Papageno Posted June 19, 2020 Share Posted June 19, 2020 I'm writing a series of minuet and trios and in between the composition of each one I'll study more about harmony, melody, and counterpoint so that I can improve until hopefully I manage to pull off a half decent piece. Please be very honest, I'm not attached to these pieces because they are just exercises and I will not revise them instead I'll take on board the criticism and study some more to improve. 1 Quote Link to comment Share on other sites More sharing options...
Markus Boyd Posted June 30, 2020 Share Posted June 30, 2020 (edited) This is very nice. Well done. I am glad we have another member interested in this period. In certain areas I would have made different decisions, for example, from bar 5 of section A I would descend from the A (or 6th) to the E (3rd) in a step-wise fashion which would be a prinner (see continuing schema - prinner: http://openmusictheory.com/schemataSummary.html). Instead, you ascend in a 6-7-8 fashion and at the arrival of the C you modulate to G with the F sharp. Whilst there is no issues with the underlying harmony, it is not your typical example of how a "galant" composer of a minuet and trio might modulate to the dominant. I think this is because the transition is not "galant", so to speak!. Furthermore, your cadential closes are could be more defined and purposed. Here is how I would approach the A section, for example (ignore the G which I have marked as a 1st degree in bar 4. Actually, the Do-re-mi completes at the arrival of the C in the bass at bar 5 in this example. It sounds alright, although ordinarily this phrase would complete in a 4 bar fashion). I have changed the bassline of bars 1-4 to avoid parallel octaves (there is not necessarily anything wrong with this type of motion for an opening statement, although I personally found it out of character with the graceful upper voice in your presentation. Bars 5-8 is reworked around a prinner idea, although would better defined as a The Passo Indietro (the first 2 stages of the prinner) as the bassline does not adhere to its strict definition. It is also important to use contrary motion where possible. A purposed bass with a purposed melody is essential for effective writing for more than 2 parts. Kind regards, Markus Edited June 30, 2020 by Markus Boyd My blunder! MP3 Play / pause JavaScript is required. 0:00 0:00 volume > next menu Darren minuet > next PDF Darren minuet Quote Link to comment Share on other sites More sharing options...
Papageno Posted July 1, 2020 Author Share Posted July 1, 2020 Thank you very much for the time and thought you spent in your comments. I checked out the link you provided to learn about the prinner and other schema. This information will help me compose better in the galant style. I really appreciate you spending time to illustrate your point with the alterations to the main theme, thank you. 1 Quote Link to comment Share on other sites More sharing options...
Markus Boyd Posted July 1, 2020 Share Posted July 1, 2020 25 minutes ago, DarrenEngland said: Thank you very much for the time and thought you spent in your comments. I checked out the link you provided to learn about the prinner and other schema. This information will help me compose better in the galant style. I really appreciate you spending time to illustrate your point with the alterations to the main theme, thank you. Anytime. Glad I could Be of help Quote Link to comment Share on other sites More sharing options...
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