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prestidigilicious, wayne-scales, Austenite, Ananth Balijepalli, Andrew J. Bailey, Aniolel, Crataegus, Ian, JohnPax, studentcomposer, TJS_1977, wilf, WolfgangSachs, xiangyik
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File Information
- Submitted: Dec 03 2011 04:02 PM
- Last Updated: Dec 03 2011 04:18 PM
- File Size: 21.87MB
- Views: 988
- Downloads: 375
- Genre: Classical Period
- Form: Sonata
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Sonata in A major
0
Please comment! 
I like to write these when I feel depressed or when I doubt my abilities as a musician. As such I don't consider them to be real works, but they're fun to listen to. Skip the 2nd movement if you have to. No prizes for guessing which composer's influence shows the most in this piece (if you are really familiar with said composer's works you'd recognise some quotations or specific influences).
NB: This was written over the course of 3 days. Excuse the sloppiness.
Programme Notes
I. Allegro moderato
Sonata allegro; inverted recapitulation
II. Andante
Sonata allegro
III. Allegro vivace
Sonata-rondo form; ABACABACoda
I like to write these when I feel depressed or when I doubt my abilities as a musician. As such I don't consider them to be real works, but they're fun to listen to. Skip the 2nd movement if you have to. No prizes for guessing which composer's influence shows the most in this piece (if you are really familiar with said composer's works you'd recognise some quotations or specific influences
).NB: This was written over the course of 3 days. Excuse the sloppiness.
Programme Notes
I. Allegro moderato
Sonata allegro; inverted recapitulation
II. Andante
Sonata allegro
III. Allegro vivace
Sonata-rondo form; ABACABACoda
Well, "serious music" or not, it's a very nice development in the first movement.
I.
I think the first movement was the worst in terms of copying Mozart: there was too much Beethoven, especially at the start. The jumpy thirds were a nice Mozart touch, though, as well as the semiquaver movement and some of the other rhythmic things.
Some dick might come along to point out voice-leading errors, so I'll do so first.
bar 4: disappearing voice
bar 19: direct 5th
bar 35: direct 5ths
bar 91: direct 5ths
bar 114: parallel 8ves no third with B
bars 55-56 & 57-58: parallel 8ves
If you want to be a real wanker and get rid of them all, then fuck you; however, if you want to be practical about it, the ones that really bothered me were 19 (because the alberti movement is just starting), 114, and 55-58.
II.
The second movement was much more Mozart, I thought. The figuration shapes were, probably, directly copied, even.
More boring stuff:
bar 2 has a phrase that ends with a 6/4, which doesn't resolve, and the next phrase begins on a different 6/4
bar 6 has direct 5ths and an overlap, which don't sound so cool
bar 33 has direct 5ths alla bar 19 of the previous movement, because the figure's movement is just starting.
III.
Some of the stuff here I can only assume is taken from Mozart, because I've never seen it, though I haven't looked, but it's used so directly that it must be, 'cause no-one's that ballsy and/or stupid; some stuff I recognise, though (e.g. bar 172). Most of the stuff is so fast that I'm not going to bother looking for voice-leading stuffs; but, one suggestion I have in terms of copying Mozart, is that I think he would've made more of bar 140: up, jump down, up, jump down, up in thirds, and then allegro vivace.
Overall, quite cool, and fun to listen to.
Fix your notation, scro'. Much love.
I think the first movement was the worst in terms of copying Mozart: there was too much Beethoven, especially at the start. The jumpy thirds were a nice Mozart touch, though, as well as the semiquaver movement and some of the other rhythmic things.
Some dick might come along to point out voice-leading errors, so I'll do so first.
bar 4: disappearing voice
bar 19: direct 5th
bar 35: direct 5ths
bar 91: direct 5ths
bar 114: parallel 8ves no third with B
bars 55-56 & 57-58: parallel 8ves
If you want to be a real wanker and get rid of them all, then fuck you; however, if you want to be practical about it, the ones that really bothered me were 19 (because the alberti movement is just starting), 114, and 55-58.
II.
The second movement was much more Mozart, I thought. The figuration shapes were, probably, directly copied, even.
More boring stuff:
bar 2 has a phrase that ends with a 6/4, which doesn't resolve, and the next phrase begins on a different 6/4
bar 6 has direct 5ths and an overlap, which don't sound so cool
bar 33 has direct 5ths alla bar 19 of the previous movement, because the figure's movement is just starting.
III.
Some of the stuff here I can only assume is taken from Mozart, because I've never seen it, though I haven't looked, but it's used so directly that it must be, 'cause no-one's that ballsy and/or stupid; some stuff I recognise, though (e.g. bar 172). Most of the stuff is so fast that I'm not going to bother looking for voice-leading stuffs; but, one suggestion I have in terms of copying Mozart, is that I think he would've made more of bar 140: up, jump down, up, jump down, up in thirds, and then allegro vivace.
Overall, quite cool, and fun to listen to.
Fix your notation, scro'. Much love.
Mozartian, indeed. But I must agree with Wayne about the 1st movement having an unmistakably Beethovenian flair.
Now, if this is what you can do when doubting your musical abilities or feel depressed, you should keep cronically depressed or perennially in doubt
... A little polish won't hurt (3 days for a full sonata is shorter than a single movement takes for me), but you have a nice starting point to build on.
Now, if this is what you can do when doubting your musical abilities or feel depressed, you should keep cronically depressed or perennially in doubt
... A little polish won't hurt (3 days for a full sonata is shorter than a single movement takes for me), but you have a nice starting point to build on.- 2,347 Total Files
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