Great harmony, I think this approaches the style of Handel pretty well. Just be wary of hidden consecutive fifths and octaves. For example at 1:03, the C in the 3rd voice would sound better to stay at a C rather than jumping to F to form an octave with the bass. Similarly at 1:58, the C in the 3rd voice jumps down to an A to form a fifth with the bass, it would be better to rearrange the inner voices to avoid that. If you listen closely to your recording you will notice the places where the voice leading sounds a bit weaker, which can usually be improved by moving one or two voices around. I'm curious to learn more about your book by the way, do you have a release date in mind?
Thank you. With regard to fifths and octaves, I don’t really see any problem with the instances you mention. They are not really cases of "hidden" fifths or octaves. If you think that in these places some other voicing of the chords would sound better, that is fine, but if you look at Handel’s (or any other composer’s) scores, you will find many similar cases to the ones you objected to here. Do not forget that this is an orchestral score and not a harmony exercise, where inner voices generally avoid unnecessary leaps. If you look at Handel’s overtures, you will see that the inner voices make a lot of leaps that would be out of place in a harmony exercise. With regard to my book, I hope it will be released by the end of this year. It all depends on the publisher. In summary, the book is a harmony manual in the modern sense (using chord inversions and Roman numerals), at the same time adopting the “schema” approach by incorporating those of the 18th-century schemata (stock harmonic progressions) that are found in Bach and Handel. The book focuses on practice and does not require any prior knowledge of harmony or counterpoint.
Sounds like wf bach fantasia in c minor
Great harmony, I think this approaches the style of Handel pretty well. Just be wary of hidden consecutive fifths and octaves. For example at 1:03, the C in the 3rd voice would sound better to stay at a C rather than jumping to F to form an octave with the bass. Similarly at 1:58, the C in the 3rd voice jumps down to an A to form a fifth with the bass, it would be better to rearrange the inner voices to avoid that. If you listen closely to your recording you will notice the places where the voice leading sounds a bit weaker, which can usually be improved by moving one or two voices around. I'm curious to learn more about your book by the way, do you have a release date in mind?
Thank you. With regard to fifths and octaves, I don’t really see any problem with the instances you mention. They are not really cases of "hidden" fifths or octaves. If you think that in these places some other voicing of the chords would sound better, that is fine, but if you look at Handel’s (or any other composer’s) scores, you will find many similar cases to the ones you objected to here. Do not forget that this is an orchestral score and not a harmony exercise, where inner voices generally avoid unnecessary leaps. If you look at Handel’s overtures, you will see that the inner voices make a lot of leaps that would be out of place in a harmony exercise.
With regard to my book, I hope it will be released by the end of this year. It all depends on the publisher. In summary, the book is a harmony manual in the modern sense (using chord inversions and Roman numerals), at the same time adopting the “schema” approach by incorporating those of the 18th-century schemata (stock harmonic progressions) that are found in Bach and Handel. The book focuses on practice and does not require any prior knowledge of harmony or counterpoint.
Καλησπέρα. Πότε θα είναι διαθέσιμο το βιβλίο;
Καλημέρα. Πιστεύω ότι το βιβλίο θα εκδοθεί μέχρι το τέλος του 2023.
French overture?
Yes.