.fseventsd Posted December 24, 2012 Share Posted December 24, 2012 I don't know if anyone here at all is interested in these but w/e. there are no prizes and i am not guaranteed to comment on entries. Continue in two voices, obeying common practice rules of voice-leading: Endeavour to fit to a traditional binary (A :||: B) or rounded binary (A :||: B A') dance form. Quote Link to comment Share on other sites More sharing options...
p7rv Posted December 24, 2012 Share Posted December 24, 2012 http://www.youngcomposers.com/music/3868/bluejays-passion/ Quote Link to comment Share on other sites More sharing options...
Guest Ravel's Hookers Posted December 24, 2012 Share Posted December 24, 2012 I'm surprised he hasn't managed to find a way to slip in the fact that he's one of the Top 6 Slavakraine composers. Quote Link to comment Share on other sites More sharing options...
p7rv Posted December 27, 2012 Share Posted December 27, 2012 Try to top this one: http://www.youngcomposers.com/music/3889/the-agony-and-the-ecstasy-of-bluejay-greenberg/ Quote Link to comment Share on other sites More sharing options...
.fseventsd Posted December 27, 2012 Author Share Posted December 27, 2012 if anyone's curious, the original (much less creative...) minuet was for flute and keyboard and i only retroactively decided to turn it into an exercise 'll try not to break my own rules in future :< edit: extra credit to people who spot every common practice harmony rule i break in this thing Minuetto per flauto traverso e cembalo.pdf Sonata per flauto traverso e cembalo.aiff PDF Minuetto per flauto traverso e cembalo Quote Link to comment Share on other sites More sharing options...
.fseventsd Posted December 27, 2012 Author Share Posted December 27, 2012 great work keep it up Quote Link to comment Share on other sites More sharing options...
p7rv Posted December 27, 2012 Share Posted December 27, 2012 if anyone's curious, the original (much less creative...) minuet was for flute and keyboard and i only retroactively decided to turn it into an exercise 'll try not to break my own rules in future :< edit: extra credit to people who spot every common practice harmony rule i break in this thing Minuetto per flauto traverso e cembalo.pdf Sonata per flauto traverso e cembalo.aiff fifths in m.12, m.23, octaves going into it(22-23), a weak doubling in m.15,31 (more of a soft rule), and I guess the voice crossings are okay between keyboard and solo. Too tired to look more closely. the four bars after the repeat were quite handsome. The whole piece has a strong sense of forward motion, and is generally quite pleasant. Quote Link to comment Share on other sites More sharing options...
Alexander Posted December 27, 2012 Share Posted December 27, 2012 Menuet (score) Audio I didn't check the score for any errors in harmony. Quote Link to comment Share on other sites More sharing options...
TJS Posted December 28, 2012 Share Posted December 28, 2012 ^ Overachiever. ;-) Quote Link to comment Share on other sites More sharing options...
.fseventsd Posted December 30, 2012 Author Share Posted December 30, 2012 Seems like people are finding these useful so here's another. Write a balanced second half (need not be the same length), appropriate to a variation theme, that returns to the tonic, sticking close to the style of the given excerpt. (audio given below) Piece for string trio.mp3 MP3 Play / pause JavaScript is required. 0:00 0:00 volume > next menu Piece for string trio > next 1 Quote Link to comment Share on other sites More sharing options...
jrcramer Posted December 31, 2012 Share Posted December 31, 2012 octave parallel ms 4, vla+vc, and hidden octaves later on... really helpful to sell this as "the style of the given excerpt", because it clearly isn't the classical style Quote Link to comment Share on other sites More sharing options...
p7rv Posted December 31, 2012 Share Posted December 31, 2012 octave parallel ms 4, vla+vc, and hidden octaves later on... noticed that too, played around with it a bit, and came up with this. I'll probably spend a couple of minutes on the second part later. I'd say the style is kinda schubert (especially the first bar), with some pseudo-brahms phrase extending Quote Link to comment Share on other sites More sharing options...
.fseventsd Posted December 31, 2012 Author Share Posted December 31, 2012 octave parallel ms 4, vla+vc, and hidden octaves later on...really helpful to sell this as "the style of the given excerpt", because it clearly isn't the classical style yes, wasn't meant to be. part of the point of the exercise is determining the style. of course, solutions that take into account classical rules of voice-leading are fine as well. up to you how much you want to change the original. Quote Link to comment Share on other sites More sharing options...
p7rv Posted December 31, 2012 Share Posted December 31, 2012 solutions that take into account classical rules of voice-leading are fine as well. lol. my kind of exercise Quote Link to comment Share on other sites More sharing options...
.fseventsd Posted December 31, 2012 Author Share Posted December 31, 2012 here's a (parallel-and-direct-octave-free, hopefully) solution i did Piece for string trio.aiff Quote Link to comment Share on other sites More sharing options...
Alexander Posted January 1, 2013 Share Posted January 1, 2013 Might try this one, too... Quote Link to comment Share on other sites More sharing options...
.fseventsd Posted January 18, 2013 Author Share Posted January 18, 2013 write a four-voice fugue for keyboard on the following subject: this is an actual exercise i got low marks on at cambridge, going to try to do better Quote Link to comment Share on other sites More sharing options...
TJS Posted January 20, 2013 Share Posted January 20, 2013 write a four-voice fugue for keyboard on the following subject: this is an actual exercise i got low marks on at cambridge, going to try to do better Ugh, Baroque mordents. Would you be able to clarify what that one is supposed to be? Quote Link to comment Share on other sites More sharing options...
.fseventsd Posted January 21, 2013 Author Share Posted January 21, 2013 that's not a mordent, it's a standard symbol meaning both "continues at this pitch" and "end of subject" i.e. that's where you bring in the answer, while the voice in which the subject started continues starting from a b-flat 1 Quote Link to comment Share on other sites More sharing options...
p7rv Posted March 13, 2013 Share Posted March 13, 2013 bjfugue.mid Oh weird, I thought I posted my solution already. Here it is. I feel this would be a hard subject to work with because of it's harmonic implications. Also, there aren't a lot of options for a good CS. Maybe there's something with really short motives separated by rests, but I haven't looked too hard. Quote Link to comment Share on other sites More sharing options...
.fseventsd Posted March 13, 2013 Author Share Posted March 13, 2013 as much as i did audio: http://dl.dropbox.com/u/32084883/fuuge.mp3 Quote Link to comment Share on other sites More sharing options...
TJS Posted March 13, 2013 Share Posted March 13, 2013 I was hoping to have more of this done before I ever posted it, but I was asked to post what I had, so here it is: http://www.youngcomposers.com/music/4346/fugue-in-a-flat-major-challenge/ Quote Link to comment Share on other sites More sharing options...
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