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Paul Orsoni

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About Paul Orsoni

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  1. You are absolutely right on all of these points. If we invert Viola Contrabass I still do think that the redundancy of the process or maybe the length of the passage is too much.❤️ My idea is to show the concepts not narowing them to an antique style.
  2. Hi jawoodruff, Contrabass is indeed sounding an octave lower than written and I'll explain what I meant. in the bars 14-19 every time the Viola plays a note (ex bar 14: Fsharp/A/Csharp/D) we can see that the Contrabass is attacking the same note one or two octaves lower at the same time (the interval being an octave or a double octave is considered as the same in this case). This passage contains not 2 voices but 3 wich help me explain what I said: 1-Viola part 2-Contrabass first quarter notes of each beat (wich is playing always one or two octave lower than the Viola) 3-the remaining of the other quarter notes played by the Contrabass (an actual repeated Fsharp) that is considered like a static voice. We do have voices 1 and 2 that are playing at one or two octaves of distance all the time. The problem is that, the way this passage is written, it accentuates each first quarter of the beat by playing octaves wich is the most transparent interval (not considering the unison). Accentuating on something that pure and stable than an octave each beat makes the music kind of stopping every time it is accentuated. If we look at this passage page 3 http://conquest.imslp.info/files/imglnks/usimg/d/d3/IMSLP01135-Bach_Tocatta_%26_Fugue_D_moll_565.pdf we have the same sort of writing. At 2.45 we consider 3 different voices: 1- highest voice repeating D in quarter notes (it is not exactly what plays but this is the idea) 2-intermediate voice in half notes begining with C/Bfkat/A/G etc... 3-lowest voice with F/Fsharp/G/C/Bflat etc... Voices 2 and 3 never play two consecutive octaves because it is considered weak in the tradition for various reasons. One of them being that this weakens the harmonic aspect of the music. When you play consecutive octaves you don't make the harmony progress.
  3. Hi PBStu, ❤️ My pleasure to review your piece ❤️ I'll take from the beginning for more clarity. Write your nuances cause it's really important for us to be able to feel how tragic or calm you want your music to be and how it changes. ❤️ You are definitly adopting a contrapuntal style in the beginning and it makes total sense with Baroque music. There are at minimum 3 principles that structure this kind of composing. Counterpoint definition: https://en.wikipedia.org/wiki/Counterpoint 1) Melodic quality: Counter point is a style that revolves around vocality and polyphony (wich is how to combine melodic lines). The quality of the melody is always important. As personnal or traditionnal the melodies you compose can be, the more interesting they are on their own the better. When you play them separatly idealy they should be epxressive, have their own purpose like their own personnality. -For exmaple bar 3 to 5: The Viola melody (and therefore the Cello line) seems a little bit systematic wich makes the line predictable. Although you are making a strict canon in this short passage wich is very clever, the systematism of the line makes it a little too rigid. Here a random example from the Bach's canons: https://imslp.simssa.ca/files/imglnks/usimg/f/f7/IMSLP88821-PMLP18465-BWV_1073.pdf. If you look at the melody used for this canon, the melody doesn't repeat itself too much because it is already going to be repeated through the other voices during the canon. 2) Rythmic complementarity: It is important for the clarity and the interaction between the lines and the motifs you are using. bar 3 -5 is a good example of the kind of things you can do with rythms: Viola plays half notes when Contrabass plays quarter notes and the opposite and your motif alternates from one voice to the other. They are not stepping on each other toes. It's the same thing as in a conversation, you don't want two people to talk about complicated unrelated things at the same time. 3) Harmony and intervals between notes. When two voices are playing at the same time you can hear intervals between them (example at bar 1 you wrote a 3rd then a 5th, 8ve,6th, 8ve). The sequence of intervals created by these two voices singing together determines a lot how well your counterpoint is going to sound. Whitout talking about how counterpoint uses intervals traditionnally I'd just say that the first thing to do is to play your piece slowly listening to these intervals and judging if you like how they succeed to each other. *🧁You can look at that if you want it's written with two voices only 🧁 Bach 15 Inventions https://ks.imslp.net/files/imglnks/usimg/6/6b/IMSLP396133-PMLP03267-Bach,_Johann_Sebastian-Werke_Breitkopf_Band_3_01_BWV_772-786.pdf 🐞In your piece you can begin by trying to avoid writing things too similar between your two instruments. For example bar 9-10 they both play the same things in octaves but it won't sound very good. At bar 14-18 The Cb. is playing the octave of Viola on each first quarter note, same it won't sound very well returning every beat on the octave. It is also very true to be carefull with the writing of the Contrabass that can easily overwhelm your Viola part with too much quarter notes. I hope it Helps ! 🦸‍♂️
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