i am attaching a recently finished work (my professor hasn't seen it yet.) I would specifically like to ask you for an opinion on the segment of measures 38, 39 and 40 where the retrograde subject in the soprano is superimposed on the same one in the bass.
in your opinion, how does the succession result: the dominant which goes to the 4th degree on a weak beat but moves to the 5th, the 6th which becomes the first, which in turn chromatizes towards the sol, its sixth which returns to the tonic as a subdominant? in relation to the contrapuntal context obviously and for the necessity of the artifice.
in general, any advice to improve it is very welcome, especially before Friday hehe
i changed an imitated part, I apologize for the double upload.
anyway, Aspirante, I wasn't able to upload it.... the audio file is 65 mb I think it's too heavy... what can I do?
You should convert it (or generate it directly) into mp3: if you use Finale I'll tell you how to do it.
Ciao
Gino
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Dante
Member
Reply 5 by Dante
Posts
275
I share with Gino, you definitely exported as a wave file...you then have to convert it to mp3
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Dante
Member
Reply 6 by Dante
Posts
275
Tortello wrote:
in your opinion, how does the succession of the dominant going to the 4th degree in a weak beat but moving to the 5th, and the 6th which becomes the first, appear?
V --> IV is one of the forms of the deceptive cadence, so it is legitimate
IV V and VI is a very normal tonal progression
the VI can be a I of another key
Tonal syntaxes that are all widespread
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Natan
Member
Reply 7 by Natan
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239
I need to look at it more closely, but in general, it seems too "full" to me; I mean that the divertimenti are a good opportunity to work with fewer voices and to better articulate/characterize the material. If you notice, at a certain point the second violin disappears, the only one that remains silent for several measures, and when it returns, it doesn't do so with an interesting fragment. And always the second violin falls silent again after... play with the first and second violins and create a dialogue between instruments (and in the meantime "redistribute" the moments of silence among the instruments). The final harmony pedal could be better articulated....although very improvable, look at the cello's attitude in the allegro.
These are the first things I would start to improve
here it is, even if it sounds rather bad from the computer... in the sense that even if it's not the sharpest instrument to provide the pulse, it's still the one that is heard the most; the crossings without a hint of grace and so on, I imagine you know what I mean
I think Natan is referring to the final long note of the cello; he is suggesting you articulate better and not change the harmony. Therefore, the presence of thematic fragments does not change the issue.
