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Haven't really written anything in quite some time, but I felt like writing this after imagining the melody. The choice of hymn was arbitrary (just something I already knew), but it was really easy to set to music.

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  • 2 months later...
Posted (edited)

Wonderful little work. The <sol, fa, me> imitation at the end is one of those little things that make me smile when I hear them.
Not sure if you're a stickler for conventions. It's entirely possible you know better than me; I'm sure they're likely one of those things that you see in the repertoire and you teach students not to do it anyway (happens a lot), but:
1. I notice an augmented second in m. 3. Odder still is that it's followed by a leap.
2. In m. 7, the second beat has one of two potential issues: either it's a iv chord without a third (!!!) or it's a iiø6/5 without the fifth, which students are taught that when you have an inverted seventh chord, all the chord tones should be present.

It sounds great so who cares—and like I said, it looks like you probably know more than I do about the actual Baroque conventions—but they're just things that popped out. I'd be interested to know if they are just stylistic norms that I don't know!

Edited by Monarcheon
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