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Variations on an Era


Uploaded on Feb 29, 2016

This was originally a private score, mainly because I wrote this for school too and for some reason I felt bad about posting it. But MEH

I tried writing in the style of the Baroque, Classical, and Romantic eras. I'd love to hear how well you think it represents them, especially from those of you well-versed in the different styles.

Baroque section: is pretty technical and is made to impress and slightly overwhelm, as most art forms were during this era. There isn't really supposed to be a distinguishable melody, but I couldn't help putting some melodic elements into it ^_^ Sorry

Classical section: has a much more distinguishable melody and follows simple ABA form. (I was too lazy to get into the technicalities of sonata form...) It also has a little joke at the end as a tribute to Haydn, whose music was full of awesome musical jokes.

Romantic section: is meant to express emotion and break from rules, as most art forms during the era. It's less about the music and more about the experience.

Hope you enjoy it!

baroque classical romantic piano duet variations melodic Presenting the HAMSTERS of each era: Big fancy baroque hamster Refined yet sassy classical hamster Super emotional romantic hamster who is going deaf

Pages 9
Duration 03:19
Measures 116
Key signature 3 flats
Parts 2
Part names Piano(2)
Privacy Everyone can see this score
License None (All rights reserved)
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Comments

The Baroque part rocks. In German it's Barock, so your Baroque baROCKS.
LOL. Thanks. I'll have to steal that one :)
OH MY GOD. I AM SPEECHLESS. SO AWESOME! DID YOU MAKE THIS YOURSELF?
IT'S AMAZING I like the Romantic one, but the other two were still fun to listen to.
So… what’s happening with you? Are you just too busy to be more active? I love all your pieces, and this was no exception. Fun little experiment!
AAAAH I wish I would have come across this sooner! I just got done with my music history classes through the late romantic era, and I thought this was super cute xD Your heart was certainly in the right place, but there are a lot of things that don't literally match up. But still, how creative =DDD No offense, but I kinda laughed at the baroque section: I thought it was kinda funny. Your heart was really in the right place, for sure, but I don't think it sounds baroque at all. The BIG thing in baroque music was counterpoint--which you don't really have any of. The thing is, alberti bass is actually more of a classical tradition than baroque. You're right, baroque music was very, very complicated and virtuosic, but the alberti pattern was developed to simplify the complicated counterpoint of the baroque. Also, a defining feature of the baroque era was the use of continuo (usually harpsichord), and the bass accompaniment figures (such as alberti) kinda replaced it in classical music. Another teensy tiny little nuance, was that the range of keyboard instruments was relatively small. A harpsichord could never handle the super high or super low notes in the beginning. I don't remember exactly when the pianoforte was invented, but it certainly didn't have that kind of range during the baroque era either. Instead the baroque part of your piece appears to be based off of ostinatos, and I'm not sure what era those gained influence (my guess is classical), but it certainly wasn't baroque. I'm not sure how well the harmonic progression represents baroque music--mainly because in baroque music, harmony wasn't really conceptualized yet, harmony resulted from counterpoint, and as a result changed very, very quickly--though you do find a lot of descending fifth progressions in baroque music I think, and you've clearly tried to emulate that. Also, baroque composers would scuff at the idea of having any parallel octaves or fifths, and I have a feeling they wouldn't be very happy with measure 27 onwards. Lastly, extended techniques (glissandos) certainly weren't encouraged during the baroque era, and I think they became popular during the 20th century, but I haven't taken that class yet. So that's why I laughed. Your heart was really in the right place, but ironically, your attempt at creating baroque style-music resulted in combining everything except baroque music =P It makes me think slightly of Franz Liszt--who was one of the most famous Romantic pianist of all time. Now, the classical section I think is pretty resembles classical music fairly well. Classical music is very much melody oriented, and aims to simplify the complicated counterpoint of the baroque. In many cases you will hear simply a melody and a repetative acompaniment - counterpoint is for the most part reduced to melody-bassline counterpoint. Also, the harmonic progression very much resembles classical music. And I like how you incorporated binary form into it. the smallest nuance: the B section in binary form is usually in the key of the dominant. but still, I enjoyed it =D and yes. ending with a brief, abrupt, deceptive cadence sounds like a very Haydn thing to do xD I just spent the past three months overviewing romantic music and I still can't really say what constitutes romantic music. There are so many different directions that music goes simultaneously when the romantic era comes around, it's incredibly difficult to quantify. Some romantic music sounds classical, some romantic music sounds atonal. so I'd say that you've adaquately represented romantic music as well =D It was a lot of fun to listen to, and I feel kind of bad for picking it apart to the extent I did, but be assured it was all in the interest of learning--and for me to see if I can recall and quantify what I've learned (history is my WORST subject). it certainly isn't "Bad," or anything. I think that it was a really cool experiment and I'm glad you're really exploring music. I can promise you that 80% of people who major in music don't actually think about music as closely as you have in this experiment. Great job and keep up the good work! =D
Hahaha, it's so great to hear from you TNK! That's soo funny, I can't believe I managed to put everything in that Baroque section EXCEPT for Baroque elements. I knew I was doing some things wrong (like the glissandos)... but not everything xD I really appreciate the in-depth analysis though, I badly needed that haha. Thanks so much for putting all that time into that! I'm impressed by all that recall. Crazy memory kid strikes again :) I'm really happy you think I did better on the Classical and Romantic sections. Especially on the Hadyn thing. I was unreasonably proud of that. xD It makes my Baroque failure hurt a bit less hahaha. I guess I will be forever stuck in the world of melodies and harmony, never understanding the purpose of counterpoint and all that stuff... Eh. Maybe someday. Thanks so much as usual TNK :) Hope things are going well for you.
This piece is amazing! The Classical section vibes very... hamster-y. =P (I don't know if it's just me, but Measure 107 sounds vaguely like.. a part of Distance.) P.S. It's great to know that you're alive xD
Yep. Measure 23 of Distance. Haha, they're almost the exact same. Would have never realized that if you didn't point it out! I was feeling very whimsical when writing the Classical section, that probably accounts for the hamsteryness. I'm glad you noticed. And I'm definitely glad to be alive haha. Thanks UR!
I can't give any advice on the era's because I am a noob, but I absolutely adored the Romantic part. Well done, friendo!
Thanks a lot! I feel like a noob too when it comes to music history...
The three pieces (I'm hardly convinced that they're connected :D) are quite well done in themselves. As to whether they represented their eras...I'm not too well versed in music. My first thought was that baroque music is never syncopated. But I could be wrong. No glissandi on the harpsichord, though. :) Classical music is rarely syncopated either, but your use of it is much less obvious. Also, classical music is, for the most part, just as demanding as baroque. But again, not all classical pieces are virtuosic. The romantic section was quite well done. Perhaps it doesn't take full advantage of the freedoms the romantic style offers, but you weren't trying to write a twentieth-century piece either. On second thought...This song should have four sections. :P
Thanks for your insightful comment! I did in fact try to connect the pieces; I played off the same melody and chord structure for each one, though I did significantly change it between them. For the complexity of Baroque music, I guess I was thinking specifically about some Bach pieces, where he was known for using a stick in his mouth to hit notes he couldn't hit with his fingers, haha. I did think something sounded stylistically weird about it though, that could definitely be the syncopation. Thanks again!
I like the experiment! It turned out to be pretty cool ;)) I like the baroque one, it's very intense. I like how you use the Alberti bass. Well, this doesn't mean I don't like the other ones, they're also good :) Ps. Got the Beethoven reference on the tags :P Pps. However, I don't get the Haydn tribute. What musical jokes did Haydn made? Because I use to play Haydn sonatas a lot in the conservatory and I don't seem to find none ^^ Ppps. Oh, and also OMG Ashboy you're alive!!! How is it going? Will you continue uploading pieces here to Musescore in the future? I can't wait to hear more of your work! :D
Thanks Enelabe! Glad you got the beethoven reference haha. I was mainly thinking of Haydn's Surprise Symphony, and I believe he has little jokes in some of his other pieces too. I'll definitely keep posting things! I really appreciate the support.
The 'Romantic Section' is my favourite, As usual, great work! Love the tags too! ♬ ʕ•͡ᴥ•ʔ ♬
Thanks Origami! I'm glad you noticed the tags haha
I allways do! After all I am a member of the fabled group : https://musescore.com/groups/hashtag-we-read-tags

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