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Found 3 results

  1. Hi friends, This is an example of what I want to do in my new blog. In this little piece, there is an intertwined work of schemata and rhetoric figures. I have spoken previously about schemata, and they are notated at the bottom of the systems. Now, I have added some rhetoric figures, that will be explained in detail in the blog. Anaphora is the repetition of a structure at the beginning of several phrases. Hyperbaton is a change in the order of the notes. Chiasmus is the mirrored repetition of a motive or phrase. Pleonasm is the addition of "superfluous" elements. Anadiplosis is the repetition of a part which was the end of a phrase in the beginning of a the next. Epizeuxis is the repetition of something in the middle of a phrase Concatenation and gradation are similar to climax-anticlimax. Pathopoeia is the expression of an idea with chromaticism. [with time, I will translate into English the entries about schemata] Let me say that writing music this way is an adventure. Funny and instructive. And, surely, is the essence of baroque-galant music. And there's more to say: this is nothing "mechanical". When you get familiar with the process, it becomes natural, as it happens when you write in the romanticism style or dodecaphonic of whatever. In the end, this devices had a purpose: to convey emotions. Sorry for the engraving it's not the best, but I wanted to keep the phrases together.
  2. Who could have said I would start to write this kind of pieces? I am very fond of contemporary languages, of course. Now and then, I wrote a piece in what I thought it was a baroque style.... But I was wrong. Some weeks ago I began to study Music from its very beginning: cantus firmus, monophony, primitive polyphony, counterpoint, etc..... ALL of the music we know today comes from those times. Schemata is a big set of harmonic and melodic patterns flourishing in the galant style. However, many of them were born many many years before, and on the other hand, they were going to be present in music forever. So, now I find myself writing Minuets, or short pieces, just to learn these schemata. I love them and I love the endless ways to combine them, and now I really understand what baroque is. But most important, I know this stuff will have a principal role in my future projects whatever language they use. Two short minuet-trio with notated schemata.
  3. Hi. I've been studying "schemata" (musical formulae) which flourished in the galant style period (1830 - 1870). It's amazing how they used all those chlichés (there were dozens) so fluently. The existed in the baroque period, even before, and would be used for many many years. This is my first attempt to write something in this style. The complex polyphony is no longer wanted, it's more important a melody and bacground. I used some of those schemata: the Romanesca, the Quiescenza, some sequences, falsobordone, Cudworth cadence. I thought bout this piece as en exercise to work with schemata. Perhaps I'll write a second movement with other schemata. (I listened to Vivldi's bassoon concertos as an inspiration, they're fantastic).
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