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Found 14 results

  1. Aria in c minor written to my son Jonas 05.05.23.
  2. I wrote another piece just to add some more schemata to the palette. I have to say that there are many more than the ones described by Gjerdingen. Not many resources to understand how some of them work, but I'm making it. Sometimes I had to take my own solution. I didn't write all the grades in each pattern, but just a few words explaining them: The Quiescenza (quietness, rest) is a pattern used to establish the tonic, it was widely used (Mozart, for example) in the opening of a section, or at the end of the piece to re-establish the tonic. It works over a pedal on the tonic with a surprising clash between it and the sensible. The Ponte (puente, bridge) is an extension of the dominant chord which goes to the tonic. It can be as long as you want. The Monte (mountain) is a stepwise ascending (climbing) pattern that can also be extended, as I did, here. The Cudworth is one of the most used cadences, in which the melody runs from 8 to 1. A deceptive cadence ends with the 6 in the bass. An evaded cadence ends with the 3 in the bass. The Fonte (fountain, falling) is a stepwise descending pattern. The Corelli's Leapfrog was a surprise. Gjerdingen mentions it but it's not very well explained, taking into account it has many variants. It's a fantastic way to use prepared dissonances (9th and 7th) always resolving, of course, but allowing incredible clashes. The Pastorella is a recreation over a chord using thirds, and moving around the tonic. The Romanesca is universal (Pachelbel canon) that can be combined in many ways. Hope you enjoy it, it's funny! I think if someone wants to understand and write in late baroque, galant, classical, even romantic style, learning this thins is a must.
  3. Faustus was my first attempt at symphonic poetry.
  4. Here goes my new piece (inspired on Barroque Music) Instruments: Oboe Solo, Violin Solo, String Orchestra and Harpsichord if you liked, you can also hear:
  5. This prelude in c minor is part of my endeavour to write a small collection of six preludes in various imitative styles. It follows a more associative development typical for imitative-figurative preludes of baroque music and is heavily indebted to this article by Vasili Byros, “Prelude on a Partimento” (http://www.mtosmt.org/issues/mto.15.21.3/mto.15.21.3.byros.html). However, this prelude is not based on a partimento but on a simple plan I devised myself. The score still needs some improvement, but should be readable. As this prelude has a really baroque feeling, I opted to use a harpsichord soundfont, “Petit Italien“ from Soni Musicae. (see: http://sonimusicae.free.fr/petititalien.html ) Critique and other comments as always welcome!
  6. These are my Three Fugatos for Harpsichord, Op. 222, composed in August 2014. This is one of my older pieces. I first posted it here in August 2014. But it, together with a lot of posted pieces (both mine and others') got erased once the new version of the website was introduced sometime in late April - early May 2016. I had posted 181 pieces before then that all got deleted. Fortunately I have copies of everything posted. But it is the work of having posted so many pieces only to end up being deleted that I lament. This is the first of those 181 that I am posting again. I might also post others from those 181 pieces in the future. Below is the description of the pieces adapted from their first posting. These are my three fugatos for harpsichord. Before them I had only completed one piece for the harpsichord. I called the pieces 'fugato' since they do not follow all the 'rules' of a fugue, 'fugato' meaning "In the fugue style, but not in strict or complete fugue form" (Oxford Talking Dictionary, 1998).
  7. This is a three voice fugue written for harpsichord. Let me know any thoughts you have about it. Thanks!
  8. This a short and simple canon for harpsichord written in three part counterpoint. The outer two voices form a strict canon at the octave and the middle voice is in free counterpoint. Let me know what you think!
  9. Guest

    Opus 20

    A small thing I did while studying for my exams. This is my second composition written for orchestra (modified orchestral ensemble). The mixing is terrible, I know. It was really random and all crazy, so please forgive me... Thank you for listening and wish all of you a nice, peaceful, warm New Year filled with creativity, brilliant ideas, and wonderful music!
  10. Hi! I introduce myself with a harpsichord Toccata written in neo-baroque style. Divided in two parts, the first is a free Prelude wandering from key to key and inspired by the Italian Renaissance manner of writing. The Prelude leads directly to the virtuosic Toccata itself, in A major and vaguely modeled like a Scarlatti Sonata. Audio and score in the Youtube link below: https://www.youtube.com/watch?v=It5WkjkDqpo Greetings!
  11. Chords I used: Em - B - D - G - Am Some were inversions...I think if I used that term correctly lol. Currently practicing chords and progression so I don't think it's expertly executed but hopefully this proves I'm on the right track. Clashing is also one of my biggest issues I learned from Monarcheon so with this one I tried to fix that without eliminating huge and epic sections of the song. Like I tried to make some parts epic without the clashing so I'm not sure if I done that here or not.
  12. Guest

    Opus 13

    Opus 13 written for celtic harp, sopranino recorder, violoncello, viola da gamba, harpsichord, medieval lute and contrabass. For full album cover and more music click : https://www.reverbnation.com/mademoisellelilaclucrezia Opus 13.mp3
  13. Interesting new format for the forums.... I've posted this awhile back, but it remains one of my better works, I think. It's a harpsichord concerto in the Baroque style, though incorporating my own idiosyncrasies within it. I initially transcribed a movement of an older piece for violin duet (the last movement) as a harpsichord concerto movement and liked the result so I composed two new movements to go with it. I hope you enjoy it.
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