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Pietro17 last won the day on January 28 2019

Pietro17 had the most liked content!

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11 Good

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About Pietro17

  • Rank
    Advanced Member
  • Birthday December 16

Profile Information

  • Gender
  • Location
  • Occupation
    High school
  • Interests
    Music, physics, astronomy
  • Favorite Composers
    J.S. Bach, Beethoven, Vivaldi, Shostakovich, Chopin, Kalinnikov, Mahler
  • My Compositional Styles
    Baroque revival
  • Notation Software/Sequencers
    Paper, MuseScore
  • Instruments Played
    Violin, Viola, Piano

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  1. This is my first piece in classical style. Do you think it sounds convincing?
  2. In measure 2, tenor (qui - Db) and bass (eis - Ab) - fourth is forbidden in two-part counterpoint, unless it's a suspension - you can change Db to D natural. Measure 4 is harmonically quite unclear for me - in general there is many situations where one voice has for example b natural and the other has b flat at the same time - the green countersubject combined with red subject are responsible for that (also green and purple). Parallel sevenths/seconds aren't always bad - it depends on the context. I think you should fix those errors and errors mentioned by others before you go further. Good luck!
  3. Sounds very nice to me, despite many counterpoint errors. I suggest you a key signature of 2 sharps - and it would be nice if the score was neater. Do you have any instruments in mind? I think you can develop this piece.
  4. In my opinion Allegro bars 8-10 are fine. The one think that bothers me is actually bar 3, the D in Violin 2 doesn't belong to the harmony
  5. I'm still not satisfied with my counterpoint, so I wrote these two little practice pieces. They're not mentioned for any instruments, but I had to choose something when making an mp3. Also, this is my first finished canon, that is I've written many canonical passages but this is my first standalone finished canon :D What do you think of these?
  6. Great classical duet! I liked the motivic imitation in allegro. I think the shape of the andante is really good, and to be honest I liked it more than the allegro. Also posting a score is a good idea, because it makes reviewing much easier
  7. This is a piano concerto I am composing now. I will succesively post remaining movements. The second movement is a slow siciliano, in my feeling it's a bit too short but when I think what I could add, I don't have any ideas :/ what do you think?
  8. This is my first attempt to write a piece for unaccompanied violin. I'll try to make a recording in nearest future
  9. I absolutely love the part 7:01 - 8:05, and 10:03 to the end, but the fugue is also great! I thought that the fugue is usualy the last in a set of variations. I can feel the emotional power of your work
  10. Nothing left to say I think it's time to end this shitstorm
  11. Why don't you stop presuming that other people don't do research? Are you the only one educated here? Well, I can't remind myself that Bach held a professor title. Yes, he was a master pedagogue, but above all he was a genius artist. And no, he wasn't a professor. Yes, the helped each other, because they knew how to do that, not because they had a degree or held a professor title. They weren't educated executors of rules. They were artists. Again: Beethoven, Mozart, Bach, Haendel and Vivaldi didn't have a degree in composition. In anything actually. This discussion is now off-topic Yes, and I have a submarine in my room. Do you have a scientific research for that claim? Why don't we know those people? If now there are millions of such people, so there had to be thousands of such people in times of Mozart. Why do we know only Mozart and Haydn and not them? As I said before, technical ability isn't enough to create good art. I think old composers deserve more respect from you. If you think that your technical skills are as good as Mozart's, then think about it: you've learnt it, they created it. Your attitude towards old masters is like attitude of a geologist towards a rock.
  12. Also, I forgot to ask: what soundfonts are you using?
  13. I like the whole piece, especially the Ciaconna, it reminds me of the second movement of Vivaldi's concerto for two violins in a minor, and of Ciaconna in f minor by Pachelbel (I mean 161 - 180). And 186 - 196 so expressive! Very clever dialogues between the flute and violin. I would like to hear a live performance.
  14. @SSC I strongly recommend you to be more humble. Also I wouldn't rely so much on science. And music is not academia, it's an Art. Also you seem to think that education, and musicology makes us nowadays better, more wise and knoledgeable than old masters. Remember: Bach, Beethoven, Mozart, Vivaldi, Haendel and many many others, they were not professors. No, they can't, and computers will not be able to write fugues like Bach. Ability to obey the rules of counterpoint isn't all, it doesn't mean that the work has any artistic value, not to say value equal to Bach. You have to be very arrogant to think you are able to compose like. Discussion with you is like discussion with a person of enlightement era; they thought that one who doesn't have formal education has nothing to say. That's not the point, wether it was Bach who wrote those pieces, These pieces exist, so they must be written by someone in the past.
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