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The harmony from 5 to 8 seems a little out. I'm trying to go from D major to A major but the bass seems a little out against the rest of the parts. I don't know why the bass seems out as the chords themselves seem accurate when played solely by the harpsichord. It's only when I break the chord down and distribute the pitches to the other instruments, does it sound out of tune.

I need to make sure all the chords are correct before I continue with this piece. Please be simple in your replies, my theory is not great. Give this piece priority, as measure 5 to 8 is a very important modulating 'device' (if that makes sense) because it can be used in many more concerti, with many variations of it (as Vivaldi did). I need you to correct my chords please, so I can unlock this particular modulation. 

Suggestions welcome

Thank you


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The bass line is completely off because you base it on the lowest note of each chord rather than the root of it (that would be A -> D -> B -> E -> C# -> F# etc.)

Greg Brus said:

The bass line is completely off because you base it on the lowest note of each chord rather than the root of it (that would be A -> D -> B -> E -> C# -> F# etc.)

Thanks for your reply. Does it sound better now? Also, I have removed measure 3 and 4, I will keep 1 and 2 but I hear I-V chord progression isn't common in Baroque music, should I go to B minor instead of A major in measure 1 and 2?

Updated files


I will work now on improving measures 1 and 2 

Thank you. My problem is, I know only a little music theory. I know chords and how to construct them, but I'm not familiar with basic chord progressions. I can only imitate what I hear, which doesn't produce the most accurate results. But I have changed direction in my composing, I'm trying to be more accurate than I used to be, which will be difficult until I am more familiar with chord progressions, harmony and all the rules of theory.

I have recently learned how to modulate using a pivot chord. There are a lot of useful websites on theory I read when I have free time. I look for mechanisms in Vivaldi's music, which he uses many times to achieve a particular result, like his modulations, fifth progressions and cadences - if I were in D major, then a cadence would be he succession of notes F# - D - E - C# - D (this is typical of his style). I sometimes use a circle of fifths as a foundation to a piece then build outwards from it. I keep three things in mind now, which I previously didn't. A circle of fifths, cadences, modulation devices. Once I have these structures in place, I can build around them and fabricate music that is sometimes OK to listen to. I just have to keep practising, which is why these are called practice concerti

Alexander Carlisle White said:

Vivaldi, this updated version has easier transitioning on the ears. I like it so far. Look forward to hearing the completed concerto if you post it!

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