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- เผยแพร่เมื่อ 7 ธ.ค. 2023
- This is the first movement of my Baroque-inspired concerto for two violins in G minor. I composed it for study material because I wanted to play Baroque music but Bach's pieces are still a bit hard for me since I'm a beginner violinist. In my violin lessons, I play the second solo and my teacher plays the first.
Composing software: Sibelius | Ultimate
Playback engine: NotePerformer 4 - เพลง
A wonderful piece, you've really captured the Baroque spirit!
G minor is my favourite key signature, I love this baroque music
What a beautiful and great composition!! I like it very much! Thanks for uploading! Greetings from Germany! 👍👍
Thanks! Greetings from Finland! 🇫🇮🤝🏻🇩🇪
Excellent. I have not been a fan of Baroque music; however I still enjoyed this. I get Bach-vibes from this!
Yeah, Baroque music isn't for everyone. 😅 Glad you still enjoyed! 😊
Great job ! Beautiful harmonies and counterpoint. I would love to hear your piece performed with real instruments.
Thanks for the compliments! It's hard to get compositions performed that require more than a couple players, but I'll see what I can do! 😊
Magnificent! Really stellar original work! (:
Thanks, I really like your pieces too!
Very very nice. I spotted a parallel octave here and there, but overall very good. I thoroughly enjoyed it (:
2:30, damn that was good
I love this and I want play this.
Nice writing
We share an interest it seems! I tend to write in a more classical style but occasionally to use a more baroque idiom 😊
Perfect!
Very excellent!
Incredible work! 👏
Nicely done!
Suena increíble... Felicidades...!!
❤It is wonderful how you managed to capture the soul of Bach in your piece of music. The melody is so beautiful and powerful.
Thanks for your kind words! It means a lot! ❤
Bravissimo!!!!!
i like the invention no. 8 reference
bravo!!!
excellent
Quaint!
Very good indeed... easy happy barock like Vivaldi, and neat counterpoint like bach. I subscribe!
Thanks for subscribing, glad you enjoyed it! ☺
You writed all the realization of the Basso continuo or where autocreated by the program (not the numbers, the chords)?
The audio comes from a different score that has harpsichord and double bass written out. I just removed them for the video. I'm not aware of any software that could convert figured bass.
Very good! From what source have you been learning baroque style except the scores?
Mainly by just listening to Bach a lot and playing his music a lot. Also, the music academy I studied at was incredibly kind to arrange special theory education for me which included learning figured bass. If you want to get good at understanding the Baroque style, I suggest studying counterpoint rigorously and doing a lot of chord analysis with the roman numerals.
@@labeliuscomposer Thank you! Being doing so! I'm familiar with figured bass and 4-part writing through Schoenberg's Harmonielehre. Now I'm putting this knowledge together with form, specifically classical form through Caplin's Analyzing Classical Form. From there I think there isn't a backward too big leap to the Italian baroque style.
As for counterpoint, I started studying species counterpoint, but I started to realize how many aspects there are regarding melodic lines (shape, pitch, rhythm, cadence) and how each of them relate to harmony and framework of a piece. Caplin's mentioned book is giving amazing insights on it. I've also found interesting remarks on Piston's Counterpoint. Then I realized that if went to all counterpoint sources, I would probably find in each of them an important note on melody.
So now I'm into Renaissance polyphony. I've just started studying it on Thomas Benjamin and Peter Schbert books. They seem very good (I started studying the subject on both these sources at the same time, and not for my surprise anymore the different sources brought valued information that the other didn't).
The reason so is that those authors brought attention to how further polyphonic builds itself upon renaissance counterpoint. And I've already found important information on melody that common practice books didn't mentioned. I think that this approach will tie together all important music aspects (pitch/harmony/rythm/form) in a coherent way.
Now I'm interested in Partimento and Solfeggio o the 18 the century. There has been some very interesting research on them in the last 15 years or so. There is Nikhil Hogan channel on TH-cam that has doing amazing job bringing all this knowledge to the public. Those technics/methods seem to be of great value for grasping counterpoint. Thank you!
Some wonderful interplay between instruments as well as great baroque...gestures! There several part writing mishaps at least for a piece in a good baroque style, where parallel 8ves and such ought to be avoided. The harmonic conduct could be also improved here and there.
I've never sought technical perfection, and I think holding these pieces to the standards of Bach and Mozart is pretty unreasonable. And as great as they were, they weren't always perfect either. I'm more interested in composing fun and engaging pieces than meticulously picking them apart to look for negligible theoretical flaws. I'm always happy to receice feedback, and if you have some concrete improving ideas, I'm happy to hear them. But I'm aware of the rule of parallel fifths and octaves, so you don't really have to spend time looking for them, as good as it feels to demonstrate one's theoretical knowledge by pointing out flaws in other people's works. If the flaws were glaring, I'd get it, but at this point it feels a bit like nit-picking.
Like Bach a minor violin concerto 😊
That's true, nicely spotted! I did draw inspiration from it since I wasn't aiming for anything particularly original for this piece. Hope you still enjoyed it. ☺
@@labeliuscomposer
It's a good pièce 👍
Where are the other movements?
This sounds kinda like Brandenburg Concerto 6 but with a worse choice of instruments
In the Brandenburg concerto, the same 3-note motive appears occasionally in the accompaniment, but furter than that, I don't really hear the connection. 😅 It has a unique and beautiful selection of instruments, but since this is a violin concerto, I went with the standard configuration.
@@labeliuscomposer The beginning sounds very similar to a part in the third movement of Brandenburg 6, and even more so at around 30 seconds in when most of the accompaniment dies down like how it does in the Brandenburg concerto. The selection of instruments for the accompaniment is pretty good.
@@T4TheTidePod Ahhhh, I see now what you mean. I was only thinking about the first movement. Nice observation. This piece is mainly inspired by Bach's violin concerto in A minor; when the violin begins its first solo passage in the A minor concerto, the motive is the same, except in Bach's piece, it goes upwards. The accompanimet is almost identical as well. I only realized it after composing this piece though. The similarities are very apparent now that I look at it, but hopefully not too much. 😅
@@late8641 Well sounding like a Bach piece is much better than not sounding like a Bach piece
@@T4TheTidePod In this instance, perhaps that's the case, since my purpose wasn't to create particularly innovative or original music, just traditional Bach-sounding Baroque music as a violin exercise for myself since Bach's pieces are a still little too hard for me.