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Found 5 results

  1. This as an experiment into complex forms: Being based on the Five Classical Canons of Rhetoric, the second of this set is disposition. This piece is designed to outline the thought process by first taking raw information (pizzicato entrance), organizing it into a series of fugues (each being progressively more resemblant to the theme running through the set, the "thesis" theme), until the material is combined to create a satisfactory product (having resolved all issues of synthesis, then the end section) to be used in the overall metaphorical "oration" (i.e. the intent of rhetoric)
  2. With this piece, I wanted to explore the application of the five classical canons of rhetoric to music. These canons serve as an inspiration in some way to each of the movements; here, the first -- invention -- has its own form, and it also relates to "invention" in the musical sense, i.e. two-part counter-point (section F). It is also the literal act of producing material that can be used later in the work; I am still working on the following movements. Let me know your thoughts!
  3. Divertimento a 3 in F, for 2 Violins and Violoncello I. Allegretto grazioso (3/8) II. Andante (2/4) III. Allegro giusto, alla breve (cut time) Composed: 2011 Style: Classical, circa 1790 This work is the first of two such divertimenti for this instrumentation I have composed to date, the second of which having been written and posted here just recently. I consider it one of my more charming and attractive works – a personal favourite – and among my most ingenious, a tour de force of development and counterpoint (of which I am very pro
  4. Divertimento a 3 in B-flat, for 2 Violins and Violoncello I. Allegro di molto II. Andante III. Allegro giusto, alla breve Composed: April 4-17, 2017 Style: Classical, circa 1790 I enjoy spending my lunch hours at work productively when I have the energy, sketching or doing exercises. A couple of weeks ago I started a counterpoint exercise that I worked on for the next couple of days, and it turned out well. The thought occurred to me that perhaps it might serve as a movement in a larger work, in which I might also use some old ideas that
  5. This is my second attempt at a divertimento in the classical style. It's meant to be a light and enjoyable work for a small string ensemble (I tried to make it possible for either a quartet or a larger section). I'm primarily doing these divertimentos as exercises in improving my four-part writing. One of the unifying factors between the movements is a consistent emphasis on weak beats throughout the piece, although I may have gotten a bit carried away with this aspect. I also sneaked a few bVII chords in to a couple of the movements. Let me know what you think! Thanks for listening.
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