# Sarabande



## Mahlerian

I write a number of little things to hone my skills every now and then, sometimes setting myself absurd technical challenges. The model for this one may be all too obvious, I'm afraid, but I enjoyed writing it all the same.

http://musescore.com/user/84716/scores/192928

View attachment Sarabande.mp3


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## tdc

I'm guessing the model was a Bach Sarabande for this? Its a nice piece - I enjoyed it, I'm not sure I'm hearing a distinct compositional voice here, but some sturdy craftsmanship and an enjoyable - Neo-Baroque sounding work.


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## SottoVoce

Mahlerian said:


> I write a number of little things to hone my skills every now and then, sometimes setting myself absurd technical challenges. The model for this one may be all too obvious, I'm afraid, but I enjoyed writing it all the same.
> 
> http://musescore.com/user/84716/scores/192928
> 
> View attachment 42862


As you enjoyed composing it, I enjoyed listening to it. You stayed faithful to the style without being pedantic; the section after the repeat I think has value beyond fitting a model. It is a very good idea to do these imitations once and a while (something that I, unfortunately do not do frequently) in order to, as Elliott Carter says, to "find out why Schumann and Brahms were so good and you are so bad at being Schumann and Brahms". These could be great detractors to imitating, and great motivators to develop ones' own, if done properly. Good work.


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## brotagonist

Very nice! If you told me it was by Bach, I would have no reason not to believe you


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## Mahlerian

brotagonist said:


> Very nice! If you told me it was by Bach, I would have no reason not to believe you


I appreciate the complement, but I could point to a few parts...


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## hpowders

brotagonist said:


> Very nice! If you told me it was by Bach, I would have no reason not to believe you


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## SottoVoce

On second listen, I think I can give more constructive criticism. The counterpoint is very nice, but might be too "free"; all the voices seem seem to be going their own way without direct relationship to one another (although there are exceptions). It confuses my ear in trying to distinguish the various voices from eachother, and kindof gives a stagnancy to the momentum of the piece. I think this might have to do with the insistence on the four-part polyphonic texture (in the Bach sarabande I am currently playing in the C minor French Suite, there is almost never 4 parts at once; chords are fine). Hope this helps.


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## Mahlerian

Ideally, the melody and bass line would be brought out more, rather than played at the exact same volume as the inner voices, but yes, I see what you're saying. Depending on a consistent four-voice texture is only really practicable for short periods of time.

The parts are more interrelated than is probably clear on the surface, but I intentionally hid my "device", as it were...


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