# I composed a new minuet!



## Wolfgangus the Great (Jan 4, 2022)

This is the minuet! Tell me what you think of the piece! Did you like the metric modulations?


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## Vasks (Dec 9, 2013)

Metric modulation does not mean just changing meters.


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## Wolfgangus the Great (Jan 4, 2022)

Vasks said:


> Metric modulation does not mean just changing meters.


lol wut?? I didn't just change the meter because I wanted to, it's because the number beats after the upbeat changed.


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## Bwv 1080 (Dec 31, 2018)

Nice tune, but listening to it would have never have thought it a minuet, a sarabande maybe. There really is no change in meter - you have a measure of 4/4 then two of 2/4, why not keep the whole passage in 3/4? The second 2/4 bar could be held for 3 beats, a performer probably would ritard the final chord anyway.

You also have a few parallel 5th, like in the 4/4 bar. Also the ii-III-iv-ii 6/5 then i over the iv pedal does not make sense in this style


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## Wolfgangus the Great (Jan 4, 2022)

Bwv 1080 said:


> Nice tune, but listening to it would have never have thought it a minuet, a sarabande maybe. There really is no change in meter - you have a measure of 4/4 then two of 2/4, why not keep the whole passage in 3/4? The second 2/4 bar could be held for 3 beats, a performer probably would ritard the final chord anyway.
> 
> You also have a few parallel 5th, like in the 4/4 bar. Also the ii-III-iv-ii 6/5 then i over the iv pedal does not make sense in this style


If you pay close attention to where the upbeats go, then you would agree with they way I changed the meter. The final chord in 2/4 couldn't have been sustained. You try it yourself, and it just would feel too awkward. I had to change it.

I also know that there were parallel 5th. I was going to fix it, but I was like 'nah it's fine'.



> Also the ii-III-iv-ii 6/5 then i over the iv pedal does not make sense in this style


Why not?


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## Bwv 1080 (Dec 31, 2018)

Wolfgangus the Great said:


> If you pay close attention to where the upbeats go, then you would agree with they way I changed the meter. The final chord in 2/4 couldn't have been sustained. You try it yourself, and it just would feel too awkward. I had to change it.
> 
> I also know that there were parallel 5th. I was going to fix it, but I was like 'nah it's fine'.
> 
> Why not?


If you are going to write in this style then you need to follow its conventions otherwise it just sounds like wrong notes.


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## Vasks (Dec 9, 2013)

https://en.wikipedia.org/wiki/Metric_modulation

In music, metric modulation is a change in pulse rate (tempo) and/or pulse grouping (subdivision) which is derived from a note value or grouping heard before the change. Examples of metric modulation may include changes in time signature across an unchanging tempo, but the concept applies more specifically to shifts from one time signature/tempo (metre) to another, wherein a note value from the first is made equivalent to a note value in the second, like a pivot or bridge. The term "modulation" invokes the analogous and more familiar term in analyses of tonal harmony, wherein a pitch or pitch interval serves as a bridge between two keys. In both terms, the pivoting value functions differently before and after the change, but sounds the same, and acts as an audible common element between them. Metric modulation was first described by Richard Franko Goldman[2] while reviewing the Cello Sonata of Elliott Carter, who prefers to call it tempo modulation.[3] Another synonymous term is proportional tempi.[4]


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## Phil loves classical (Feb 8, 2017)

Sounds nice. I think it could be made stronger with tighter voice leading.


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## Wolfgangus the Great (Jan 4, 2022)

Phil loves classical said:


> Sounds nice. I think it could be made stronger with tighter voice leading.


Thank you! I was aware of the voice leading errors. I just didn't have time to fix them because I promised my subscribers that I would release in that day.


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## Wolfgangus the Great (Jan 4, 2022)

Vasks said:


> https://en.wikipedia.org/wiki/Metric_modulation
> 
> In music, metric modulation is a change in pulse rate (tempo) and/or pulse grouping (subdivision) which is derived from a note value or grouping heard before the change. Examples of metric modulation may include changes in time signature across an unchanging tempo, but the concept applies more specifically to shifts from one time signature/tempo (metre) to another, wherein a note value from the first is made equivalent to a note value in the second, like a pivot or bridge. The term "modulation" invokes the analogous and more familiar term in analyses of tonal harmony, wherein a pitch or pitch interval serves as a bridge between two keys. In both terms, the pivoting value functions differently before and after the change, but sounds the same, and acts as an audible common element between them. Metric modulation was first described by Richard Franko Goldman[2] while reviewing the Cello Sonata of Elliott Carter, who prefers to call it tempo modulation.[3] Another synonymous term is proportional tempi.[4]


What makes you think I don't know this??? Listen to the minuet AGAIN!


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## Phil loves classical (Feb 8, 2017)

Wolfgangus the Great said:


> What makes you think I don't know this??? Listen to the minuet AGAIN!


In metric modulation, the note duration values change, as in a quarter note is no longer the same duration after the modulation.


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## Wolfgangus the Great (Jan 4, 2022)

Phil loves classical said:


> In metric modulation, the note duration values change, as in a quarter note is no longer the same duration after the modulation.


Then I'm probably not using the right word. What should I call it? Time signature change?


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## Vasks (Dec 9, 2013)

Wolfgangus the Great said:


> Then I'm probably not using the right word. What should I call it? Time signature change?


It's often called Mixed meter.


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## Wolfgangus the Great (Jan 4, 2022)

Vasks said:


> It's often called Mixed meter.


Okay, thank you!


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## adrien (Sep 12, 2016)

Well I find it quite a pleasing tune. I don't have a problem with any parallel 5ths to my ear anyway. I don't know that composers need to adhere to all "rules" (old conventions) around a style that we don't have any obligation to fully commit to. Rule #1: there are no rules. Rule #2: refer to Rule #1


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