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About nojtje

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    composer / conductor
  • Birthday 02/21/1988

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    The Netherlands
  1. Okay, if anyone is still interested, I think this thread is a good one and I open the floor to subjects!
  2. Although I know what you mean, I think you should add a touch of nuance to that statement; it's a perfectly good thing to wonder 'what form defines a sonata' or whatever (to enhance one's understanding of the works by composers of another age), but I think you meant that nowadays it is not as useful to know 'how to write a sonata' or 'how to write a concerto' in the strict sense as it was in the past, when creating new music. At the bottom line, I think you're right though in saying that a concerto or even a sonata has no predefined form nowadays, because a concerto is nothing more than a piece to showcase one or more instruments and a sonata is just an elaborate way of taking material and working on it.
  3. I volunteer to collect them. But maybe someone else is better fit, seeing that I won't be behind a pc from August 10th until the beginning of September. In response to Mark, I also said earlier that I hoped that other forum members would also take the time and trouble to comment on the subjects and say, from experience, why some things work better than others, before we have a host of subjects of which some make good fugues and others seem to trap you after a while. The learning experience is in knowing why some subjects trap you ;-).
  4. Interesting you should say that, it hadn't occurred to me, but yes, the answer could actually utilise a neapolitan sixth. I did it differently though in my fugato.
  5. Yeah, I figured in the meantime. Too bad really. If he's not coming back, maybe it's an idea to collect our own set of fugue themes and comment on each other and edit them so we have a set (maybe not even as much as 12) of solid, workable fugue subjects that we can start playing with? I've posted mine and am still eager to hear whether anyone has any comments regarding how workable they think it is and what would make it better in their eyes and in the light of their experience. BTW Mark, I will review your Pie Jesu today, I haven't got round to it, and there wasn't a hurry since you were away :)
  6. I'd say, i) figure out which pieces have orchestra hits that you like ii) get hold of the score iii) see how it's done iv) compare different voicings and the different effects they create v) use this knowledge to your advantage and adapt it to suit your own ideas
  7. It appears that Brandon has left us again... why? :)
  8. I would also like to put a subject up for grabs. I used it in a fugal episode in a string work last year, and would be interested to see what others do to it. If you don't like something about it, tell me why ;-).
  9. Sorry, silly question, but what is the stepping tone? I've never heard that name be used for any scale degree... I just know them as tonic, supertonic, mediant, subdominant, dominant, submediant and leading note.
  10. It depends on what you want. In the first place, it has to be singable, of course, and remember that for amateurs, strange leaps are very difficult. Therefore, good voice leading is definitely needed. There are so many examples of good choral writing, with Bruckner, Rachmaninov, Brahms, to name just VERY few (traditionalist) examples. Remember that writing for a choir is different than for an organ, say, because the singers have to hear their notes mentally before they can sing them, and because they need space to breathe. There's a lot to be mindful of, and the best way to find out is by looking at other composers and trying yourself. I'd be happy to review your attempts if you'd care to post them :laugh:.
  11. I know Zelenka, but don't know why hardly anyone else does :D
  12. Ecclesiastical Latin - Wikipedia, the free encyclopedia and Latin spelling and pronunciation - Wikipedia, the free encyclopedia are quite comprehensive, although not all-encompassing.
  13. Mark, it's much more exciting to respell the tritone and resolve it differently. Think War Requiem, or think writing it as an augmented fourth instead of as a diminished fifth. A whole new wave of possibilities opens up :cool:
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