jjmusicnotes

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I am a composer!

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1h	comment	Theory of Major and Minor Chord Sounds @slim - I've edited the question to be more correct with respect to word-choice.
1d	comment	Diagram and name the form of the opening bars (mm. 1-12) of Haydn's Piano Sonata no.49, I Would you be able to provide a link to the piece in question?
2d	comment	When did Bach diverge from the style of Palestrina? This is a huge, enormous question that would be better explored by a doctoral dissertation. Bach and Palestrina are considered the pinnacle of counterpoint. The Fux text is based primarily on Palestrina's style, who predated Bach by almost 100 years.
2d	comment	Few Questions on Counterpoint in the Tradition of Johan Fux @ChrisOlszewski - I believe you are reading the clef incorrectly. My response was with respect to each individual voice. The "8" below the treble clef in the CF signifies that is sounds an octave lower than written. In m.3, the "A" would sound a major-third above the "F". The voices do not cross until m.4. The voices cross from mm.4-7. I think that your confusion would be cleared up if you rewrote the cantus firmus in the bass clef to better illustrate how the two relate. There is more than one way to write correct counterpoint; Joseph merely presents one example.
2d	comment	Ambidextrous instruments @Tim - haha, well done. I think whatever hand you use, you have to be careful with a Bullroar. I've had some dangerous experiences...
May 21	comment	Safe remedies for hoarse voice? @theTinMan - you are correct, my apologies. I meant "input signal." I'll edit my answer accordingly.
May 21	comment	Why in the study of counterpoint by johan fux are minor sixths allowed but not augmented fifth? Chris - with all do respect, I have been doing counterpoint for many years, and you are just beginning. It is hard to take seriously an unsupported assertion by someone - especially one who is just learning. I submit to you to refer to pg. 37, second paragraph of the Fux: a skip of a major-sixth is prohibited in strict counterpoint. Also refer to pg. 27, the footnotes: nor intervals larger than a fifth (except...minor sixth...employed only in an upward motion.)
May 20	comment	Accidentals in First Species Counterpoint @ Chris - I check this site occasionally, so I cannot guarantee a time frame for responses. To answer your questions, I was referring to motion within an individual voice, not the interval between voices. This is a very important distinction. @ Luke - thank you for letting me know, that is good to keep in mind.
May 19	comment	Confusing passage from The Study of Counterpoint @ Luke - my intent was to suggest that Chris should have waited more than a few minutes for an answer to his original comment before starting a new question. In addition, we are all temporary. :) @ Chris - For an answer to this question, please refer to your original question as I have posted a long answer that encompasses this question as well.
May 19	comment	Accidentals in First Species Counterpoint I am in agreement with Cuthbert here. @ Chris - "Mi" and "Fa" refer to the motion of the voice and not the actual individual pitches themselves. You are incorrect in saying that the F# is temporarily "Fa" because the voice-motion indicates ascension and on downward motion. To answer your other question, in this case, F# has the tendency to ascend because the tonal center of the exercise is pitched in "G" and F# serves as a leading tone to G major. By raising the seventh degree at the end of the exercise, the student is ensuring a greater sense of finality and completion.
May 19	comment	Confusing passage from The Study of Counterpoint This question is a duplicate of a comment you posted a few minutes ago.
May 18	comment	What do I need to study Bach chorales? @ Chris - Please refer to the FAQ link found in Luke's comment.
May 17	comment	What do I need to study Bach chorales? Agreed with Luke. @ Chris - if you can edit the question to relate to compositional practice, someone could provide an answer for you.
May 17	comment	Cadential Six Four Chord @ Chris Olszewski - As you will read in my edited answer, it is most definitely not a random chord. By "random chord" I mean a succession of unresolved fully-diminished chords - a characteristic Beethoven was fond of that does not appear regularly until mid-way through his career. To answer your other questions, I am a formally trained professional composer.
May 17	comment	Cadential Six Four Chord @ Matthew Read - I have expanded the third paragraph - please let me know if it is still unclear.
May 17	comment	Diminished Intervals @ Tim - after reading your comment a second time I realized I made a mistake in my original comment. It should read "For the interval to be an augmented second, it would need to be written D# - E##." Good catch.
May 17	comment	Diminished Intervals @ Tim - a minor second is one semitone or the next physical closest note on a piano. One semitone above D# is E. It can be expressed as Fb, but only under certain circumstances. You are right to be confused by an Abm chord in Emaj - unless it is showing a specific harmonic function, it should be written as a g#m chord. Traditionally flat notes stay in flat keys and sharp notes stay in sharp keys unless they are showing a specific harmonic function.
May 16	comment	Minor seventh in bach invention Yes, and also voice separation of more than two octaves...he was definitely a renegade.
May 16	comment	Diminished Intervals For the interval to be a minor second, it would need to be written D# - E##.
May 14	comment	As a composer, should I be composing music for an instrument I don't play? Dan, I couldn't agree more. Writing for percussion is in a category by itself, and it can almost be overwhelming at times. Samuel Solomon has a great text that addresses almost everything conceivable - it's called "How To Write For Percussion" and should be a composer's friend. Just to add onto your answer, percussionists are also great for helping you determine particular setups, mallet changes, or instrument changes. Many props to percussionists.