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I need ideas where I could go with this piece I started composing today. I want it to fit together and I have ideas but struggling to put them into musical form due to insufficient musical knowledge. Please check if what I've done is ok in terms of harmony and suggest improvements. It's unfinished and I will keep going back to refine if you provide me with feedback thanks. 

Style is Baroque after Vivaldi.

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I would say, keep going down the scale as you were into a V7 "resolving" to the vi or having a deceptive cadence to counter the high energy through out the song. You do have a counter motif and melody, now you just need a counter section. Make it darker, make the listener want to hear the first motif again. Wiggle through some adventure and end with your beginning to satisfy. (But make sure you build it enough to where there is excitement of resolve to hear the first melody!)

Another idea would be to do a secondary dominant and change keys to something interesting and creative. Or a chromatic mediant to have it really stick out there as a change of pace for your listener. V7/ii but go into D Maj may be cool!

Hope this helps! :)

Hello. Thank you for your response. Could you please quote which particular measure you allude your ideas to. I think I have a strong opening motif in the piece but it starts to crumble at bar 10 to the modulation to G major. Then gets strong but I feel I could develop this further. Also, look at bar 35. I begin the modulation to D major on G but it sounds better if I add a subsequent F# measure before the G. This produces a 4 bar  modulation and is more symmetrical given the time signature 4/4. However the harmony in bar 35 is a little out. Perhaps you could suggest chords for me to use here.#

Also the piece is back to front. Bar 35 should be at the beginning of the piece after bar 8. The modulation to E minor should occur later on. If I do this change and include the subsequent F# the bass line does not follow on. between bar 8 and the new F# in bar 9. So I need to derive a bridge between these two sections

Please excuse my lack of theory knowledge. 

Thank you.


Joshua Empyre said:

I would say, keep going down the scale as you were into a V7 "resolving" to the vi or having a deceptive cadence to counter the high energy through out the song. You do have a counter motif and melody, now you just need a counter section. Make it darker, make the listener want to hear the first motif again. Wiggle through some adventure and end with your beginning to satisfy. (But make sure you build it enough to where there is excitement of resolve to hear the first melody!)

Another idea would be to do a secondary dominant and change keys to something interesting and creative. Or a chromatic mediant to have it really stick out there as a change of pace for your listener. V7/ii but go into D Maj may be cool!

Hope this helps! :)

Amidst all that you have said, I was referring to the end of the piece of what you had thus far.

As for measures 8-9, I really do like that transition. I would keep that as it is.

With measure 35, I understand your predicament. First thing I noticed with the whole piece, instead of chords a lot of the time, the whole orchestra is playing the same note—in this case, a G. Then it starts to do a D Maj 2nd inversion, but it's mostly just one note being played. When the Vln 1 does its eighth note motif from G to D, it does sound like it shouldnt be there. It works ish but it seems like amidst the complexity of the piece, it was too bland trying to be complex. So I would possibly say have the motif there be a dotted eighth note followed by a 16th and the rest the same 8th note pattern. For chords, I would say work on the build up so that some of the instruments aren't destined to land on that G (Because of the F#, so that it frees you to go to a different part of the chord if wanted.) OR possibly have the Cellos play D F# D instead of G F# G, and just change the first and third note of the next 3 measures to the fifth of the chord you are using. I don't know how well that may work, but it needs something else but everything playing the same note ! :)


Vivaldi said:

Hello. Thank you for your response. Could you please quote which particular measure you allude your ideas to. I think I have a strong opening motif in the piece but it starts to crumble at bar 10 to the modulation to G major. Then gets strong but I feel I could develop this further. Also, look at bar 35. I begin the modulation to D major on G but it sounds better if I add a subsequent F# measure before the G. This produces a 4 bar  modulation and is more symmetrical given the time signature 4/4. However the harmony in bar 35 is a little out. Perhaps you could suggest chords for me to use here.#

Also the piece is back to front. Bar 35 should be at the beginning of the piece after bar 8. The modulation to E minor should occur later on. If I do this change and include the subsequent F# the bass line does not follow on. between bar 8 and the new F# in bar 9. So I need to derive a bridge between these two sections

Please excuse my lack of theory knowledge. 

Thank you.


Joshua Empyre said:

I would say, keep going down the scale as you were into a V7 "resolving" to the vi or having a deceptive cadence to counter the high energy through out the song. You do have a counter motif and melody, now you just need a counter section. Make it darker, make the listener want to hear the first motif again. Wiggle through some adventure and end with your beginning to satisfy. (But make sure you build it enough to where there is excitement of resolve to hear the first melody!)

Another idea would be to do a secondary dominant and change keys to something interesting and creative. Or a chromatic mediant to have it really stick out there as a change of pace for your listener. V7/ii but go into D Maj may be cool!

Hope this helps! :)

I have refined the piece further. I have what is safe to deem an overall structure. However much work needs to be done in terms of harmony which is why I need your help and the help of others so kind to comment. Still expanding so it's not like I'm trying to fit my foot into a shoe that is too small if you get what I mean.

https://soundcloud.com/user305636706/c-major-violin-concerto

For score please see the new PDF uploaded atop page. 



Joshua Empyre said:

Amidst all that you have said, I was referring to the end of the piece of what you had thus far.

As for measures 8-9, I really do like that transition. I would keep that as it is.

With measure 35, I understand your predicament. First thing I noticed with the whole piece, instead of chords a lot of the time, the whole orchestra is playing the same note—in this case, a G. Then it starts to do a D Maj 2nd inversion, but it's mostly just one note being played. When the Vln 1 does its eighth note motif from G to D, it does sound like it shouldnt be there. It works ish but it seems like amidst the complexity of the piece, it was too bland trying to be complex. So I would possibly say have the motif there be a dotted eighth note followed by a 16th and the rest the same 8th note pattern. For chords, I would say work on the build up so that some of the instruments aren't destined to land on that G (Because of the F#, so that it frees you to go to a different part of the chord if wanted.) OR possibly have the Cellos play D F# D instead of G F# G, and just change the first and third note of the next 3 measures to the fifth of the chord you are using. I don't know how well that may work, but it needs something else but everything playing the same note ! :)


Vivaldi said:

Hello. Thank you for your response. Could you please quote which particular measure you allude your ideas to. I think I have a strong opening motif in the piece but it starts to crumble at bar 10 to the modulation to G major. Then gets strong but I feel I could develop this further. Also, look at bar 35. I begin the modulation to D major on G but it sounds better if I add a subsequent F# measure before the G. This produces a 4 bar  modulation and is more symmetrical given the time signature 4/4. However the harmony in bar 35 is a little out. Perhaps you could suggest chords for me to use here.#

Also the piece is back to front. Bar 35 should be at the beginning of the piece after bar 8. The modulation to E minor should occur later on. If I do this change and include the subsequent F# the bass line does not follow on. between bar 8 and the new F# in bar 9. So I need to derive a bridge between these two sections

Please excuse my lack of theory knowledge. 

Thank you.


Joshua Empyre said:

I would say, keep going down the scale as you were into a V7 "resolving" to the vi or having a deceptive cadence to counter the high energy through out the song. You do have a counter motif and melody, now you just need a counter section. Make it darker, make the listener want to hear the first motif again. Wiggle through some adventure and end with your beginning to satisfy. (But make sure you build it enough to where there is excitement of resolve to hear the first melody!)

Another idea would be to do a secondary dominant and change keys to something interesting and creative. Or a chromatic mediant to have it really stick out there as a change of pace for your listener. V7/ii but go into D Maj may be cool!

Hope this helps! :)

Just a quick response from me, have much to do right now. ;)

It sounds as a good start, and I enjoy this style of baroque-orchestral music.

Wish you good luck with the rest of the concerto!  Would like to follow the development!

/Per 

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