Posted in Assignment 3 - unit 2

Assignment 3 (with corrections)

This is the corrected version of assignment 3:

Finally, this is my explanation on why different things have been corrected:

The biggest difference is in the dynamic markings, which I have removed in this version. As someone that has played quite a few baroque pieces on violin and piano, I knew that it is quite uncharacteristic to have dynamic markings in the period, however, following a feedback I got in Composing 1 unit of not being detailed enough in this area of notation, I made the mistake of not considering the actual stylistic conventions.  Most of the Largo section (bars 1-9) has been restructured. First of all, the right-hand of the harpsichord has been transposed with rewritings an octave lower, due to the high register being the same as the violin, which as my feedback specified, makes the voice leading very awkward. Next, I got rid of the harmonic blurring in bars 1-3 and 6-7, making the chords more in line with the brief and the much progressions clearer. Similarly, the first half of Andante section, bars 10-13, has been re-written to follow the harmony given in the brief, whereby I have discarded the disruption that used to take place in bar 10/11. Lento section (bars 19-25) was mostly well structured in the harmonic and melodic sense, so the only correction there is in the violin on bar 21, where there used to be a discrepancy in the violin seemingly at the cadence and harpsichord mid-way through its phrase. Finally, the violin in Andante finale (bars 26-33) has been rewritten in bars 29-30, where it used to play long octaves that brought too much stasis to the liveliness of the section, as well as the ending on bar 33 that seemed to suddenly depart in style. These have now been evened out to remain more coherent with the rest of the section.

Posted in Assignment 3 - unit 2

Assignment 3 (original)

The task of Assignment 3 is to use the given chords to compose a short Baroque sonata for a melody instrument and keyboard accompaniment – both should be authentically Baroque. The brief specifies to include written out ornaments with specific instances of techniques covered in Part 3. A 500-word commentary should also be included, containing information about the compositional approach and an challenges that had been overcome, etc. It should also include symbols for the written out ornaments.

To begin, this is the score for my short Baroque sonata:

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