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Ali Jafari

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Ali Jafari last won the day on February 22

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About Ali Jafari

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  1. Ali Jafari

    Sinfonia Concertante in C

    Yes, I think it worked pretty good as a single-movement work. I agree, even Beethoven quoted Mozart in a number of his works. I personally believe that Mozart quoted other composers too, perhaps unconsciously. For example, there is a harmonic progression in the 2nd theme of the 1st movement of his 12th Piano Sonata that reminds me of the 3rd movement of Vivaldi's Summer.
  2. Ali Jafari

    Sinfonia Concertante in C

    This is a really great piece, congratulations. I think it's really hard to compose in the style of the classical period without quoting Haydn, Mozart and Beethoven.
  3. Well I actually compose four-part contrapuntal exercises almost everyday, but they are very short. I still think there's still a lot of stuff that I don't know. For example, as I mentioned earlier, there are almost 20 pages on Schoenberg's third book only about motives, and he's illustrated a lot of examples too. I haven't studied that book yet but I definitely think there's a lot to learn just in that book. Also, I haven't analyzed any of the masterworks yet.
  4. I know, but shouldn't studying help composing ?
  5. You know, right now I have this weird fear of studying all these other books about form and analyzing some of the masterworks and still being unable to develop my themes and write longer works.
  6. Yes, I know about the outline of the sonata form and also about the exposition, my question is only about using an arc form in the middle of the development section. Also, would you please tell me if someone like Beethoven used the same procedure to develop his themes in his different works? Is it really some sort of procedure or is it mostly some kind of imaginative power?
  7. By the way, by this arc form in Beethoven's sonatas, you mean that he wrote a development on a theme, then wrote another development on that theme, and then repeated the first development?
  8. Ali Jafari

    Nyctophilia

    Also, this is one of those 'cells' that I'm talking about, I wrote this about 2 weeks ago. This is actually one of the exercises in Walter Piston's Harmony book. This particular exercise asks the reader to first construct a four-part version of a I-V-III-VI-IV-II-V-I progression in the key of G Major and then add non-harmonic tones to each of the four voices. So first I constructed a four-part version of the progression like this: Non-Harmonic Tones.mp3 and then added the non-harmonic tones: Non-Harmonic Tones 2.mp3
  9. Ali Jafari

    Nyctophilia

    Thanks. I'm very embarrassed to say this but actually I learned how to read and write music one or two months after I completed this piece, so... This was actually the second piece that I wrote, after this I wrote a couple more pieces and then I found out that this isn't how composition works. So since the past year or so I've mostly focused on studying music theory, harmony and form and I still have a long way to go. I also wrote a piece for solo piano about two months ago but my piano techniques are very limited at the moment and I can't record it. I'm also practicing piano a lot too, to be able to write more complex and 'pianistic' pieces in the future. Since I started studying music theory more seriously, I've mostly focused on writing 'beautiful!' cells of music. I mean, writing chorales that are between 2 to 8 measures and then adding non-harmonic tones to each of the voices as much as possible. Currently I'm going to start reading Schoenberg's second book on harmony and then start reading his book on musical form. Hopefully I'll be able to write some more 'mature' pieces until the next year or so.
  10. Ali Jafari

    Nyctophilia

    Hello everyone, I wrote this piece in late 2017 and back then I didn't know much about harmony, but I think this piece kinda shows one of the styles of composition that I'd like to continue in the near future. Hope you like it. Please let me know what you think about this piece.
  11. Thanks, I'll try it.
  12. Thanks. I think my current problem is 'lack of development' and 'not studying Schoenberg's other two books' :)) and I personally think it can be largely solved in like, 8 months to a year. Please correct me if I'm wrong.
  13. Thanks, I'll check it out.
  14. Thank you for your advice, I think I'm already gaining a better understanding of composition. So if they didn't use specific harmonic progressions, what made their voice so special as composers? Because I think that can mostly be traced back to how they wrote harmonic progressions and also their melodies to a lesser extent. Also I can't variate a motive easily and I think it's largely because I haven't studied motives themselves very much. There are, like, 20 pages on Schoenberg's third book just about motives and how to use them. Maybe studying those parts of the book can help me...
  15. By the way, this is an off-topic question, but did great composers use specific harmonic progressions in different works of their own? Because I personally think that when someone is referred to as 'having their own voice', it means that they use some specific progressions in their different works. Unfortunately I haven't analyzed any of the masterworks yet so I'm not sure about this opinion.
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