The Baroque Enthusiast

Hmm, well in time it looks to be quite difficult. If it is a true cadenza, then it might be more practical to remove the "alto" harmony at that point, and delegate the passage to a single violin soloist. The soloist could bend the tempo ad lib., but the re-entry of the theme should be a tempo. If its not a true cadenza, then I would suggest keeping it in time, and altering the violin I part. Hope that helps! - BE

Yayyy! - BE

The midi never displays correctly in my program, so the bars don't line up correctly with what you wrote. Give me a an approximation of the time at which measure 81 occurs and I should be able to find it! - BE

Hey, Paul, nice job with the Cmin subject. A very unique approach, using a very different harmonic language. Good work! I think I've realized why I love the Cmin subject sooo much. Check out the fugue subject form Bach's Fantasy and Fugue in C minor, BWV 537, and compare. Our C min melody could almost be an elaboration of that one! - BE

Well, I'm typically hesitant to post the scores, since anyone anywhere can reproduce them at anytime. If you really, realllly want the score, I can send you the midi files privately (I can't output in pdf). - BE

Well, there is still a lot of imitation within the solo part itself in mvt. 3, but overall the form is simpler, as you say. There is no brass in any of the three movements. Perhaps your confusing the bassoon synth for brass? Other than that, there's strings and a flute (and organ continuo as well, but I didn't bother here, since there is no adequate synth for organ continuo!) Or do you think it was a result of the brass-like melodic figure of mvt. 3? in which case I'd be very happy! :D - BE

Yea, I noticed that too. Not a big problem though. :) Thanks! - BE

His journey through the depths of Hell is more of a physical manifestation of the depths of the inner self, and he invites the reader to take this journey of self-examination along with him, to overcome that which blocks our path. It's all right there on the first few pages! :) - BE

Thanks for your input, Mr. Schroeter! :angry: - BE

Thanks for your thoughts, frantz!

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I'm still "putting the pieces together" in my head of how the world works here. Thanks for your detailed response though, Paul. Your thoughts are appreciated. - BE

Exactly! Thank you for articulating it so well, Mark! - BE

I'm more involved in sketching and drawing with pencil or pen and ink, but I have painted before. -BE

Well, I don't know anymore. I seem to be spiraling downwards here :D . Now I have more questions than answers for you. You say "emulating" - does that make us into hacks? Isn't "emulation" an implication of inferior work? How do you find it a good idea to search through different genres to find a "voice" through experimentation by "emulation", if the end result is going to ultimately be a derivative product? Would my work be considered more seriously or be better recieved if it conformed to "conventions of unconventionalism"? Is such "artistic progress" always going to lead to a superior product? - BE