn’t sound very pleasant for me. I couldn’t finish listening to your piece (and will try it again later) because of this. Your idea of putting some notes for analysis on the score is very good and helps in understanding the structure of your piece and what is going on. Recommended for imitation.
  2. Just one quick note on the title: The word fuga means "flight" in the sense of fleeing. In a fugue, one voice seems to flee from the other. "flight" in the sense of flying would be apparently volatus, but with the genitive of volatus as well (u declination) . So "volatus virtute". However, my Latin is a bit rusty.
  3. Short sonata form sketch

    Such moments of inspiration are important. Don't be discouraged from sharing your drafts.
  4. Thanks. As far as the score is concerned, it looks like a real virtuoso piece, at times only playable by taking some liberties, like the bass in m. 22 or in 30/31, to name just two examples. Polyrhythm like in m. 19 to 28 is of course no problem for the advanced virtuoso, but note that e.g. in the 18th century, these were often played like a long and a short note against three short ones, so that in fact both voiced played sort of triplets. This is much easier to play. Just my tuppence.
  5. Very effective! You really convey the feeling of loss and grief well (and what key is better suited for that than f minor?). And the soft ending, like a last tear drop falling on the ground. Bravo!
  6. Dramatic Piano Song - The Knight-errant

    Around 1:47 and 2:48, though it didn't sound that aimless when I listened the second time.
  7. Carols (just for fun)

    Two further comments: Funny what you did to “Silent Night". A the waltz segment is especially effective in hiding the original feeling and mood without completely submerging it. I enjoyed it very much. a And “Fun Fun Fun" is short, but really well done and makes one listen for the a - g# - a expression.
  8. Short sonata form sketch

    A very modern take on a sonata exposition. The brass chord hurt my ears ;-) Seriously, it would be interesting to know which style you are aiming for to give you useful feedback. Also, for writing sonata form, it is better not to try to write a textbook-like sonata with all the bells and whistles mentioned there, but start very simple: A main theme, probably with some extensions tacked on, then a cadence in the home key (tonic). A short piece of music, probably related to material from the main theme, modulating to the dominant. Some material, either new or related to the main theme, in the dominant leading to a cadence in the dominant key. Voi lá, your first exposition is finished. Extra points for surrounding it with repeat signs, like the classical composers did, because it would mean your music is interesting enough to be heard twice ;-)
  9. Dramatic Piano Song - The Knight-errant

    If there is a story behind it, it would be interesting to know. It sounds like the music wants to narrate something. The beginning offers jarring dissonances, the ending festive chord blocks. Sometimes in between I felt a bit lost, as I had no idea where the music would go next, but this can be exactly the intended effect for a piece about a “knight-errant”. (Without a score, it is difficult to say exactly where this feeling occurs).
  10. Agnus Dei

    You develop the piece nicely as voices enter and leave, piling up or singing lonely. However, I am not sure it is wise to have explicit strong dynamics (from pianissimo to fortissimo!) when you heavily use the number of active voices, which has also an effect on perceived dynamics. Also, I am just curious why you chose D flat Major for a piece for choir? I would totally understand it in certain brass pieces for transposing instruments, but for vocals, it would probably be easier for the singers to transpose a semitone up to D Major. Finally, it is an interesting idea to let the piece end with a very silent plea for peace. Effective.
  11. A very varied piece! Sounds like a fantasy or a capriccio. And it conveys the feeling of flying at times quite nicely. At 00:30, there is a strange (minor?) chord. Also, sometimes it seems that both hands are overlapping or indeed playing the same note (e.g. around 0:50). A score would be helpful, if possible.
  12. i thank You God

    Very faceted composition. You really tried to make the emotions behind the text hearable. However, I share the concerns mentioned above. Now, I guess the two voices in the "solo" mean it is not really a solo but sung by two sopranos (e.g. m. 23 ff), as must be the case for the other voices as well, so they can split when necessary. The phrases in m. 23 ff ask for rather long-held notes; I wonder if you do not overstrain the choir. m. 71 should be possible, but I see the problem again in the last part after m. 105. However, I do not know the capabilities of the singers at your disposal. It is surely no easy piece to rehearse!
  13. Song of the Holly

    Thanks. Sounds good! Some small remarks: You have a very strong bass, with three independent voices (choir, cello, contrabass). It’s fine as the contrabass makes some chords more harmonious (like the first one, where the choir sings a F Major chord in second inversion, but the contrabass transforms it back into root position), but it can sound a bit bass-heavy in a real performance. It is also difficult to pull off in terms of voice leading. Minor quibbles: I guess you did use those transposing bass clefs for the contrabass to get an accurate MIDI output. In a real score, you would just use a normal bass clef; the contrabass player is accustomed to playing an octave lower than notated. In the alto, you have one wrong notehead (for percussion instead a normal one) in the first bar. This happens again in the third bar.
  14. Conversation for String Quartet No. 2

    The title of the piece is well chosen. It really sounds chattering strings, stopped by an authoritative bass. Funny and inventive! But, as @Maximus said, it sounds just liked the nucleus of something longer, not like a finished, self-contained piece. And for my taste, there are many cadences for such a short piece. Just my two cents.
  15. Song of the Holly

    Yes, I thought about how well the music shows the emotions that are expressed in the text. But that is just a suggestion.
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