Can someone tell me how this sounds? I added some things melodically because all the rules make these exercises pretty damn boring. Sorry, but I don't have a score because to hell with Sibelius.
That's good to hear. So it sounds like your standard 4 part writing exercise then.
Bentley Mitchell
Papa Handel sprinkle your wig sweat on me owo
Isaac Hall
>Music did not feature prominently in the young Berlioz's education. His father gave him basic instruction on the flageolet, and he later took flute and guitar lessons with local teachers. He never studied the piano, and throughout his life played haltingly at best. He later contended that this was an advantage because it "saved me from the tyranny of keyboard habits, so dangerous to thought, and from the lure of conventional harmonies". Based, keyboard-harmonycucks Seething
Imagine sneaking into his house July 17th, 1717. He takes off his jacket and his wig to reveal his sweaty undershirt. Under Handel’s armpits are enormous pools of sweat. You can’t resist yourself anymore and you sprint up to the changing Handel, lift up his arm and take the largest, longest whiff of his sweaty armpit
Caleb Martin
Dude what
Colton Jones
Seriously, introduce me to the Handel pill. He literally never surprises me from what I've listened from him.
The point of part-writing exercises isn't to be interesting. The point is to grind the basic skills of harmony writing. You have to know the rules to break them and all that. Having said that, could you post it again without the melody part you added, which is surely the weakest element of the composition?
The most interesting thing about this is the sound of the instrument. From what I've heard here, Bach runs circles around Handel.
Nicholas Davis
t. Bach
John Bailey
but rach was genuine and so was his music. i like tchaikovsky but i can see that one
Henry Green
I’m having a hard time recognizing some faces (I rarely look for composers pictures). Could someone tell me who (using battleship notation) D1, C3, A4, D4, A5 and B5 are? D4 looks familiar AF but I can’t link the face to his name.
Nicholas Harris
Okay, I removed that stuff. This is the pure exercise. I still eschewed the rules a couple times and I found a weirder cadential chord that I nevertheless thinks works much better than the simple minor one. Major sounded too naive to go with the tension in the previous bars but minor just didn't flow well either.
With C3 I meant the one below Rachmaninov. Thank you anyway. I could have gone crazy with Sibelius, I was completely off-track. Does anybody know who A5 is?
Jacob Robinson
The one below Rach is Glazunov
Gavin Hall
Thanks dude.
Dose anybody know the bottom left one?
Andrew Kelly
Bedrich Smetana
Aaron Clark
the maker of this must be really stupid if he included him
Carson Cook
Thank you
Matthew Barnes
Amazing acoustics but I still find Naxos version better.
Okay, already this is much better. First I will say that as far as I'm concerned the composition is over by bar 12. You play a plain major chord there and it resolves all the tension, done. But then you go on and at that point everything sort of just completely falls apart. You seem to have like a misconception that because you did the formal boring part by the rules now you can just start stringing nonsense chords together. This is not how music works, dissonance and tension need to be administered carefully and thoughtfully. From bar 12 your first chord is, at best, amorphous, there really is no tonal implication. And then you pull out two more really tense chords. You seem to be going for Wagnerian levels of tension and once again 4 part writing really isn't serviceable for that kind of thing. Your new cadential chord does indeed fit in better with the surroundings but this is only because its a similarly absurd chord.
In some respects the part up to the 12th bar is exceptional, the music has definite motion and that's always a good thing. Its not perfect by any means, but its not creatively destitute either. Overall my advice is, once again, to slow your roll. You're getting way ahead of yourself and you're trying to do things you need to git gud in order to do. Stop thinking of 4 part writing as an opportunity for creative freewheeling, which it really isn't. 4 part writing is the box-drawing of musical composition. Its boring, tedious and completely utilitarian. But you have to do it all the same, its the only way to learn. Also be sure you practice in every key so you're training your ear as well. Also remember to sing each part to see that there is melodic flow. Good luck user.
The Firetruck meme was always a pretty retarded meme.
It essentially boiled down to "romantic-era composers i don't like"
Xavier Campbell
its more like "romantic era composers i don't like, which is all of them by virtue of the fact I've spuriously proved Schubert is not a romantic composer by screen-capping a page written by some random nobody."
yeah... you don't start Beethoven with the late quartets, do you? Better way to start Händel is with vocal works
Leo Brooks
Say what you will about Hans, he really has brought this board together. Every time he leaves (or at least goes incognito) activity plummets. He's the hero we need but not the one we deserve.
What the fuck are you talking about? That music was in fact, very predictable and thus very accessible. As I said, only the prelude of the last one really has something interesting going on.
Levi Cook
I never really go on this board but I just want to share how this past year every time I come back home from uni, I've been listening to Chopin's Ballade No. 1, and it has been a song that I have never gotten sick of, even after listening to it on repeat every single day. Just want to give my appreciation to Chopin and classical artists in general because its because of this song that I've explored more works in this genre and truly appreciated how powerful and infinite this how truly classical music is.
Fuck me "general". Speaking of the board, why did we stop the guerilla shitposting campaign to shit on everyone who doesn't primarily listen to classical?
Henry White
fucked up my grammar there at the end there but yeah thanks for listening to my blogpost :)
Alexander Smith
can someone post all the names instead?
Carter Stewart
>I never really go on this board >blogposting >Chopin >Chopin's Ballade No. 1 >song >appreciating one Chopin piece equates to appreciating classical as a whole >song >powerful and infinite *tips fedora*
Tension and release is one of the prime things to think about with chord progressions, you usually want a mixture of major and minor chords, and 7th chords that will interact with each other to form peaks and troughs of tension and release.
This refrain from Bach is a good example, he has 5 or 6 beautiful chords in a row - a section of 'release' (not necessarily all major btw), then he has 5 or 6 'tense' chords in a row - minor chords and some 7ths for less stability. youtube.com/watch?v=MY-aowxVXfI
The other thing you want to think about with chord progressions is Voice leading - each note in a chord should ideally move to a logical next note in the next chord. If you have a 4 part chord progression, then you essentially have 4 melodies - these melodies should move logically, ideally by step (especially in the inner parts) the smoother the movement of the voices, the nicer the chord progression will sound, as our ears can easily track which notes are moving to which other notes.
The smoothest possible movement is for a note to not move at all - it stays the same in both chords.
Smooth voice leading is super desirable in common practice writing, and even moreso in most early music. The Bach chorales above have super smooth voice leading, the melodies especially of the inner parts moving stepwise to give that delicious sliding feeling of each chord perfectly blending into the next. Pic related is the score
well that's a partial lie, I've also listened to Rochminoff, Debussy, and Liszt a lot. Going home takes around 30 minutes so I usually am able to listen to quite a few more than just Chopin's ballade. Anyways I'm done posting here, I'll come back in a few years.
In order of appearance:Tchaikovsky, Mahler, Brahms, Bruckner, Wagner, Dvorak, Rachmaninoff, Shostakovich, Prokofiev, Liszt, Glazunov, Puccini, Rimsky-Korsakov, Rossini, Saint Saens, Sibelius, Smetana, R. Strauss, Vaughan-Williams, Verdi.
Where is Berlioz? If I were making a list of bombastic romantic composers, he'd be the first to spring to mind. Especially before Brahms, Dvorak, Glazunov, Smetana, Prokofiev, Rimsky Korsakov and Sibelius.
I'd rather have high-quality, music posting at a slow rate, than the fast-paced "literally nothing is being said" interactions with hans / grug
Jackson Taylor
I was thinking about voice leading though. I don't think I explicitly eschewed favoring step-wise motion at any point of the composition.
Henry Martin
Having Brahms on a list of bombastic music just really doesn't make sense. He's like the opposite of bombast. Likewise Vaughan-Williams, Saint Saens and Sibelius.
Lincoln Hall
Danse Macabre tho. Its practically Symphony Fantastique Movement 4, The Redux.
I'm not talking about the complexity but about the genre. Late quartets was a bad comparison. Minimalistic music appeals in general to someone who is already familiar with the style of a composer and you get to know that style in case of Händel more likely via the vocal works, in case of Beethoven via the symphonies
Asher Powell
Bank für Handel und Industrie
Noah Allen
Gulda playing Bach sucks. Even more does Richter, though
I certainly enjoyed his fugues more than than bombastic orchestral stuff.
Justin James
No, I think this is completely fair. I totally forgot about the importance of singing the parts and when I tried this only the top voice had a convincing melody to it. I didn't post my exercise to show off or anything, I posted it because I had this vague sense it was shitty and couldn't figure out why. Now I realize its because of the absence of singability. In fact, I probably wont have to post another one of these for some time with this trick in mind.
Yeah, he made an overmuch truncated piece of music on purpose. That wasn't being debated.
Anthony Anderson
Why is Spain like the only meme country without meme composers? I don't think Spanish composers are bad or anything, on the contrary. I just wonder why none of them are household names like Beethoven, Liszt, Debussy, Mozart, Stravinsky, Holst etc...
If you go to a man-on-the-street interview with the first 30 people you run into, I guarantee you none of them will have any familiarity with those names. Well at least not unless you're in Spain.
David Smith
do not "to"
Gabriel Baker
I agree with you, I just added de Falla out of completeness
Carter Lee
No, I said it sounded like he was too lazy to continue writing the piece. Where regards what his actual motivations were, I simply chock that up to neurotic insanity.
The first 30 people on the street probably wouldn't know Bach either. They'd know Mozart, some might know Beethoven. That's about it unless you stumble across an actual classical musician / enthusiast.
Since Let begins today I'm listening to his Passions while working. I think I've heard Mache dich mein Herze rein 7 or 8 times in a row. What a beautiful aria.
Jackson Bell
I meant lent.
Mason Martinez
we are talking about Bach fugues, right? Backhaus, Gieseking and Gilels are the best for Beethoven but never ever for Bach. Richter's Bach sucks. I never listened to Angela Hewitt, though.
I find really fascinating how at the beginning of “Ach Golgotha” he uses a dominant pedal to mimic oriental scales.
Josiah Bennett
Hewitt imo really gets the intimist side of Bach while at the same time retaining a clean and sober style, I find her to be the perfect pianist for him. Another really good one is Tatiana Nikolayeva. I’m listening to Crochet and so far I’m really digging her interpretation. For Beethoven my absolute favorite is Ashkenazy.
Justin Morgan
Do you know why he decided to do that in that particular moment?
Adrian Edwards
>never surprises me Why is that bad?
Cameron Howard
Because the artist should be able to subvert the listeners expectations. That's literally what they do. Say what you will about Beethoven's fugues but at least I can say I never have the slightest inkling where they are about to end up.
Brayden Cruz
What a nice piece indeed. The harmony at the beginning sounds unusually deceptive for Bach.
Brayden Carter
what /classical/ think of christian badea, a conductor, is there any good recordings of him?
Joshua Foster
Bach never managed to compose anything of even relative worth. Rather than exploring new styles he preferred to jack off alone to the outdated style of ages past, in a manner very similar to modern "wrong generationers." His most famous keyboard work, the Goldberg Variations, was originally written to put an aristocrat to sleep. And, bearing in mind that it consists of 30 variations on not only the same theme but also the same fucking harmonic sequence, it has the very same effect on modern audiences. The Well-Tempered Clavier is garbage and taught Mozart and Beethoven bad habits that forever stunted their expertise in composition. The Brandenburg Concertos, Violin Concertos, Orchestral Suites, Mass in B minor, Passions, and Musical Offering are plebeian trash written with mass appeal in mind. The Art of Fugue is utter dreck and the worst "meme classical" ever written. It's a load of worthless pedantic wankery which literally serves no purpose other than to demonstrate counterpoint. It's hilariously samey and repetitive, which makes sense since it inverts the same fucking melodies to create new counterpoints and does this over and over and over.
Ryder Stewart
Maybe to convey a sense of dread and stasis, considering that the piece is set to the crucifixion of Jesus.
Adrian Richardson
Kech
Jonathan Lewis
user, we are still 26 days away from April Fool's.
Juan Morales
Of course, let's wank over a mat with the musical notes drawn over it and compose according where the semen falls, that's gonna be totally unexpected.
Does anybody know of any great labels for contemporary classical releases (works of the last 30 years or so)?
Gabriel Ramirez
Keyboard players really do love to hate on Berlioz.
Xavier Hall
>Because the artist should be able to subvert the listeners expectations Not necessarily, there's much more to art than that. >That's literally what they do No?
Oliver Martin
What opera has the best libretto?
Hunter Lewis
If I like Chopin and have listened to his material fairly thoroughly who are some others to explore from there?
Blake Ross
Unironically, the Magic Flute.
Tyler Hill
Fuck off Goethe.
James Robinson
kairos col legno neos nmc recordings ECM New Series Boulez did a lot of his own music for yellow piss (DG)
Brayden Mitchell
Thank you so much! I had not heard of the first four at all.
Also there's Ondine that has Finnish contemporary composers, but it's not exclusive to contemporary composers. I just checked where Andreyev released his latest work, and it's with kairos.
Cooper Price
Otello. The libretto is so good, Verdi came back from retirement and decided to compose again.
Henry Ross
That doesn't count because it's just a worse version of Shakespeare
The last thread was about jews so I guess it counts
Matthew Barnes
I used Beethoven as an example of subverting expectations in fugue (a form Handel is known for). He came back at me with some ridiculous crap about using jizz splatters as a composition method. Ergo he is associating Beethoven's fugue writing with this ridiculous characterization.
No, I just purposefully ignored it because I wanted to come clean about the confusion I experienced when reading your post. Basically I was pretending to be retarded but I also was retarded.
correct, no 14, last movement, I think I got the file from this video youtube.com/watch?v=NdDNeMIvhIo last movement begins at 32:38
Nathan Reed
Whats some good violin scale exercises for intermediate players? I'm seeing the heifetz masterclass with erick friedman playing some scales. What system has these scales if any? youtube.com/watch?v=YkKWEW6VOcQ&t=2194
Bentley Thompson
I remembered it from a fragment of the film "Copying Beethoven"
Gabriel Bailey
Iam the only one that notices that there is a new jewish folder in OP's list?
Landon Baker
the CHAD Heifetz vs the VIRGIN Ferras
Robert Scott
It's actually written down in OP's post
Eli Scott
Reza Touserkani
Nicholas Fisher
Martins
Caleb Brooks
Hope that was a joke user
Gavin Cruz
Why? It could easily be Schubert. It could easily be Mendelssohn too.
Jack Rivera
If you don't recognize the last movement of Beethoven's 14th quartet you really fit the frog you posted is all I'll say
Mendelssohn and his sister was pretty close but I don't think they fucked
Nicholas Edwards
Same goes with Mozart and his sister when they were young
Luke Wood
>doesn't even know one of the most memorable Beethoven Movements of the work Beethoven considered his best Whoa so this is the power of Schoenbergfags, you guys dont even know the classics Embarrassing
Well, I am no pleb. Just because I couldn't identify a 13 FUCKING SECOND excerpt of a piece I probably haven't listened to in over a year doesn't make me a pleb. Sorry. Actually its probably less plebby that I guessed the only two other composers who would have written something like that.
why do people still listen to recordings from over 20 years ago when the recording quality is so much better now?
Christopher Wood
because interpretation these days is midi-tier. I like midi, too, in fact sometimes I prefer to hear a piece in midi because it kind of helps to present the score in more pure mathematical terms. A particularly like midi Bach. But its unacceptable that contemporary players are so robotic and think that good playing is never playing a wrong note while playing at faster and faster speeds.
various reasons. maybe there are just no recordings of newer age or the older interpretation is more appealing. A lot of great conductors don't live anymore so you have no choice. Besides that, productions differ in quality regardless of the time they took place. A production could have been very costly in the 80s and very poor in the 2000s even if the technic is better. I actually don't understand how this is even a question.
Brody Rogers
>midi tier not sure if I understand what you are talking about. Do you mean music is played back via midi? I never heard of people who consume classical music that way and I doubt that it sounds in any way appealing
Camden Miller
I was recently recommended to listen to furtwangler's recording and I tried listening to it and closed it after a few minutes. It really pisses me off that somebody thought I would listen to a hissy piece of shit recording from 100 years ago and enjoy it.
Oliver Barnes
Classical, I don't know how this has happened but it seems I've been permanently outed on this board. So do your good buddy Hill a favor and bump my /prod/ thread so the idiots in that general stop banging their heads against a wall.
No, you idiot. I mean that the interpretation is so stiff and mechanistic that it might as well just be midi. You wont hear Horowitz's ping-pong balls from today's interpreters. Its not even just an asian thing (actually Uchida is pretty good).
Kekel, just give up on /prod/ dude its not worth it Do you really want to post there with shitty trap beat makers?
Joseph Carter
Yes. I'm trying to help people not make the same mistakes that I made. for about 10 years I didn't even realize I was spurning theory and ear training. I bought the postmodern relativity pill hard and having experienced a typical upper-middle class upbringing, I had so much smoke blown up my ass as a child, naturally a lot of it made its way to my brain. So for about 10 years, from the time I was 12, I was fucking around in Garage Band (Yes on a fucking mac!) just making shit after shit and thinking that I would improve by doing the same thing over and over because I was "finding my voice". That's basically most people in /prod/
Michael Smith
Massive pleb detected.
Connor Cook
Actually its worse for /prod/ because they labor under the delusion that sound design will make their music interesting.
Brayden Miller
You're just as pathetic as the rest of them. Obviously you just want to lord your superior composition skills over there. But by /classical/ standards your music is still shit.
Eli Miller
>literally just found a drumbreak that repeats on the 7th beat
Who the fuck is this for? I fucked up the entire rhythm of part of my song just to make it fit before I realized what was going on.
Sorry if 12-tone beat is a scary word user, I've wanted to make them since I was 23. While its true that I would eventually like to move up to serious composition, I feel like I am being realistic about the kind and quality of music I can produce at this stage and, most importantly, I am having fun.
Why don't any of you guys start a youtube channel properly analyzing music and explaining like what makes the Baroque masters so great since we're in such a lack of good music youtube content? >inb4 rick beato or any of that other trash
Carson Rivera
I have a youtube channel in which I analyze music but without voice
>defending Wagner's C Major symphony come on my amigo you know it sucks
Tyler Gray
I never do it with a piece I've not heard. In fact, I sit there and focus completely on the music. But if I've heard the piece, I know which movements I want to listen to (and it can even become background music). I don't see why I should feel obligated to listen to all the movements in a piece just because I had a particular melody in mind and wanted to hear it. That can become a commitment of up to an hour. With the 14th Quartet I'm usually just listening to the fugue.
Isaac Hernandez
Schumann considered it a prerry good symphony and Clara urged him to write one as a reply
Dylan Martinez
Based Clara mommy
Matthew Butler
Let's put an end to this once and for all. THE definitive ranking of Beethoven's symphonies:
would put 9th and 8th higher, but ranking these types of things is retarded
Charles Ross
Beethoven is a humanist cock sucker Where are the based egoist composers?
Grayson Morris
Descending, so 6th is highest and 1st is lowest
9th has its moments but it's nowhere near as complete a package as any of the symphonies ranked higher. There's no cohesion between the movements.The finale has ok development and it goes on too long after An die Freude turning into some kind of baroque mass.
Andrew Smith
Based pastoralfag
Mason Barnes
I guess but what other symphonies except for the 6th (and sort of the 5th with the fate motif) have cohesion between the movements if the 9th doesn't? And I personally don't find the 4th movement bad until after the march. But even if the 4th movement feels like a bunch of fragments separated by fermatas, the first three movements are exquisite in my opinion.
Jordan Russell
I interpret many of the other symphonies as a story in themselves. The 9th doesn't really have that emotion to it. For instance:
3rd >Strong proud 1st movement indicating youth and hubris >very lamentatious second movement after a loss >realizing futility of pride, seen in the trio >reformed as a new hero but more mature
Try ascribing such a story to the 9th. Even the 7th has a similar structure to the 3rd, very exquisite use of movements and forms to convey a larger story.
Michael Parker
And yes, movements 2 and 3 of the 9th are really outstanding. The first and fourth are less perfect.
William Roberts
The 3rd is pretty cohesive imo.
I think the main problem with the 9th isn’t the coesion between movements but the cohesion within the finale.
Brody Sanders
>writting stories for works of pure music Spotted the boomer
Adam Bennett
>The first and fourth are less perfect
i understand why you don't like the 4th movement, but what don't you like about the first?
