February 8Feb 8 @Frederic Gill inspired this one. He wrote an invention as an exercise from one of his Counterpoint books on the same motive that you can hear here: I was inspired by his attempt so I decided to give it a try myself. Thanks for listening and I hope you enjoy and let me know what you think!
February 9Feb 9 18 hours ago, Frederic Gill said: I like it because it is different. It's 'you'. In the result, it shows your own inspiration, more than mine. But It's like being schoolmates taking the same course, lol. I'll take the time for analizing the score and get back. Comment: Rhythm: you have many unaccented dissonances (4th beat), before consonances at bars (1st beat). According to my books, the cadential effect of this breaks the flow. But as part of a repeated design, it creates a shift to the left in the rhythm. Another element that creates a shifting effect is the (10) suspensions on 2nd beat. Interesting that when you heard my v1 for the 1st time, you were caught by the Bb in me1, on 3rd beat, and questioning about the key being Db (major) or bb (minor). Because in your compo you’ve put more ‘accent’ on the 3rd and 4th beats and opted for a more minor & dissonant approach. This is highlighted in your final cadence. In contrast, my compo has a ‘dancing’ rythmic pattern (quarter notes on almost all 2nd beats). In me10, the last Cb you put (? for sake of symmetry with the ongoing sequence and the following one?) makes a 1st parallel aug4th with the next (accented) interval. I find that a plain C sounds better with the upper voice and the new key (f?).
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