# Courante in C major for Unaccompanied Cello



## JorgeDav (Apr 9, 2020)




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## Oscar South (Aug 6, 2020)

Nice! Particularly enjoyed the A section -- felt it had some more distinctive moments.


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## JorgeDav (Apr 9, 2020)

Thank you for your comment, Oscar South! I tried to make both parts stand out in its own way but I guess the A part ended up being better. I am really glad you enjoyed it! Thank you!


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## Enthalpy (Apr 15, 2020)

If you want this tempo, you should indicate it. Most musicians would choose a slower one.

Many cellists will play the piece less clearly than the synthesizer does.

Don't forget transcriptions for the bass clarinet and also the bassoon. Or better, the marimba, with some more adaptation. And the guitar. The viola has too few scores and would play more neatly than a cello.

The construction is rock-solid. To my very personal taste, the rhythm could be slightly less square from time to time. Maybe a triplet here and there? Arpeggi rather than chords?


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## TalkingPie (May 15, 2020)

Very good! I like it. 

My only qualm is that you never have a kind-of-climatic moment where the melody goes higher than the first measure, which is quite usual in any style.


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## JorgeDav (Apr 9, 2020)

Thank you for commenting Enthalpy!  I agree with the tempo statement, I was actually not sure that the piece was better at a fast tempo so I decided to just indicate the fact that it was a Courante to give some freedom to the performer. 

I really like the idea of transcribing it for other instrument, particularly for the marimba or guitar since they can play full chords comfortable and I might add some extra harmonies. Thank you for the suggestions!


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## JorgeDav (Apr 9, 2020)

TalkingPie said:


> Very good! I like it.
> 
> My only qualm is that you never have a kind-of-climatic moment where the melody goes higher than the first measure, which is quite usual in any style.


I am really glad you enjoyed it!  thank you so much for pointing that out, I had not realized it at all. I have to admit that the highest point of a piece or phrase is something I do not take into consideration much and probably I should. I will try to be more aware from now on.

Thank you for commenting!


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## GucciManeIsTheNewWebern (Jul 29, 2020)

I agree with Enthalpy and TalkingPie's points respectively that the rhythm could be less square and having a high point at the end of the phrase adds a sense of climax. 
In addition, i think your motives could undergo more rhytmic variation instead of reiterating them by simply goinf up a step, thereby 'working out'and developing the themes more. Phrases are often limited to just one bar and I think should be stretched out more and float freely (as Enthalpy mentioned about the melodies being square). Also, you often enter a new key or tonal center but move away from it just as quickly as you arrived. Once youre in that key, briefly explore it for a couple more measures. All in all it is very well crafted!


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## JorgeDav (Apr 9, 2020)

I agree with the motives being too "step-wise" reiterated. Somehow when I listen to the piece I always get this feeling that the piece is okay and nice to hear to, but that there is too much literal repetition going on. So I also have the feeling that, under the same motivic and harmonic background, the piece could be improved by making it "freer". Maybe I should listen to it at a slower tempo to try to come up with melodic variations for the motives more easily. 

Regarding the fast key tonal center changes, I have to admit it was one of my intentions, particularly in the A part. That is why I repeated the chord from bar 4 in bar 12: to state clearly the key of Fmin by showing how that same chord acted first as I, and then as V, but at the same time, getting away from Fmin fast after that V chord. I am not sure it was effective but I tried . 

Thank you for commenting!


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