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Showing results for tags 'baroque'.
Found 46 results
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The Schola Cantorum Discordiensis is a discord server focusing on early music! (More specifically in the server, from medieval times to the 19th century). We have a bunch of cool things, gaming, compositions, monthly challenges, competitions, memes... And many more! Currently the server is very small, about 150 members, my goal is to get to atleast 500. Join us!
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I've been studying counterpoint for years now, learned mainly from Fux's gradus and developed a solid understanding of species counterpoint. That said, one quick analysis of this first movement will reveal deviations from the rules presented in that book. Accented passing notes, leaping from dissonances, and the occasional unprepared chord in second inversion, that one consecutive fifth... I'm well aware of the rules broken and the liberties I have taken when it came time to make the transition from species exercises to actual composition. Despite that, i'm very proud with what I ended up with. There's plenty that I wish to improve, and hopefully you'll get to hear the results of my efforts in the following 2 movements, as well as in everything that will be released following the completion of this sonata. Youtube link with sidescrolling score:
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I was asked to add score so this time I will do it properly
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Hello, i am new in this forum! i hope you are all doing well. i wrote a cantata and I would like to hear what you think, thanks in advance! it took me a lot of time to write it, this is the first cantata I ever wrote. I used cantamus and musescore 4 with sound fonts to write this down.
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Hi all! Here is the Allemande from my Suite WIP, imagined as a "chorale" fantasia on the theme "Littleroot Town" from Pokemon Ruby/Sapphire/Emerald. Stay tuned for the repeats - there's quite a bit of elaborate ornamentation! The playback has the theme being played on a coupled harpsichord whilst the rest is played on a single-manual, so the theme can be heard clearly. This would not be possible in a live performance, unless one plans to use a piano instead. All comments and critique welcomed!
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Hi all! Here is the Scherzo and Trio from my Baroque Suite WIP (think of it less as a Romantic contraption, and more as a pair of Bourrees). The Trio is a canon at the fifth over a free bass, and the Scherzo is a standard binary dance following an aria ritornello shape. In particular, the Scherzo is written with orchestral textures in mind (something like a flute + strings). Is this what you actually hear?
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Hi all! Here's a quick update on my Suite WIP. I'm currently composing a Scherzo and Trio, with the Trio being a canon at the 5th over a free bass, in ritornello form. I've attached the Trio here. It's my first time composing a strict canon. Please let me know of any grammatical errors and your general impressions! For context, the Scherzo (12 + 20 bars) will be constructed mainly out of 2-bar phrases.
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Hi all. First time posting here! I'm currently in the process of composing a complete keyboard suite à la Bach. Wanted to share a sample, in this case the Gigue, for feedback. The choice of the subject is up for debate but I've been known to use random nursery tunes in the past. In particular, are the sequences, and the final 12-bar stretto, convincing?
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First Fugue I ever wrote. Have been composing for 8 months. Have been inactive for the last 4 months so I decided to write a fugue to improve my counterpoint.
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I know it has the anachronism of using a piano with pedals, but during the 19th century there were a lot of baroque reworkings and pastiches that got away with this (e.g. Busoni), so I don't care. Also, people loved Gould, even though Bach played on the piano is an anachronism too. I like to think of this piece more of a 19th century transcription of a baroque piece for other instruments.
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So, I've made significant progress in this Gavotte over 5 days. This is how I've progressed over the past 5 days: Day 1: First Phrase melody and bass Day 2: Second Phrase melody and bass Days 3 and 4: Thinking about what to do for the B section, listening to more Baroque Suites, especially Gavottes, even playing some Gavottes on the piano Day 5: Third and Fourth Phrase melody and bass, First and Second Phrase countermelody Not all of my countermelody ideas worked out, but a few of them, like the inversion idea did work. One that didn't work out like I hoped is the suspension chain idea. I mean it kind of worked, but what I was going for was like an F# followed by an E or some other diatonic note in a suspension chain and only the F# suspension worked. I did get a chain of 2 suspensions with the C and B though, so not a total failure, just not what I was going for initially. I used another tied note to prevent parallel octaves and have a stepwise motion in bars 11 and 12. The countermelody I have though is just a draft and is unlikely to be the final countermelody when the Gavotte is finished. I was mainly going for a balance between leaps and steps, richer harmony, and no parallel octaves. And I made sure that if the countermelody got a ninth or further from the main melody, that it was at most an octave away from the bass. At first, I was a bit worried that I'd have to change the bass line, but somebody else told me that the motion of the left hand reminds them of the Baroque, so I've left the bass line as is. You can tell which line is the countermelody, because it has all the stems pointed down. I haven't decided yet if I'm going to double the Gavotte and have Gavotte II in G minor followed by a Da Capo to Gavotte I, but this Gavotte is going to be part of a suite. Here's my Gavotte as of now.
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Fuga a 3 in g minor.mp3I recently have been reading and working through Jacob IJzerman's "Harmony, Counterpoint, Partimento" which I highly recommend, and I was inspired to write some short 3-voice fugues, mostly just to see if I could write them convincingly. Here's one of them. I scored it for flute oboe and bassoon so that the different parts could be heard easily.
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AND FOR NO REASON, THE SHEET MUSIC.
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