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Found 8 results

  1. The Decadent Review is seeking spectacularly written texts of any length on the subject of Ludwig van Beethoven, commemorating his 250th birthday. For more information see our Submittable page, here: https://thedecadentreview.submittable.com/submit/157299/ludwig-van-beethoven
  2. My bagatelle in Eb, just as I thought, would be finished in the 16 day timeframe that I gave myself to write this piece. It is an homage to my favorite composer, Ludwig van Beethoven. You might notice that I use the motive basically throughout the piece. Beethoven does that a lot, so I figured that it would only fit if I did that too. And there are a lot of octaves. Again, Beethoven's pieces tend to have octaves all over the place. You might also notice a resemblance between the motive I use in my bagatelle and the Fate motive in Beethoven's Fifth. However, unlike in Beethoven's Fifth, I don't build chords out of overlaps of the motive. Instead I use the motive more for scalar motion and sequencing than building chords and tension. There are 3 contrapuntal sections, all of which are related. The second contrapuntal section is the inversion of the first contrapuntal section. The third contrapuntal section is where the original and inversion overlap. I wasn't aiming for baroque style counterpoint, but I would say that my counterpoint in this bagatelle isn't too terrible. The key areas are also all related. There are 3 key areas in the piece. Obviously there is Eb major. The other key areas are minor keys, C minor and Eb minor. Not only are C minor and Eb minor both related to the home key of Eb major, but they are related to each other as well, being chromatic mediant keys. The Coda is short, but the motive continues to be developed through most of it. This is I think, the part that resembles Beethoven's Fifth the most, what with the descending thirds and the Eb, D, C, D, Eb, motion in the bass. But, I never really have what I could call a Beethoven's Fifth moment in there, because the bass keeps chugging along in eighth note octaves while the melody develops the motive. The introductory 8 measures are supposed to first be played quietly and then loudly after the repeat, but I can't get it both in playback and notation so I settled for the notation. What do you think of my bagatelle?
  3. Hello, Recently I created a set of variations for a competition held by the YouTube channel TwoSetViolin. I had to write 11 variations for two violins and piano , each for a different composer or genre. I believe it turned out well, but I should note I only had a week to create it, and each variation had to be at least 20 seconds long. Despite this, it should be a pleasant and thrilling listen. *Headphone warning- loud artificial harmonics in recording Variations: 1. Bach 2. Mozart 3. Beethoven 4. Brahms 5. Debussy 6. Paganini 7. Shostakovich 8. Myself 9. Film 10. Jazz 11. Pop Recording: https://www.dropbox.com/s/2z5f1xcxxbo0idm/TwoSet Variations-EB.mp3?dl=0 Score: https://www.dropbox.com/s/bkckvo0qhbobb60/TwoSet Variations-EB.pdf?dl=0
  4. A string quartet that I completed on the 16th of June. It is in the classical style, inspired by the quartets of Mozart, Haydn, and Kozeluch (A very underrated composer who was more popular than Mozart during his life).
  5. Hi all. Here is the 4th movement of my recently finished sonata in E. It is generally in the style of Beethoven/Mozart. I am quite pleased with how it has progressed. I would value any feedback. I am blessed to be able to share it. The sheet music was written with MuseScore, which is a neat little program. If you wish to listen, simply go follow the link and hit play. Cheers. https://musescore.com/user/9350326/scores/2120656 Because it is being played off the score, it will lack a little of the human touch, but it will give a pretty good idea of the overall sound of the movement. :)
  6. I have read the works of Fux and Rameau, I am interested in writing music in the style of the baroque and the classical. Before I practice their teachings I have some questions: Apparently Bach, Mozart, Beethoven and Brahms ALL studied along the lines of Fux, and disagreed with much of Rameau's teachings. Again, considering that I am ONLY interested in writing music in the style of the baroque and the classical, should I abandon Rameau and stick only to Fux? I asked this question a month ago, but did not give as much information. Thanks.
  7. http://youtu.be/RujiYzPGohg?t=4m1s I bet it is from Beethoven, but I do not know. Please someone tell me, I would like to listen it completely and study it. I like a lot what I am listening.
  8. I found this quite interesting: Chad "Sir Wick" Hughes Aikman b. 1959 Fox b. 1931 Heiden (1910 –2002) Hindemith (1895-1963) Sekles (1872-1934) I.Knorr (1853-1916) Jadassohn (1831-1902) Liszt (1811-1886) Czerny (1791-1857) Beethoven (1770-1827) Neefe (1748-1798) J.A.Hiller (1728-1804) Homilius (1714-1785) J.S.Bach (1685-1750)
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