Neo-baroque suite

It's interesting to study these dances, their rhythms, etc....

I wrote this just to learn. They don't follow the baroque rules about form or harmony. Some people ask me to write the chord names, so I leave them.

Very nice.. I marvel at what you accomplish with grace, and not an over abundance of notes. Thanx for the chords too. it helps me to understand what is happening.

I start a composition with blocked piano chords, in my DAW, which is removed/muted after a few tracks.. As I add individual parts, I notice I change the original chords.  The chords become more complex, and sometimes mutate into a related, but different chord.. 

Thanx

Cool.
The second movement's time signature should probably just be 3 instead of 3/4 for all the hemiolas you write in, since the notation of changing them wasn't really a thing yet.
Some of your chords seem to be working under functional harmony rather than empirical harmony, which is fine, just something to note. It's a little bit inconsistent sometimes with your NC markings.
Nice stuff.

Thanks. It was interesting writing this piece.

Yes, some chords were changed after they were notated and I was lazy to make the video again. But it's not very important.

Beautiful suite!

I like how you combine old, baroque, with the new.

The harmonies are very inventive and I think that the rythms are splendid.

Very well done! I enjoyed it.

I like this a lot! The counterpoint is excellent here and I like how is really leads somewhere, it doesn't bore me one bit. Well done!

Nice!  I didn't know you composed dances as well!  It's cool to hear a more modern approach to these old dances.  Even having composed quite a few of these myself - I am no expert as this is quite a wide field of study.  Given that - I do have some points that you are free to ignore if you disagree with of course.  I think the Courante as you have it ventures a bit too frequently into a 6/8 hemiola which makes it momentarily sound like it's a Gigue.  That part of it just seemed out of character for a Courante.  Also your Allemande to me sounded more like a Gavotte in tempo and general approach.  As I understand it Allemande's are supposed to be a bit slower and have an anacursis of between 2 or 3 sixteenth-notes (although that's free to interpretation - the important thing to note is that in an Allemande sixteenth notes are expected to pass slowly enough that it would still sound dance-like).  I don't know if I've ever heard a Musette as an independent dance like this - I thought it would usually appear as a section of another dance like the trio is a section of a minuet.  When I search for Musette I get a Wikipedia article that says that Schoenberg composed a suite in which one of the movements was an independent Musette.  I wrote a Musette once as part of my Gigue in Eb and the way I understood it there was that it was a contrasting section of a Gigue that was supposed to imitate the drone of bagpipes.  I thought your Sarabande and Gigue were quite appropriate in manner and tempo.  Nice job overall!  I always enjoy listening to these quirky little specimens.

14 hours ago, PaperComposer said:

Nice!  I didn't know you composed dances as well!  It's cool to hear a more modern approach to these old dances.  Even having composed quite a few of these myself - I am no expert as this is quite a wide field of study.  Given that - I do have some points that you are free to ignore if you disagree with of course.  I think the Courante as you have it ventures a bit too frequently into a 6/8 hemiola which makes it momentarily sound like it's a Gigue.  That part of it just seemed out of character for a Courante.  Also your Allemande to me sounded more like a Gavotte in tempo and general approach.  As I understand it Allemande's are supposed to be a bit slower and have an anacursis of between 2 or 3 sixteenth-notes (although that's free to interpretation - the important thing to note is that in an Allemande sixteenth notes are expected to pass slowly enough that it would still sound dance-like).  I don't know if I've ever heard a Musette as an independent dance like this - I thought it would usually appear as a section of another dance like the trio is a section of a minuet.  When I search for Musette I get a Wikipedia article that says that Schoenberg composed a suite in which one of the movements was an independent Musette.  I wrote a Musette once as part of my Gigue in Eb and the way I understood it there was that it was a contrasting section of a Gigue that was supposed to imitate the drone of bagpipes.  I thought your Sarabande and Gigue were quite appropriate in manner and tempo.  Nice job overall!  I always enjoy listening to these quirky little specimens.

 

Hi.

Probably it is all as you say, I can't remember.... I wanted to study this baroque forms and I read from many sources. The information you get is different and didn't find absolute terms. I tried to follow the rhythms and tempi supposed to use, but al last, I always do what I want at the moment of writing. I don't care much about how to call every piece of the suite, perhaps I had to name them as 1, 2, 3, etc... Because in "contemporary thinking" you take the essence or just a tangent feature of a form and from that point, you develop a different type music.

If not, take a look at Schönberg's Mussete, from Op. 25.