# Please give me feedback for this concerto



## Vivaldi (Aug 26, 2012)

I have refined the piece further. I have what is safe to deem an overall structure. However much work needs to be done in terms of harmony which is why I need your help and the help of others so kind to comment. Still expanding so it's not like I'm trying to fit my foot into a shoe that is too small if you get what I mean.

I therefore need FEEDBACK AND ADVICE on harmony in the piece because I don't know much about it. Also try to be as concise as possible by quoting the measures should you allude to them

The steven o'brien is really helpful. Where is he? If you read this then comment please.


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https://soundcloud.com/user305636706%2Fc-major-violin-concerto

Thank you


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## ricardo_jvc6 (Dec 8, 2010)

At end, That V - I would be better if rather the G goes to be below the C, it would sound better in this case. Not bad, the piece ain't bad at all, besides of a few things. About Harmony, since this is baroque. I'm not really into that part of counterpoint, thought composition makes me know it xD. Good Job.


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## Vivaldi (Aug 26, 2012)

ricardo_jvc6 said:


> At end, That V - I would be better if rather the G goes to be below the C, it would sound better in this case. Not bad, the piece ain't bad at all, besides of a few things. Good Job.


Well the harmony is terrible especially at bar 9 (the modulation from Gmjor to D major). Could you suggest an alternative chord sequence than the doubling I have at the moment please.


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## ricardo_jvc6 (Dec 8, 2010)

Vivaldi said:


> Well the harmony is terrible especially at bar 9 (the modulation from Gmjor to D major). Could you suggest an alternative chord sequence than the doubling I have at the moment please.


Ah. Sorry, I was not really paying attention to the sheet music. Now I see what happened there and it is very chaotic!... If you are using 7th chords, you need to think how it WORKS in baroque. From what I see is that this doesn't look like baroque, but more jazz. At bar 9, you are using (F# C C F#), you doubled F# in all the sections even in the harpsichord, you need to have a root which you forgot in this case. From this, it doesn't sound like D Major at all, but more F#/C. You need to study more counterpoint rules and possibly voice leading and how harmony works in baroque. If you are using D F# C, it would resolve to D G B, since the m7 falls to the 6M and the 3M goes to the 4P. So, concluding that the 7th chords, is that the 7th falls and the 3rd augments. The other things that fails in this song completely, is the bass. The Bass is important in music and without it, you don't know what the root could be or not, it could be anything. I recommend you to study some baroque harmony, since it is not my favourite. I'm more of a romanticism guy that makes pieces for any instrument.


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## Vivaldi (Aug 26, 2012)

ricardo_jvc6 said:


> Ah. Sorry, I was not really paying attention to the sheet music. Now I see what happened there and it is very chaotic!... If you are using 7th chords, you need to think how it WORKS in baroque. From what I see is that this doesn't look like baroque, but more jazz. At bar 9, you are using (F# C C F#), you doubled F# in all the sections even in the harpsichord, you need to have a root which you forgot in this case. From this, it doesn't sound like D Major at all, but more F#/C. You need to study more counterpoint rules and possibly voice leading and how harmony works in baroque. If you are using D F# C, it would resolve to D G B, since the m7 falls to the 6M and the 3M goes to the 4P. So, concluding that the 7th chords, is that the 7th falls and the 3rd augments. The other things that fails in this song completely, is the bass. The Bass is important in music and without it, you don't know what the root could be or not, it could be anything. I recommend you to study some baroque harmony, since it is not my favourite. I'm more of a romanticism guy that makes pieces for any instrument.


I don't understand 6M or 3M or m7 - what do they mean?I thought the bass was ok?


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## ricardo_jvc6 (Dec 8, 2010)

in some parts of the song the bass is just incoherent, very wierd. 6M or 3M or 7m means 6th Major, 3rd Major and 7th minor (Intervals).


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## Vivaldi (Aug 26, 2012)

ricardo_jvc6 said:


> in some parts of the song the bass is just incoherent, very wierd. 6M or 3M or 7m means 6th Major, 3rd Major and 7th minor (Intervals).


3rd major of what? What is this relative to? Eg. If in D major, then 6M would be B major? How does this work?


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## Novelette (Dec 12, 2012)

Vivaldi said:


> 3rd major of what? What is this relative to? Eg. If in D major, then 6M would be B major? How does this work?


A major sixth from D is B-natural. A minor sixth from D is B-flat. A major third from D is F-Sharp. A minor third from D is F-natural. A major seventh from D is C-sharp. A minor seventh from D is C-natural.

Intervals signify distance from a selected root tone, and the intervals in classical and baroque music have specific functions. Those functions are what make up the _functional_ in _functional harmony_. Minor seventh chords usually resolve to the a 6/4 chord whose root lies a perfect fifth below [or, equivalently, a perfect fourth above] the root of the seventh. This is one of the most basic progressions.

It's absolutely essential to gain some conversance with the principles of harmony: scale degree names, the structure of the four types of triads, placement of whole tones and semitones in the major and minor scales [including the harmonic and melodic manifestations of the minor scale], etc. In Baroque music, harmonic considerations [as opposed to strictly melodic] predominated. To create music in the Baroque style, a thorough understanding of the distinctively Baroque manner of harmonic consideration is essential.

Most pressing is to familiarize yourself with the interval names and their characteristics, it will make it a great deal easier to talk about your music with others. Don't lose heart though, the rewards of patience and diligence accumulate!


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## pluhagr (Jan 2, 2012)

You have written this like it is for a string orchestra. Not a string orchestra and soloist. There needs to be a seperate line for the violin solo above the top staff.


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