Keyboard Concerto C minor

Concerto for keyboard and strings, this is the requiem of my lovelife.

Score:

[ATTACH]16576[/ATTACH]

mp3:

SimenN on MySpace Music - Free Streaming MP3s, Pictures & Music Downloads

Hope you like it :)

Very nice. Only two real critiques that I can make: first, I would suggest changing the dynamics of your string parts. Played at ffff they can easily drown out the poor harpsichordist. Also, the last few pages are 1 measure per system. Otherwise, very nice. I see a lot of Vivaldi in this, yes?

Hey Jawoodruff, thanks for the reply! The dynamic markings are just for the finale recording, they are not part of the music. I forgot to erase them before i printed the score, it was put there to get maximum GPO volume. Hmm, well i aimed at german baroque, so i dont quite see much italian style in this, but mabye its a bit of both :)

the sequence of parallel 5ths at measures 31 through 35 were very disturbing.

for notation, please, in 6/8 do NOT use three quarter notes for those off-beat sections. use a quarter note, two tied eighths, then another quarter.

measure 79, that harpsichord right hand part is just plain weird.

right at measure 80 there's a direct octave that really takes away a clear sense of counterpoint (it repeats at measure 81).

measure 80-85 were not very good. those held notes in the violins just lose it completely. the harmony doesn't feel logical, and the static nature of those held notes breaks the momentum of your movement.

actually the entire harmony at measures 80-84 is rather lackluster. It defeats the good things you did in the previous half of the piece.

overall, there are some good ideas here that show you at least LISTEN to a lot of baroque music.

sadly, they are offset by far too many errors that demonstrate you still don't master the basics of harmony and counterpoint.

still, this is a far cry from the first pieces you posted on this forum. there is huge improvement.

I would like to see you apply a more "intellectual" approach to your composition. Examining each note you put in, and the harmony it creates. this will allow you to at least be consequent in the progressions you choose.

is that js bach ....

dark@@

Hey Simen, good one this work :)

I agree with Qc about the rules and the technique you need to learn, but yes, still very well done.

I really like this concerto!

Thanks for ppl!

qcc: thank you very much! ill look over it again, but the held notes in the violin from 80-85 has a purpose. The harmony at 80 is g major, the volins hold G, 81 its still g major violins hold G, 81 first 3 beats is d minor violins do A, last 3 c minor g minor violins do G , 82 we start at ab major and sequence down to ebmajor ( first beat 83) the violins hold G at 82 because they end up with G in eb major, then down to f for the septim in g major. the off harmony there is ab major and G, but its resovled. at the third in eb major and then f resolved to third c minor. please tell me if that is wrong.

as for the 33 - 35 i can not find paralell 5th ,

violin 1 : 33: G - G B G 34: AB - AB C AB 35: G - F# G

violin 2 : 33: D B D - B 34: eB AB eb - C 35: passage

D G ( is a forth) B G (third) eb-ab (4th) c ab (3rd)

harpsichord is unison and doubles the harmony in the bass first beat. please correct if im wrong.

and at 79-80 its the main theme in g minor, if the right hand is wrong there the intire start of the piece is wrong. and at ms 80 i dont move octave? the only place i move down octave is ms 52 - 54? was it that ms you where refering too?

Thank you please, give me a tip where im right and wrong :)

Simen, look at your harpsichord's left hand

at measure 31, : an Eb major chord.

now measure 32: an F minor chord.

now measure 33: G minor.

and measure 34, Ab major.

finally measure 36: G minor

that an entire sequence of parallel 5ths.

oh, what can i do to fix it? remove the chord? and have one note there? as double the octave?

you will have to completely rethink the harmony at those places to correct the errors. harmonic sequences are relatively easy going down, but a bit harder to make sound convincing going up. so that might not be the best choice.

oh, hmm but the problem is in the harpsichords bass right? if i remove the notes there will be no paralell there?

no, the problem is your entire harmonic conception of that section.

scrap it, and start over.

it's a VERY banal sequence of parallel chords. actually, very dull.

you CAN think of something FAR better. I trust you.

oh, well, i will thanks!

Gee I dont know what a paralell 5th is but, I know that I really enjoyed your piece! Professional work. Keep on composing! :thumbsup::cool:

Gee I dont know what a paralell 5th is but, I know that I really enjoyed your piece! Professional work. Keep on composing!

:thumbsup::cool:

when two triads follow each other, in root position and in same voicing, then there will be parallel 5ths.

parallel 5ths defeat the purpose of counterpoint by impeding the independence of the different voices.

when you have an entire sequence of step-wise motion, same-voicing, root-position chords, then you have an entire passage in parallel 5ths.

which is =/= professional work.

Now, had the surrounding harmony been more modern - for example some neo-impressionism, where the thick harmony does not follow the SAME rules as baroque-era harmony - then we would have a very different situation on our hands.

However, since this is obviously intended to be "revivalist" (and SimenN has repeatedly defended his stance as a revivalist), then it is expected to follow the rules of the period to which he is adhering.

which means =/= professional work.

You've got the real baroque style quite well. I agree that you should bring the harpsichord in front, the strings must play more quietly! Otherwise, it's a really interesting piece, although, it seems to me as a great part A all the time. It'd be nice to hear a part B between there somewhere with a slightly different character. Which program do you use, by the way?

Thanks for comments fellas :)

just want to say that enjoy your work, it is a good concert, keep going

One of the main reasons I do not compose in the Baroque manner is that I hate to follow the rules. But if you go there, the rules should be followed. I think that you could easily fix this up. It sounds to me like you have the chops to do so.

Nice piece

Ron

Thank you for the comments :)