u/AVRU15

Let’s face it: modern conservatory training often treats 18th-century composition like a math equation rather than a living, breathing language.

We’ve all sat through harmony classes where a professor who mostly analyzes Schoenberg tries to explain how Bach or Durante thought. The result? Some incredibly bizarre, unhistorical "rules" passed down as gospel.

What is the single worst, most historically inaccurate piece of composition advice you were ever given by a modern teacher or textbook?

To start us off, here are a few classic offenders:

• "Never write parallel perfect fifths, even in inner voices." (Meanwhile, Italian partimento masters were hiding them in diminutions constantly).
• "Always write the melody first, then add the bass." (Fenaroli and Leo are turning in their graves).
• "You must resolve every dominant seventh down by step." (Tell that to the North German organ school).

Your Turn:
Drop the worst advice you’ve received in the comments below. Bonus points if you can name the historical treatise or rule that completely disproves it!

Hello fellow composers,

With the generous permission of your moderator team, I would like to invite you to join a brand-new community dedicated explicitly to the practical execution and engraving of historical music: r/WriteBaroque.

Like r/composer, we believe that composition is best discussed through the lens of actual notation. Our specific focus is on the strict mechanics of 17th- and 18th-century North German polyphony, Italian partimento traditions, Galant style, and strict counterpoint. Our goal is to build an active, hands-on workshop rather than a passive listening board.

To kick off the community, we have launched two collaborative portfolio projects running simultaneously:

1. A Strict 4-Voice Fugue Workshop in C Minor (Focusing on tonal answers and invertible counterpoint parameters).
2. A Basso Continuo / Chaconne Bass Workshop (Focusing on unfigured bass realization and melodic diminutions over a descending minor tetrachord).

This is just the beginning—many more workshops will come! We plan to host regular, rotating challenges covering everything from strict canon writing and dance suites to inventive ornamentation and concerto grosso structures, ensuring there is always a fresh project to work on.

I personally use Dorico for my own engravings, but users are welcome to submit ideas using standard text notation, images of handwritten manuscript, or cloud audio renders. I am also hosting interactive mini-lessons directly in the comments for anyone who needs a refresher on specific historical voice-leading rules.

Come take a look, check out our pinned threads, and help us weave some new 18th-century counterpoint!

 => r/WriteBaroque

Hello everyone,

With the generous permission of your moderator team, I would like to invite you to join a brand-new community dedicated explicitly to the practical execution and engraving of historical music: r/WriteBaroque.

While there are many wonderful spaces for passive listening and music history discussion, our goal is to build an active, hands-on composition workshop. We focus on the strict mechanics of 18th-century North German polyphony, Italian partimento traditions, Galant style, and strict counterpoint.

I personally use Dorico for all of my own engraving and composition, and I know how incredibly capable its independent voice management, layout precision, and playback features are for handling dense, multi-voice polyphony.

To kick off the community, we have just launched two collaborative portfolio projects running simultaneously:

A Strict 4-Voice Fugue Workshop in C Minor (Focusing on tonal answers and invertible counterpoint).

A Basso Continuo / Chaconne Bass Workshop (Focusing on unfigured bass realization and melodic diminutions over a descending minor tetrachord).

This is just the beginning—many more workshops will come! We plan to host regular, rotating challenges covering everything from strict canon writing and dance suites to inventive ornamentation and concerto grosso structures.

Whether you want to test your voice-leading skills, practice managing complex voice structures using Dorico's multi-voice features, or just workshop a piece in progress, we would love to have your insight. Users are welcome to submit ideas using standard text notation, images of their engraved scores, or cloud audio renders.

Come take a look, check out our pinned threads, and help us weave some new 18th-century counterpoint!

=> r/WriteBaroque

Hi everyone,

I am looking to connect with people interested in Baroque music. My goal is to help beginning baroque composers learn the craft online without the massive financial barrier of attending a formal music school or conservatory.

Whether you write in the style of Bach, Vivaldi, or Handel, I hope we can use this thread to share free resources, analysis, and exercises.

If you are an experienced composer, what are your best tips for mastering:

• Basso continuo and figured bass?
• Counterpoint?
• Authentic ornamentation?
• Sonata form?
• And More!

Looking forward to learning together!