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Markus Boyd

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Markus Boyd last won the day on February 27

Markus Boyd had the most liked content!

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About Markus Boyd

  • Rank
    Advanced Member

Profile Information

  • Gender
  • Location
    Isle of Man
  • Occupation
  • Interests
    18th century music pedagogy
  • Favorite Composers
    Johann Christian Bach; JS Bach; Mozart; Vanhal; Zalenka; Handel; Hasse
  • My Compositional Styles
    Classical, Baroque
  • Notation Software/Sequencers
    Notion 6
  • Instruments Played
    Classical Guitar; Piano' Violin

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  1. Clearly you have put a great deal of effort into this. I like your use of woodwind instruments. As always, I always encourage people who post works on here to provide at least a brief overview of their intentions so that feedback can be more tailored toward those intentions. I must admit it is difficult to hear what is happening, and you should consider making some areas where it is too homophonic a little more interesting. I would encourage you to tell us more about it, to be honest.
  2. jC Bach wrote a number of organ works that I believe fall under his op 19. They are composed for “4 hands”, and are much aligned with this style. A number of the motifs which I have applied here are influenced by Carl Abel’s well known symphony in E flat, specifically the “romanesca” in the exposition where you have a falling bass to the dominant whilst the upper voice rises in a 1-5-1 fashion. The rhythmic pattern was as much a cliche as the schematic outline; I have encountered some works of Mozart (his sinfonia concertante in E Flat, for instance) in which it is applied in the same manner, and is often used to lead to the dominant key in preparation for the second subject, like how it is applied here.
  3. I agree, I was a little rash there. I do think that it is best considered in the key of d minor, which would better explain the E natural & A natural crossing over than being “non-chordal” in the context of f major. I identified it in the key of D minor without much hesitation and most would do the same I think.
  4. utilizing non-tones, as you put it, without their necessary resolutions is fatal and will make your task for realization difficult... unless you are not concerned about unresolved dissonance. And Please be explicit when asking for hel/feedback, as that would be the most courteous this to do, particularly when other people are making an effort. Can you also explain why you have chosen to use non-chord tones? I personally never use them without resolutions as it’s bad writing.
  5. Well, why didn't you tell us that when you posted the thread! What is your explanation for the A natural over the E Natural - An F7 chord? If so, the entire fugato is based on the tonic chord?
  6. Hi, It has been a few weeks since I have posted some of my own content. I have been asked to write a piece for Organ by a friend of mine who intends to play it at a local church. I have completed drafts of the other two movements although I need to add a bassline. Once that is complete I will upload to the thread. The Allegro is mostly finished; I am just completing the recap and reviewing some of the harmonies. The Bass part in the development section and towards the end of the exposition is intended to be more interesting than that at present; I usually produce a simple harmonic draft to indicate which notes I should emphasize and what not. I will say that the harmony in the development section is uncharacteristically "adventurous" against my track record, however I suppose pushing the boundaries is how we learn best. The focus at the moment is providing a bridge between the first subject and the second subject during the recapitulation. Of course, I cannot replicate what I did in the exposition as I would modulate to D. The second subject must be played in the tonic key in line with sonata form and from what I understand, composers simply added some new material for what would be the transition, modulating instead to the subdominant before ending with a dominant chord, or tonic of the home key.
  7. Hi Caters, A few things here... Your Fugato works as far as bar 3, at which point the music is pulling towards a different tonality which I identify as a D minor chord. As a result, once the 4th voice enters the harmony becomes dubious... that is if the strict tonal structure of your the fugato is to be followed. To illustrate, I have created two of my own realizations. The first deviates to a D Minor chord in bar 3 and thereafter I wondered off in my own direction. The bass had to be adapted to fit that direction and as a result is not a a pure fugato. The second example follows more your trajectory and as you will hear, at bar 4, returning to what I think to be an F Minor chord does not make much coherent sense...
  8. No problem, it’s a pleasure to interact with like minded people. I’d personally suggest that you try writing for keyboard only, with a focus on upper and lower voice. Once you get two fundamental voices working together in an ideal way, then your additional voices should be a matter of just filling in the gaps. Of course, not all parts need to play at once all the time which should offer some opportunity for interaction. Johann Christian Bach’s opus 11, a series of quintets, are evidence of this and he was a master of making each voice interact in an interesting way, even if in isolation some of the material is not at all complicated. I’d personally a advise against writing for over 4 voice and until you master two part writing. This by the way is no criticism. I often often encounter challenging upper passages to write a meaningful lower part for. To remedy such difficulties, like you I will establish which chord fits best, before loosening texture, perhaps with suspensions between lower and middle parts. I’ll send you an example later when I have my computer at hand.
  9. I do find your work interesting my friend. The first subject is reminiscent of Mendelssohn's violin concerto, although I suppose it is a frequently used motif with it being the rising triad. I have often said that you apply the right harmonic progressions that and patterns that are typical of the period you wish to emulate. However, you should look at applying some counterpoint too, as this is what makes music interesting. Counterpoint needn't be complicated for the classical period, especially galant music for that particular style emphasized simplicity above all. For instance, between around bars 65-80 you can look at making a counter melody to the core idea, and to add some flavor, rather than focus solely on the second violin, produce some meaningful communication between the other parts. You could also try exploiting the circle of 5ths to add some harmonic variety. These are the sort of things you should be looking at, Gulliem 🙂
  10. This is impressive. Thank you for sharing, and this is a live recording?
  11. sorry, forgot to click reply notifications
  12. Hi Juan, Thanks for this interesting post. Wish I had seen it earlier. First of all, you have the right ideas and you have made it into something quite nice. There are, however, inconsistencies in certain motifs that you have applied. For example, the opening 6 bar phrase follows a do-re-mi pattern (that is, the upper voice by convention should rise from the 1st degree to the 3rd). In your example, the entire motif is over 6 bars with an irregular rhythm, and the upper voice does not commence on the tonic but instead the dominant, falling to the mediant. The emphasis on the mediant at the beginning is unconventional for the reason that that the emphasis should be place towards the end of the pattern. To help illustrate, I have adapted your opening idea and it should be apparent how such phrases might appear in classical works. After the do-re-mi pattern, I developed some of the ideas that leads to a perfect cadence, after which your shift to second subject might occur. One final point I would make is that you should refrain from changing the meter immediately after the first subject. I would be interested to hear your underlying reasoning for this as is quite unusual, that is within the confines of common practice. Hope this helps.
  13. Nice work. Similar upper parts to Zelenka's Oratorio, ZWV 61. Pleasure to listen to, thanks. We have a mutual fascination in 18th century music it would seem! 😃
  14. I am find myself ever so slightly amused by people when they post works that they claim to be a mere "spawn of an idea", without a title or any sense of direction, yet is clearly a well considered work for a large orchestra that could almost certainly not be composed purely in a whim. As maestrowic has said, this is very much like a cinematic score, and to me it does have a considerable amount of purpose. So perhaps you can talk to us about it a little more.
  15. This is very nice. I would love to learn about your software and sound samples as are excellent quality. It is refreshing to hear tolerable MIDI strings as most software cannot even manage that! In fact they sound almost like the real thing. Thanks for sharing.
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