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Simen-N

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Simen-N last won the day on March 7 2018

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  1. Fuga la ciaconna in g minor: The fugue subject is a countersubject to the commonly ciaconna passage (in the key of gminor: G F EB D). This passage is not written in the fugue, but is "hidden" in the hamony. The little experiment here is to have a hidden 4th voice to sing with the words kyrie. The theme will be inn all of the four voice ranges. The idea is to give the freedom to the performer of how to arrange and where to place the voices. That is the experimental part of the piece. As for the fugue it self its for 3 voices. Plase tell me what you think
  2. Thank you Monacheon! Hidden paralells yes, i know of them, but turn a blind eye! 😛 Music fist, the rules after. One have to look at the rules form a practial perspective that is not written in stone.
  3. Hello, I wanted to write som court music, so here is my little fugue for 2 trumpets and 2 trombones in c major. Please telle med what you think! SimenN
  4. Thank you very much Luis, im glad you enjoyed it!
  5. Prelude & Fugue in a minor per manualiter. This was orginally written for the YC prelude & fugue collection, i wrote this before i read that the key of a minor was taken. 🤣 Please tell me what you think. SimenN
  6. So that is said, i love Bach, but i really dont agree that bach is the beginning of classical music. I would rather say that bach is the culmination of 200 years of musical evolution. What Bach did could not have been done if it was not for hes idols, espeically the north german composers like Buxtehude, reincken and Böhm, or the french composers like Copuerin and lully, or the italian composers like Corelli, Torelli and Vivaldi and at lest the flemish like Sweelinck even some of hes comtemporarys. Bachs music uses the elemtns af all these styles (like the other late baroque composers within the north german tradition ... Zelenka!). Bach as a historical composer is very interesting, you find all the influences inn he music both early and late works. Bach is 33% italian, 33% french and 33% noth german in musical langauge, but mostly german and french is style and technique. I dont think any composer can match hes technique, but he is not the best lyrical and creative composer in the baroque era.
  7. Thank you very much for your kind comment. Still 300 years away from the master himself, but I hope I can deliver quality music in the a exciting musical langauge 🙂
  8. Concerto per violino, archi e bass continuo in b minor "Paradiso e inferno". written 20.06.19 - 25.06.19. Been some time since i wrote a concerto, so here is my summer contribution. Three part concerto written in the late italian school. I. Allegro - paradiso: 4/4 time, livly tempo and fugures, high in the register of the violin (Heaven it is!), the triumph key of d major. II. Adagio - cadere dalla grazia (fall from grace) 4/4 time. slow pace, rethorical use of rets, b, minor III. Vivace - inferno, 4/4 time, fast pace, slaming fugres, chromatic downward passages (going down to hell), b minor Please tell me what you think SimenN
  9. Count me in, im i a major mood these days, is the key of C major/F major open ?
  10. Hello there! First of all, the style "of" does not exist. The classical/baroque styles are personal to a degree, but most of it is common practice, composition back then was all about skill. Bach was rediscovered in the romantic period, and they look at him trough their own glasses. Not before the last 30 - 40 years have we discovered how big the early music period was, and that there are many composers withing a style. We also know that most people who played at that time, also was a composer. They style of Bach is the late north German baroque, ( same as Jan Dismas Zelenka ). The late north German style had both french and Italian roots, as well as the Flemish and north German tradition itself. Bach-s style is the culmination of 100 years of musical development. Are Bach the most famous and forthcoming composer of the late north German baroque language? I think there are many unknown composers that are just as good. The "style of" is a old term from the time the composer where first discovered. Naturally the composer was credited with the style, and not the other way around. So, to your question. How can you write music in the style you choose, and to make it sound authentic? It's as simple as anything other you have to learn that is hard. 10.000 hours of hard work. The problem with writing in an older style is that its not natural to you mind and ear. When Bach was young the baroque style was all over the place, at home, at school, at church, with friends etc. Today there are many musical languages, and you mind is used to them, and will express it self that way. 1. You have to reset your mind and unlearn what you have learned. You have to make the musical language of the style you choose to be your natural way to express. How to do that? 100% dedication for xx years. 2. As you live and breath the style, you will have to learn the basic principles of the style. You have to build your foundation. 3. Writing music for xx-years. as your skill improve you will study theory, experiment, look at scores, etc. This is how you learn the "shall and shall not" of the style. Along the way I'm sure you will find your style and become your own voice in the parameters of the musical language of your choice. Good luck to you. Keep on composing. Kraus (Mozart 2.0) Zelenka (Bach 2.0)
  11. Hey, nice piece! I'm very happy when i see the old therms like a concerto grosso. As you might know, i am a purist, but i really don't mind combining styles etc. But what I do expect is that the therm follows some of its traditional traits as a base. Like you would expect a fish to resemble a fish, swim and live in the water. Could be a flying fish though , but still it have to resemble a fish to have fish in the name i think. I had difficulties to find the concerto grosso structure here. I can see you have some sort of Concertino and ripieno, but the entire point of a concerto grosso is the contrasts and unity between the two groups, its actually like Piano/forte effect. A concerto grosso is a great tool for orchestration without using a orchestra. I can see form you score that you dont have imitation in mind. Your initial idea is perfect for a concerto grosso. To make the contrast it could have been like this: Bar 2 - 3 in the ripieno Bar 4 -5 in concertino Same material, but different sound and color because of the groups, typical concerto grosso. The same goes for structure. Concerto Grosso is all about the contrast. development at unity between the groups. Use the groups, Luke, the groups! May the force of corelli and stradella be with you.
  12. Mr Graham, this is just amazing! I have tryed many times to write vocal music in this style, only to fall big time! Your mastery of the style is very impressive. The music is beautiful, melodic and meditative combined with good counterpoint. All the movements are of excelent quality, but for me the gloria was special. The 2 part section with tenor and soprano as a contrast is wonderful, i love it! Thanks for uploading
  13. Concerto per oboe, violino, archi e basso continuo in mi minore (13.01.19 - 04.03.19) written in the late Italian language. I finally got this concerto finished. It has been a thorn in my side for two months now. No time for composing and very little inspiration. The concerto its written to the baptism of my unborn son, so I have about 4 months to edit and rehears. I. Allegro II. Adagio III. Vivace Please tell me what you think!
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