April 29, 20187 yr Beautiful. I think it's nicely done. The counterpoint in general has no gaps. Some modern elements like the 7-tuplets and intervals of augmented seconds here and there. The climax is also good. With solo strings I'm always afraid of double stops, I hope you'ved checked them....
April 29, 20187 yr The idea is good, but what style are you trying to emulate? If it's baroque there are a lot of things that need fixing like the direct fifths and the beginning. In general, the voice leading in this was a little bit off. Like m. 26's resolution of the leading tone to the minor mediant is awkward, also measure 8's 5 of the V/V chord to the 5 of the V chord. That's not very normal either, and it may not sound bad because of the equally processed sounds of the program but it will be a bit strange to performers.
April 30, 20187 yr Author Thank you! @Monarcheon I don't really know what style it is, but I understand that there are some mistakes. Do you have any suggestions of what I could edit them to?
April 30, 20187 yr A very fine work. The polyrhythm in the first bar could prove challenging for live players. A sidenote: In baroque music, you will find sometimes such passages with triplets against duplets as well, and there is a lively discussion how to play them. Many recommend to play the duplet with a swing so that the first note is as long as the first two notes of the triplet, and the last notes of the duplet and the triplet are played together. The direct fifth in the third bar (violin I goes down to a, violin II to e'') is rather unproblematic, as the movement of the upper voice is stepwise and the notes are unaccented. This is one of the instances where at the beginning of learning counterpoint, it would be a strict no-go, but after you are getting better at it, the rule can be relaxed. The hidden fifth in bar 4, where violin I jumps up to b'' flat and violin II to e', may be distracting; however, the more pressing question is how it its played in practice, and if it wouldn't be easier for the players to write in demisemiquavers with an added short rest (which would also mitigate the hidden fifth). A lot is going on dynamically; check if all markings are necessary for a performance, or if the players shouldn't have a bit more room for phrasing the music. That said, thank you for sharing!
May 1, 20187 yr Author @Willibald Thank you so much! I'll have another look at some of the sections that you have mentioned.
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