Bagatelle No. 1

Just a light little bright piece.

I wrote down a theme, but wasn't quite sure what to do with it...
Then I saw Berlioz's sonatina and though it was a pretty good idea, and my first sonatina was born!

Hope you like it!


(I just want to make sure, in bar 8 I use a dotted crotchet between beats 2 and 3. Does this count as obscuring the beat, or can I claim syncopation?)

Hehe! Cute theme!

Try to add some development if you wish, or a second theme, but overall it's very pleasant.


I ought to say, though, that although I call mine sonatinas they don't really follow sonata form, so meh...

By the way, I have composed earlier ones besides #3 if you'd like to hear them, Paginani:

Sonatina #2
Sonatina #1

(#2 is my favourite of the three for now)
(#1 kinda sucks in its exaggerated repetition... I was a very very very tender n00b at the time... )

A fine little piece. Quite smooth and enjoyable.

The name "bagatelle" could be used for such a piece to avoid confronting the dreaded sonata form - Beethoven wrote some very charming bagatelles for piano.

Bagatelle? sounds like something you can eat... I will keep it in mind, thanks!

I wrote this as a scaled down version of sonata form, but it does get very confusing, bagatelle would clear that up a bit.

Thanks for the reviews!

I second the suggestion to re-title it.

Some parts of this were really effective, others not so much. Personally, I'd like to see a bit more movement right at the beginning, but it works fine as is.

Measures 11-12 have a stop-start feel that I find disconcerting - in particular, I feel like the A in m.11 really wants to be off the beat.

There's a similar jarring effect in m.14-15, for different reasons. Changing the number of voices at any point brings emphasis to any new voices or lost voices - and in this case, going to two-note chords in the left hand puts too much emphasis on the left hand. And in 15-16 (and elsewhere in the piece), watch for parallel octaves. In 15, moving the right hand does not mask the very obvious parallel octaves, and you still get a very hollow sound.

Measures 22-27: I'm not sure what the intention here is - seems almost randomly thrown in?

Measure 28-end: MUCH better! Though m.41 has the same possibly unintended emphasis on the left hand... I especially like the progression in m.37-40, starting with the deceptive cadence, though I would consider moving it faster. (Quarter notes instead of half notes?)

Just one other issue: in m.51, the IV is played as an open 5th, which ends up sounding out of place. When writing a chord, while it is true that doubling the 3rd degree is frowned upon by theorists, the converse is not true. I would much rather omit the 5th than the 3rd in a chord. Of course, you could (and perhaps should) consider using a fuller texture at the end of the piece?

Thanks, will keep it in mind!

wow, delightful! very very nice!

your work is ok.thats it.i didnt get the meaning of bagatelle..

Thanks!

Very nice! However, I have a suggestion. Your melodic progression (well, its up and personal for everyone, just my thoughts), in M21, why dont you bring up the A an Octave higher? That would sound more pleasing to the ear, and well, more melodic (thats what I think, haha).

However If you want (or like) to tease ears then well. =) And you have a very good theme!

This piece is quite hymn like in its left accompaniment. (sorry for my weird terminology, haha)