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Found 9 results

  1. The answers to some of the questions are on the bottom of this post. Italicized questions should get a short writing response (a sentence or two) along with the composition portion. 1. View the attached score and listen to a recording. 2. The first step when analyzing a piece is to discern its form. Attempt to discern the parts. Then, look for how many phrases are used in each section. What makes a section more similar or dissimilar to another? 3a. The whole step interval (G & A) bounced around the bottom of page two breaks the obvious pattern. Same with the final Piú mosso section.
  2. Hello! Can you guys help me to figure out what harmonies are used in bar 4th, 16th and 36th? music sheet audio This is the full analysis if you want to check it as well (question marks where I couldn't identify the harmony) F dorian mode A bar 1 to 12: I - I - V35 - ? x4 B (bar 17 to 32) I46 - IV7 - VII46 - V46 x4 but bar 32: VII36 C bar 33 to 44: IV46 - IV34 - III - ? x3 bar 45 to 48: II - II - IV34 - IV46 Thank you!
  3. How do you analyze melodies and incorporate what you learned into your compositions?
  4. Hello, i have some troubles with the definitions codetta, extension and episode. I need to know how to construct these topics in a scherzo or minuet Also, i need to see examples of literature that show me concretely this things Thanks.
  5. Hi All, I have trouble with writing larger/longer pieces of music. I can come up with melodies or "riffs", but I'm not sure how to make a piece "coherent" and not simply a string of ideas, or a "song", or ABA form. To help me understand, I would like to start with a very simple and short example, prelude in C by Bach, BWv924 (see attached). Why is this piece "coherent"? What is the structure or form of this piece? Thanks for any help IMSLP222728-PMLP180599-Bach_Prelude_BWV924_Cmaj.pdf
  6. Fair warning: this post might get a bit technical. I really like thinking about music theory, but I don't know very many people I can discuss it with. Some time back, I came across the following website, which really changed the way I think about harmony and its relation to musical structure (we're talking mostly tonal CPP music). I'm wondering whether anyone else has seen this before, or is interested in taking a look at it. The site is www.harmony.org.uk by Tom Sutcliffe. It outlines a thesis he has developed (and a corresponding unfinished ebook, Syntactic Structures in Music) which loosel
  7. Hello everyone! I'm trying to compose once again. Here is this very innocuous, exercise-like composition I made for the piano. Audio here: untitled.mp3 What I would like to ask is this. How would you describe this composition? Does it make "sense" to you, in the purely musical sense? Could it be better, perhaps? And lastly, what criticism or feedback could you give (e.g., the second to last bar has a figuration which sucks, etc.)? Anything will do, even mean comments. (P.S.: Is this the right forum to post this in?)
  8. hi, i'm trying to analyze a song so to better understand my options when writing some music. i know some stuff about harmony but i'm in an early stage and get stuck when i try to define the functions ... ... would be amazing if someone could meet me online vie skype for a little session to go over a song together, so i get a grip how to do it. Regards, Frank
  9. ... harmonically and contrapuntally (and ignore the orchestration - except maybe where it becomes a factor in eliminating repetition or something else that's permitted because it's orchestrated that wouldn't be okay in some other contexts), is my best bet to get a piano arrangement from, say, IMSLP and study that?
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