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You are welcome. Very nice to hear making music with my collections and arrangments. I like to do this foar you and yours. Enjoy it. With musical greetings. hendrikkzijlstra@gmail.com

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Thanks for your comments

At your service. 🎷🎷🎷🎷🎷

At your service. Enjoy

Indeed, the same melody. Johann Sebastian Bach often reused the same melodies and chorales in different works. This reuse was common in Baroque music and was known as a "parody" technique. Bach sometimes adapted the music or text to better suit the new context. Some examples of this are: Cantatas: Bach often used the same melodies in different cantatas. For example, the chorale melody "O Haupt voll Blut und Wunden" is used in several cantatas and in the St. Matthew Passion.

At your service. Enjoy

At your service

Stimme voll und ganz zu. Deshalb arrangiere ich auch Musik für Blockflöten

Thank you for listening and maybe also for making music.

that's also an opinion

@@hendrikzijlstra Inserting pauses after the fermata in the chorale is a standard practice, not an opinion. And it's a fact, not an opinion, that you play it so slowly that the sense of 3/4 and the meaning of "Gott lebet doch" are lost.

@@hendrikzijlstra czcams.com/video/VCaY4tYtbo4/video.html

​@@hendrikzijlstra To hear how it should sound, search CZcams for "Gott lebet noch, BWV 320, ChoralClassics, Chamber Choir of Europe"

@@hendrikzijlstra To hear how it should sound, search YT for "Gott lebet noch, BWV 320, ChoralClassics, Chamber Choir of Europe"

Thanks

Thanks

Oké

😂

You are welcome.

Thanks. Enjoy

Thanks for your comment. I don't really understand the question. If you want to do something with the music, that's fine.

@@hendrikzijlstra stems go up when note is in lower half of stave

In CZcams or Musescore?

You Tube. You cant just copy and paste without looking and checking@@hendrikzijlstra

In CZcams I don't know how that works. Well in Musescore. Then use the transpose tool

What a beautiful and important question. Here's the answer: I have not noted bar lines in the psalms because you have to choose between a two-part or three-part time signature. Barlines are static in nature and a tool. Then the melody can also become static, causing the free musical movement to disappear. Making music without bar lines and the Gregorian way of singing has revealed this to me. As a student at a Protestant university, I discovered Gregorian chanting and founded a Schola Cantorum. Then I realized how dynamic melodies become when they are interpreted from a melody without bar lines. That was not common then and is not common today. But once you have discovered how beautiful and musical a musical work becomes with this way of making music, you can no longer do it traditionally. In summary: the psalms, but also most other music, become more musical when music is played from a natural movement in two- and three-part time signatures. Hence no barlines.

Thanks 🔝

Thanks for your reaction. It may be interesting to discover what causes this music to have such a negative impact on you. On the contrary, for me it has a very positive effect because this music falls outside the traditional framework. I think Domenico Scarlatti has developed his own style that is inimitable.

After posting I regretted having been so harsh and unconstructive. I've done a lot of arranging and learnt from mistakes, some of which were similar to the ones you've made. Here are some comments that I hope you will find constructive. 1. Do not double instruments. They're never precisely in tune with each other. Three is the minimum for an acceptable unison. Anyway, what was the point in doubling? What would have been wrong with a single violin? 2. The lower instruments plodding along with the occasional note will look, sound and feel ridiculous. Chamber music is an interaction of equals. What you've produced isn't chamber music: it's keyboard music misappropriated. 3. Why do it? What was wrong with it as a keyboard piece? Scarlatti's sonatas get much of their appeal from the brilliance of performance. You've destroyed that. There are keyboard works that survive arrangement, e.g. the Goldberg Variations, some of whose lines could almost have been written with strings in mind. (My own arrangements, published by Ourtext, arose from an actual need to give suitable employment to a quartet holiday that lost its cellist). But that is an exception to the rule. Composers generally know what they're doing when they choose their instrumentation.

Thank you for taking so much time for your thorough and constructive instructions. I totally agree with that. Indeed my arrangements are outside these usual rules. I have become more aware of this, also through your analysis. And so does my interpretation of sounds and combinations thereof. The reason why I have the courage to continue with my arrangements by Domenico Scarlatti is because, no matter how crazy it sounds, I find my arrangements fascinating and beautiful to hear. Call it an anomaly. That's fine with me. By the way, there are also arrangements for which I comply as much as possible with the usual arrangement rules, such as those of the Suite of Dances by Michael Praetorius, the chorales by J.S. Bach, or by Johann Pezel, Baroque Suite of Dances. The surprising thing is that Scarlatti's arrangements receive the most appreciation. And now also the worst 🤔😆 Kind regards

Yes, I've found the majority of Bach's chorale preludes work on strings. So would some of Buxtedhude's. @@hendrikzijlstra

The player can make a choice

@@hendrikzijlstra aight got it lol it's still a pretty good arrangement tho

Thanks

Thank you very much for your response. I also really enjoy this extraordinary, special and beautiful music

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Thanks for your comment

Thanks you for listening

Graag gedaan