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Yesterday I was hearing some Beethoven sonatas and I got inspired to write that short piece. It has a ABA' form. A in EbM, B in Ebm and quite contrasting in character. A' is a repetition of A but with triplet accompaniment instead of eighth notes. I have two questions: No idea about the name. Any ideas? Are there parallel 5ths on mesures 73-74? It looks like, but the passing note G creates a sense of different harmony, though it's in a weak beat. I could change the "tenor" line to avoid that, but I wanted to have the same notes before the deceptive cadence as on mesure 77 in the final cadence. Otherwise, being a piano piece I don't think those 5ths are as evident as for human voices. What do you think?

Here is my first symphony. I wrote it last month in the style of second half of XVIII centuries. I analize some Haydn and Mozart early symphonies to grab some ideas and make it coherent with that period, regarding form, time signatures, tempos and so on. It has four movements: Adagio-Allegro (4/4) Andante (2/4) Minuet (3/4) Presto (3/8) Duration: 20-21 minutes Adagio-Allegro Introduction in Dm->Am->Dm (Adagio). Allegro in sonata form theme A in DM theme B in AM. Development: first section based in theme A, second section based on a combination of A and B. Andante With lyrical character and the melody and countermelodies moving all through the wind section. It has a ternary ABA form. A in the subdominant key GM and B in Am, motif derivated from A, but contrasting in texture and key. Minuet Minuet in DM Trio in GM The trio section is the only part of a symphony I took from one of my previous compositions. I rearranged and adapted a Minuet for piano a wrote a few months ago and posted on the forum. Presto Rondo form AABA'CABDA A in DM B in AM A' in Dm C in Dm After C, A appears in de subdominant key (GM) and B on the tonic (DM). D modulating DM->Dm->Am->Dm. C and D section close with and inversion of the opining A motiv inverted and aumented played in unison. A in the tonic closes the movement. The last movement is the one I found more difficult to write, because of the form. Any feedback either positive, negative or constructive are welcome.

thank you! I'll look him up. Yes I was trying to be like "oooh fakeout" and make the person laugh a little with the ridiculous xylophone part, but in a sarcastic almost macabre way.

Very epic sounding. The lush string section in the beginning reminds me of Nobuo Uematsu who's also a great self-taught composer/guitarist. The parts for xylophone sound a little humorous in comparison to the rest of the piece which maybe was your intent (maybe you're portraying some wacky character?). The mood quickly changes to a dark battle type of soundscape with the trumpet fanfares. The interruptions of the fanfare at the end are a good idea to finish off the piece. Nice job!

Great job! I would maybe call it a "Bagatelle in Eb" ... seems appropriate for the period. I also don't think the hidden 5ths are anything to worry about. I also have those in my Gigue in Eb. (-:

I wouldn't mind about this. You're not writing strict counterpoint. Those 5ths are not in the extreme voices (bass-melody). And, besides, I think fifths at the bottom of the chord is a way to give stability. On the other hand, good work. I like the pedal note.... Only one figure against the other sounds a bit awkward to me:

My first competition piece and first score. I stayed on a specific point and re used motives for the first time. Would love to hear what you think (also, I really appreciate the member voting, thank you so much!)

Got a score yet?