Invention No. 1

• Nov 28, 2016 - 03:09

Hey all here is a piece I put together after having some success improvising with counterpoint on the piano. I am taking lessons now and am learning what's what in theory and all of the rules for each type of piece and I just wanted to experiment with this. I'd like to hear from you all about how I did. Thank you for your time.

I wasn't totally sure what key I wrote this in. Still learning please be forgiving..

Thank you.


This was a good invention, though I'm not exactly sure what you should call it yet...
I'm thinking that you did follow the rules of the invention really well.
The key you wrote this in is B minor. I totally get that you're still learning. Most MuseScorers who are in the same position as you usually end up posting just a dissonant, and non-musical piece and then say they're learning. However, your piece was different.
Now, I believe that after learning as much as you can about music Theory and all that, you would be a great composer.
Keep writing!

In reply to by Elwin

Elwin I welcome your praise and greatly value your input. I think people could really benefit from the wisdom and knowledge available on this website. It appears to be in great quantity. Thank you for identifying the correct key signature. Right now my piano teacher is going through a lot of theory at the moment which I am finding is quite fun (probably not something you hear very often from a student). Thank you again.

In reply to by Jonathan Carty

I'm glad that you find Music Theory fun. Yes, it is very unusual to hear it from a student.
As for what you said about knowledge available, keep it in mind that as for forum participants, not all information given is correct, some people here are actually quite clueless about music and all that when give advice. Use your best judgement.

In reply to by Jonathan Carty

Another thing, as for the key signatures, after listening to it again, I felt like I need to clarify something. You opened the piece up in seemingly D minor, and then had a few accidentals. Just to let you know, your piece didn't settle into B minor until shortly after the introduction.

First of all, a very fine piece!

Now, if I may, a few constructive comments ... all of which are nothing more nor less than my own opinion.

To my ears, right now this is a bit of a “mash-up” of some very good ideas.   The ideas go straight from one to the next, mostly punctuated by consistent trills (good ...), but absolutely without a break.   (And, sometimes the next idea “goes with” its predecessor, while sometimes it seems to be unrelated. See below.)

First of all, I cordially suggest that you insert a few extra measures as needed to let the piece “breathe.”   The (non-existent ...) singer, so to speak, takes a deep breath and then begins singing the first passage, ending with its trill.   Now, it’s time to take another breath!   (Most commonly, this is somewhere around eight measures.)   So, now, we have a measure or so which features longer notes, a brief respite from the eighth-notes texture of the preceding passage, and perhaps a one or two note set-up to the passage that is to follow.   Then we have the next passage, which perhaps is similarly punctuated with a trill such that the listener quickly comes to expect it.   The majority of the composition is consistently structured in this way.

You also now have the opportunity to, if you so choose, insert a “bridge” section that offers some kind of contrasting musicality to complement the texture that is now used in most of the sections.   The so-called “middle eight.”

I feel that you have already identified and composed the passages that you might need:   there is already a pleasing variety ... hints of minor keys, other keys or modes, and so on.   Certainly, my interest never wavered.   My ears never got bored, or felt like they entirely knew what would happen next, and likewise they were never startled.

And, you may decide to re-order the sequence of these passages in some cases:   some of them have a slightly different “flavor,” such as they might sound even better if paired with others of a similar nature.   This might offer a second, higher-level sonic structure, brought about by your choice of passage sequence.   The creative choice is entirely yours.

Again, already a fine piece of music.

In reply to by mrobinson

I am grateful for the constructive criticism! Thank you for taking the time to explain your thoughts and feelings as I find this information very valuable. As this was an experiment I expected to hear back what I might think of changing, adding or omitting. I'll get to work with your advice and experiment further with some needed 'breaths' and other additions that will fine tune this piece and future ones. Thank you again Mr. Robinson.

It sounds... interesting, I will also lay some suggestions.

1) Make sure you are using the correct accidentals, why? Because Bb and A# (for example) are not the same, and if you are trying to follow tonal harmonic direction so, for example, if you are in b minor, you have to put an A# when you are in the zone of the dominant. Also try to use melodic augmented unisons only if you plan to resolve it in the direction of the accidental (flat will generally be followed by a lower note a minor second lower, and a sharp will be followed by a note a minor second higher).
EDIT: it also makes it easier to read.

2) Be thematic: make use of themes and motifs to make the form of the piece more solid.

These suggestions are for you to use freely as you see fit, since i believe that you are trying to sound in the style of the baroque period.

I hope you found this useful.

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