Derivative Notes in D minor

This piece is very derivative and has no emotional gravitas one would expect 'music' to have. This is more of a random eccentric piece of music with many wrong notes I hope to correct. I might even expand this piece if you think it's got potential. I like the opening fugue style and the texture of the piece but I can't 'feel' anything from listening to it, sadly. It leaves no lasting impression other than confusion with me.

Still it was fun to compose!

Derivative Notes 1.pdf

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  • MP3

    D minor Notes.mp3
  • This musik ist exquisite! I would make sweet  love to it if that were possible. It reminds me of my kindheit in  Prussia. My Grossemutti would sit beneath the thatched eaves, churning goat's milk kaese and whistle a tune just wie this one. Sometimes, she would roll herring balls on her inner thigh. I remember that I would always feel bad for the herring.

  • My posts might be pathetic but I'm rather proud of my accomplishments because as you said, I have no grasp in basic theory. What are unresolved sevenths? What are secondary dominants? Putting a circle of fifths in a piece of music is incredibly easy, and in this piece, it's used as a modulation from D minor to F major, which is quite common thing to do. 

    Having said this, I'm of the impression that my compositions are improving. If you listen to some of my first compositions on my home page, especially the 'Flute concerto in A minor' then you'll notice a lot of improvements. For one thing, my music now is built from chords when before I would double up instruments instead of using notes of the triad for a richer harmony. I know how to end a piece with a cadence, before I didn't. Also the structure of my pieces are considerably better and now they are beginning to take on a sense of direction. Small differences like this come together to produce a greater whole.

    For now, I will keep going and doing what I'm doing, which is blatantly ignoring music theory but this is not down to my ignorance, it is down to constraints in real life. I would learn the theory if I had time to learn it. Sadly, I don't and so I compose for fun in the free time I have.

    Also you guys are all professions who engage in music for a career. I am a student who engages in music for fun in the free time I have so try to keep this in mind before you attack me with your ad hominem fallacies.  You're all a lot older than me too.

    Kristofer P.D.Q. Emerig said:

    You have a point Ray. Such a banquet is this board of late, we're obviously all half starved and desperate to nibble on any pathetic morsel thrown our way. (Don't finish the joke, please.)


    On the other hand, Vivaldi is just a good fellow, earnestly trying to learn the rudimentary rules of harmony, who occasionally knocks off a piece in the manner of his namesake while standing at the urinal or dashing busily between classes.

    To construct circles of fifths, and handle chains of resolving sevenths and secondary dominants is a task to be admired in someone who has no grasp of basic theory whatsoever, and I believe we should give Vivaldi the attention and admiration he consequently deserves.

    Raymond Kemp said:


    He obviously knows exactly what he's doing by supplying these bones for the dogs to lick.

    Derivative Notes in D minor
    This piece is very derivative and has no emotional gravitas one would expect 'music' to have. This is more of a random eccentric piece of music with…
  • Age has a lot to do with compositional proficiency generally speaking, the majority of musicians aren't able to compose a violin concerto when they fall from their mother's womb. In time, people refine their skills, and they get better at composing. Sure there are the 1% of people who are born as musical prodigies but we aren't all that lucky. We practise all of our life and even when we are close to death, we haven't reached where we wanted to reach. There is no definite goal of composition, it is indefinite, much like an abyss in which your creativity in tandem with your knowledge of theory determines the outcome. 

    In my case, because I don't invest time in learning the theory, this upsets you and others and this is understandable. I come here and post what many people deem as 'garbage' but to me, it's not garbage. Each attempt I produce, albeit in an hour or so, is a step towards imitating Vivaldi's music and the criticism I get on this forum helps me to no end. So I thank you for your words of honesty, words which shatter any hubris I might feel towards a particular piece. I do have a tendency to overestimate the quality of my works as do most people and I post here for this reason.

    I enjoy Vivaldi's music but I also enjoy the music of Bach, Albinoni, Monteverdi and others. If you asked me to rank these composers, then I'd put Bach in first place and Vivaldi in second place. So I do not view Vivaldi as a God. I view his music as a source from which my own musical understanding can be improved. This is because his music is expressed in much more simpler terms than say the music of Bach. The absence of contrapuntal writing means I can easily analyse sections of his music, like a fifth progression. Vivaldi's music is 'simple effectiveness'. I have not directly copied from any of Vivaldi's music. The work I have produced of late has been of my own creation and for you to think otherwise, well, I'm not sure if I should take this as a compliment.

    Many people like Mozart, Stravinsky and Wagner but maybe it is my etiquette on this forum which irks you, Raymond. For this, I am sorry. I am happy that you think of me as a 'troll' because then I know, that the work I produce leaves much to be desired. Even the words I type know, may irk you, Raymond. 

    A lot of people on this forum take my efforts too seriously, but this is understandable, given that you are professionals and music is your primary source of income. For me, however, music is just fun. So when you throw around your hate and such towards others, remember that I am not a threat to you and that you are all much more musically adept. 

    Raymond Kemp said:

    On the contrary, what's pathetic is your plead of ignorance concerning the music you present.

    What does age have to do with anything? What does the experience of others have to do with anything?

    So! you engage in music for fun do you. What is funny about a supposed ignorant student telling all these professionals? and aged people that there is only one real composer Vivaldi? Then you proceed to initially if not recently bombard the board with parody or even straightforward copy as the only food for a God such as Vivaldi. Try backing off a little and we'll all just have fun. 

    Vivaldi said:

    My posts might be pathetic 

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