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Guillem82

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Everything posted by Guillem82

  1. Yes, that's indeed a very chopin-like composition. And thanks for the references, I start playing it before reading at the text and thought immediately in E-flat Chopin's Nocturne... I find Chopin's harmony quite complex, so congratulations, your really got the style.
  2. That's very interesting. I like the beginning with the melody in the basse (it sounds kind of creepy at times). And then nice constrast when you change the melody to the right hand with a brighter motif. Just a question: what's the purpuse of writing it in A-flat minor? I find it hard to follow the harmony with double-flat accidentals 😅
  3. I don't think Mozart is better than Haydn or visceversa, they both are exceptional and had a great contribution on sonata-form, string quartets and symphonies. They admire and respect each other on his life.
  4. Ok. I'm in too. It's my first participation on the competition...which are the rules and when are we starting?
  5. Nice. That's an interesting realization on one of the most beautiful quartets. But I would change some of the voices, there are some parallel 5ths and octaves and uncompleted harmonies I would review. Second half of bar 2 you have parallel 5th Violin I and II and the C chord have no 3rd. I would change the Violin II E instead of C, then both problems are solved. Also second half of bar 3 parallel 8ths Violin I-Viola and paralel octaves Violin II-Cello. Also duplicating the 3th on first inversion chords (beginning of bar 2 and 3) I don't feel it's the best option, I would try to duplicate the root or the 5th as first choice and the 3rd as an alternative, or when the lines with the 3rd move in contrary motion, which is not the case.
  6. Hello, Myself and Markus have been collaborating on a project centered on galant pedagogy. Here our first realizations on a Partimento by Francesco Durante (1684-1755). Partimenti are figured and unfigured basses used during Baroque and Classical period by the students who learn compositions to do realizations on based on a set of rules. All the information about history, rules and Partimenti can be found under the public domain: http://faculty-web.at.northwestern.edu/music/gjerdingen/partimenti/collections/index.htm We did a realization on following Durante's Partimento separately as a composition exercise: https://web.archive.org/web/20170401132027/http://faculty-web.at.northwestern.edu/music/gjerdingen/partimenti/collections/Durante/numerati/001DurNum/001DurNum.htm We appreciate your comments and invite anyone who want to join us to experience with galant style. Our previous collaborative work: All the best, Guillem & Markus
  7. I have corrected that on the score and recording...It feels much better now. Thanks again for your observation!
  8. Thought epic music it's not my composition style, I think the opening is nicely constructed: you start with a soft sustein harmony, then add some movement with the piano, than a cello ostinato and finally the drums. The technick of adding layers works perfectly here. The chorus doubled by winds are also nice, it's indeed epic and cinematic. You could perfectly leave the piece like that. And of course, you could enlarge that in many different ways...it depends on your purpose. You have nicely built up the piece (from - to +), you can try to reverse the proccess going smoothly from + to - and finish there, or even add a short big climax after the decrescendo. You can experiment changing the octave of the celli ostinato to the violins and changing the octave of the melody and present it with a different orchestration. you can also present the main theme with just a pizzicato arpeggio on Celli or DB and some soft sustain notes below or above the melody. You can reinforce the rythm with a rythmic accompaniment on low brass (horns, trombone or tuba) like the one on the screenshot. You can make some variations on the theme itself...there are plenty of ways. That are just ideas you experiment with and see which ones you like and find the appropiete moment to use them, but I think most of the work is done...I hope it helps. I could tell you more if I see the score 🙂 With the tittle I can not help you, I have problems miself to find tittle to my works. One question: that instruments are you using at the beginning? its just voices or also muted strings or organ? It's hard to say without score...
  9. That's nice! Simple ostinato texture, but the harmony progression and voice leading sounds very natural and convincing 🙂. I like the base moving E-F#-G-A at 0:31.
  10. Thanks Ivan, I'm happy you like that. 2:01 is the climax, with the bass descending chromatically from tonic to dominant and the melody rising in contrary motion with the basse. I used the augmented 6th chord there to create some tension before the final resolution.
  11. Thanks for you observation Monacheon. I was unsure about the interaction you mention. My first option was the tenor going to D before F natural instead high G (like in the screenshot). I changed it to prepare the disonance with the root of the chord, like I felt the movement to be more natural and giving as well a climax on the tenor line, so I switched the voicing Alto-Tenor to avoid a direct unison. But I think you are right, going to tenor to the high G instead of D the line looks somehow unbalanced with 2 steps followed by a fifth leap in the same direction and the line stands out to much, so I think I'll keep my first option there 🙂
  12. Here my new piece for SATB and Organ. I love singing and religious music, so I decided to write that. Hopelly I can perform it life one day 🙂 Lyrics are not mine, it's and old christian song dedicated to the Virgin Mary, that many composers from the renaissance and later on used in their works. Orlandus Lassus, Palestrina, Michael and Joseph Haydn among many others have compositions on that lyrics. The structure is AB (x2) - C (x2) A and B are 8bar phases with a half cadence in the middle and a perfect cadence at the end. C is a non-regular 7bar phrase ending with a perfect cadence. Here the lyrics with translation: I appreciate your comments. --------------------------------------------------------------------------------------------------------------------- Ave, Regina caelorum, Ave, Domina Angelorum: Salve, radix, salve, porta Ex qua mundo lux est orta: Gaude, Virgo gloriosa, Super omnes speciosa, Vale, o valde decora, Et pro nobis Christum exora. Hail, O Queen of Heaven. Hail, O Lady of Angels Hail! thou root, hail! thou gate From whom unto the world a light has arisen: Rejoice, O glorious Virgin, Lovely beyond all others, Farewell, most beautiful maiden, And pray for us to Christ.
  13. Schubert is also one of my favourite composers. He admire both Mozart and Beethoven, who influenced his music, but definitely has his own style. I agree, using many ideas in one piece isnt good, exploring and transforming one single idea makes it much more interesting :)
  14. Thats delightful! It reminds me of Schubert's style, with simple and lovely melodic lines and rich harmony with lots of infletions. You master very good exploring a variety of textures and variations on simple motifs. Very consistent job 😉
  15. Thats really nice, thought the arrangement is curious. For the trumpet register, I think a piccolo trumpet would fit better, it has a brither register and extended in the high range and the harpsichord with only bass chef is strange, unless you pretend it to be a figured bass, so I would indicate Basso Continuo, because I hear a cello as well :). anyway the counterpoint is great 😉
  16. Thats a lovely first movement. Indeed it sounds very mozartian style, which I find absolutely good. The musical ideas and diferent sections are very clear, coherent and comprehesive, so my congratulations for your first movement. Great job! Im looking forward for the following movements :)
  17. Thanks Ivan 🙂 Un saludo!
  18. That's right, The main Theme is presented many times in differents arrangements, so I could think in a longer contrasting section or developing some more variations on it. I have already changed the key signature on horns and clarinet. Thanks for your comments @Arthurbrown!
  19. That's indeed a nice dreamy pieces, but it feel a bit strange that you finish in a different key you started with. You start in EM and you finisch in DM, right? Why?
  20. Thanks ClasiCompose, I'm happy you like that! I also listened to your Works...I like the Oboe Adagio and the Keyboard Concerto.
  21. Hi, Here a Waltz I wrote last week. Because of the mood I named just Spring Waltz. It's written for a late classical period orchestra: 1Piccolo, 2Flutes, 2Oboes, 2Bb Clarinets, 2Bassoons, 4Horns & Strings. I added also Glockenspiel and Vibraphone, because I like its percussive effect when doubling the winds. I think the style is also of the period. I appreciate your feedback.
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