PraeludiumUndFuge

I am perfectly aware of the weaknesses in the work and it's overall weaknesses. However, like I said, you lot should really spare your plebian opinions. You lot are the kind of people who could have a lesser known Bach or Haendel work posted in front of you, and still throw the same kind of peon remarks at it. Zetetic's ramblings are legendary.

This is as of yet unfinished, but here it is, my first foray into a conventional chamber work; already approved by a member of Vox Saeculorum (so spare the plebian remarks). As the title describes it is an allegro movement in the Italian style, arranged for keyboard (alternating solo and tutti accordingly). Needs some corrections in areas, but here it is. It is presented as a video rendition of the keyboard emulator used to play it. Enjoy. YouTube - Allegro nach Italianisches Art

That is quite nice echurchill. It's up to you how you handle the counterpoint. I'd like to hear the finished ricercar! Like the Froberger organ ricercars with multiple expositions/subjects. Or are you sticking with a canzona on the one hand and the fugue on the other? This is in d minor so I'm guessing it's a different piece although it could work in b minor as a section of a Froberger-style ricercar, with what you had before. I'm eager to hear what you come up with.

Staying on topic... some clownish people don't have anything useful, in any sense, to say... ignore them... ithis is a maturely written organ prelude... i havent listened in detail but i will probably have nicer things to say once i do... ncie work

I hope you do indeed finish up on the ricercar sometime soon just to hear how it turns out. The harmonization was nice, the neighbor note figure worked well. Multiple expositions, like the old ricercars could work very nice. Again, up to you. I'm eager to hear it finished, whatever format you choose.

You are heading toward more of a fugue with the ascending motive you introduced here, which by its own nature lends itself to a more extended fugal development than what you had before, which was more akin to a compact, probably shorter, rhythmically more florid ricercar. You know the difference between a fugue like a Bach fugue for instance, and the older, shorter ricercars, with multiple expositions. You have gone more in the direction of a fugue here, whereas you had a convincing basis for a smaller ricercar in your previous version. I think that distinction is pretty clear. Just as a personal observation, I liked what you had done before better.

This is nice although I was sort of enjoying the old ricercar approach you had in the earlier version. I also kind of liked the exposition you had in the earlier one more, with the 3rd entry in the higher voice, and the double-neighbornote figure was also nice for development (its overuse could be worked around), but at the same time I like something you have done here. You have introduced a motive which could be repeated throughout for a long fugal development, and would work well. What you have done here in that sense is more fugal. However I am partial to the approach you were taking in the previous version. The inversions of the subject you have here would work fine in the other one. It's up to you what you do with it, and you have nice ideas in both. They don't both work together if somehow merged as they are different styles. The florid ricercar style of the earlier one was working nicely. I hope you decide on continuing the earlier one and finishing it.

That's actually not an accordion but what we call a "bandoneon" down here. It is not exactly an accordion. If you notice it has buttons instead of keys, and is sounded by extending rather than compressing the air chamber. It's an instrument of German folklore origin brought here by the German immigrants to the River Plate region (Uruguay and Argentina, where tango is from), and pretty much obsolete in other fields. It became absorbed into tango, and is sort of a signature instrument of the style. I don't know too much about tango since i am not too attracted to the style, but it has a kind of spirit which is unique to this region of the world. It is very rhythmic, usually in 2/4 meter, often paired with dance. Piazzolla is one of the great experimenters of it, Carlos Gardel the most adored singer. The single most recognizable tango is "La Cumparsita" (which is Uruguayan, NOT Argentinian), which you have probably heard before. It is the typical representation of the style.

Just to add, Bach in particular often shows disregard for this restriction on fourths in his keyboard music with a lot of counterpoint, thus providing more freedom for contrapuntal inventions (he also freely uses direct 5ths and octaves, even in 2 voices. He does, however, avoid parallelels). You will see free use of chords with the 5th in the lowest voice and many of these times forming a 4th with the next voice above (ie the "root" of the chord in the second lowest voice).

PM me if you want a scan of the original paper and pencil score. I just copied it into Sibelius for the sound file but the voices and rests are not properly written out there.

F Major Fugue. There's a little problem in the d minor stretto entry which I will correct when I have time. MP3

Is this thread still going? Having a go at the F major (great subject). Will post shortly.

This is a very nice imitative passage. Very 17th century-like. This could fit in a free Buxtehudeian fantasia-like piece. The pedal point introduced around the middle works very nicely too. The passage would work just fine on the organ especially introducing a registration change to the ruckpositiv or a brustwerk with a bright registration. The stylus fantasticus is very free and sectional. This could be used to open a prelude or be thrown in somewhere within it, with toccata style passages (using the plenum) and the like, and the pedal effecting modulations (very Buxtehudian). Maybe a pedal solo right after this. I'd love to hear a finished prelude/fantasia with it.

First you learn chords. Then voice motion. Harmony comes first. I dont know what some of these people are smoking.

Frescbaldo, although he was a brillliant intellect of this practoce, does not attact me much as the Sweelinch School (Buxtehude Primarlily). Instrument inof choice included. The practice of organism, prtociularities of composition, as well as intertpretative customs, are one of a kiid in thos Northern SChool of orgel/