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Actually I may just go for D minor for the Euria as it is now the case. Laiona does end in D major, but in an unsettling way and it's not stable at all in the D major, so having D minor Euria following it is actuallu a great choice of key for me. Maybe I am used to Baroque suites, I never feel like repeating the keys boring and ovwr, but conversely it coheres the whole piece with the same tonal/modal centre. I will just quote something @Thatguy v2.0 has said to me: sometimes it's the music needs it, even though you may not like it. For me the ending Buria is perfect in this way to end the suite in this manner! The suite is moving forward all the time, and having a static and earthly finale featuring thick chords is a great ending and contrast to the whole suite! I will be very happy if I can offer a little help to pieces I love! Henry

I never knew that about sonata-allegro! I suppose it must be on Wikipedia somewhere, but I never bothered to check. I'll keep that in mind when I write the symphony. Thanks for the heads up! 😱 I never knew you could spend that long on a piece... I'll make sure to remember that, Henry! I guess I should be pacing myself a little slower then huh 😅

Thank you Henry, I really appreciate your review of the whole suite, you are most kind to spend the time and effort on it and I consider it an honor that you did. I'm sure I've mentioned before that I am not good at letting things lie! So it is probably not surprising that I have tweeked things a little here and there. I was never happy with the over dominance of D. At the beginning it was a decision I made 'D' for la Dama but it was silly I think and I didn't like the transition out of the fog into the rain. It seemed that as Lainoa ends in D major, starting Euria in D minor wasn't really working for me, especially since Brisa is also in a D centred pentatonic (mostly) and so I transposed Euria from D minor to E minor. I think it works better as it's a little more jarring when the lightning strikes, I don't know, maybe??? Berria also has a minor change of tempo. I've slowed it down a little to try and bring a little more tranquility to the piece. I love the thick chords and the parallel fifths and fourths are meant to be a bit more earthy as you say so I'm glad that aspect comes across. Personally I think it's the weakest piece and I may well fiddle with it some more in the weeks to come. That's not to say I don't like it, I do, but it doesn't yet have the flair of the others, perhaps it doesn't need to, but there is just something that is not striking the right note so to speak LOL. I'll get there. My hopes, in posting (what really is an unpolished version) of the suite, or indeed any of my work, here is to get help with where the polish needs to be applied. I am now working on the smallest details and you have been invaluable in this process, so I want to thank you very much for your time and your kind words, they mean a lot.

Hi Mark, I am continuing with Euria! I think the music is very effective depicting the rainstorm. First there is a storm, then rains are dropping quicker and quicker with unsettling major chords. For me the buildup to b.131 is very successful. Now in the second section the raindrops are more frequent but again with that weird major chord. That major chord reminds me of that horrible major third in the beginning of Prokofiev's Sixth Sonata, not of the force but the weird quality. Great piece! I just re-listen to the Elurra and again it's marvellous. For the last piece of the suite, Berroa acts as a great summation. Those thick quartal and quintal chords do provide a sense of rebirth and earth after all those weathers. The last chord of Elurra leads directly and smoothly to this movement. I love those parallel fifths and fourths very much here as it really represents the earthly power rather than the human power. I love the slower tempo and pace here too which gives good contrast to all the preceding pieces. The ending is peaceful and soothing. This is for sure a very successful and remarkable piece. I will for sure make it to my next year's review if I am still here. Thx for sharing this great suite for us! Henry

obvi this was written a long time ago also not completed, but, I haven't uploaded in a long time, so, henceforth, upload 4 yall.

HI @Left Unexplained, The opening passage is so captivating with the flute melody and harp accompaniment, plus strings background. The Eb major section in 1:00 is more disclosed and confirmed. Very beautiful there and reminds me of impressionistic music, and the buildup is so natural!! Many members will just rush up and abruptly bombard the passages, but you are so careful and well planned to have the climax bulit up little by little!! The clarinet melody as @Quinn and @PeterthePapercomPoser noted is just gorgeous and humorous, and provides a good contrast to the previous more mysterious musical style. I like the flute solo in the reprise section very much, it's indeed an augurs of spring. And the final chord! Maybe just a long Eb-F-Ab-Bb chord will be great! A wonderfully colourful and interesting music you share with us, thx for that! Henry

But usually the introductory material won't be repeated in the exposition, otherwise it will be counted as the material, for example the first movement of Beethoven's op.130, even though the tempo is different the slow "introudction" will be counted as the first theme of the exposition while the fast theme would be counted as the second theme, and both themes comprising the 1st subject. The C# minor section in b.33-44 may be counted as the second subject as in Haydn's monothematic sonata form, and the slow section in b.45-64 can be the development. Then the introductory material, or what I name as the 1st theme of the 1st subject recapitulates, that's fine, but the whole 2nd subject disappears, and this will be a big abnormality of a sonata allegro form! Probably you should at least have the material of b.33-44 recapitulated in E major to complete the sonata form! Two months time is short! I use 6 years for my Clarinet Quintet in C minor! Really looking forward to your final product! Henry

Honestly I don't know either (lol), I just went on Wikipedia and found a template structure for the sonata-allegro and used parts of it. The piece opens with a fast introduction, leading into the first material; it then transitions briefly into C# minor before going back to the first material in the bass in the tonic. The material then makes another transition into the relative minor before moving into a slow, secondary theme in B minor. It slows almost to a halt before speeding back up with a bridge in E, returning to an abridged, shortened introduction, which ends the piece. I'm not sure if what I just said was a particularly accurate description of the piece's structure, but I think that's the gist of it. That's very kind of you, @Henry Ng Tsz Kiu! I'm truly honoured to have written music you found enjoyable. I'm still reasonably proud with that piece, don't get me wrong: I do intend by all means to have it finished at some point, but I'm having trouble coming up with material right now. I found the academic and ultimately rather laborious process of writing a symphony somewhat tiring after doing that exclusively for about two-ish months, and I'm taking my time before returning; I don't want to cut the symphony short by leaving it unfinished! I noticed I could reuse so many ideas from the symphony, but I've just never gotten used to doing that because I tend to thorough-compose a lot of my past music: now that I've run out of available ideas, I have to learn to call back to save my better ideas for later use. That's what I planned on experimenting with in this sonatina and in my other pieces that are still in-the-works. I didn't spend nearly as much time on this piece (~4 days? compared to the symphony's many many months) because I just wanted to get used to writing this way (that is, with more repetition). I hope you'll bear with me for this one: the results should show in the final product of the symphony's first movement! 🙇🙏

Hey @Awsumerguy, I feel like this piece is more modern than the title suggest with those voice leadings and chords! With the title I am thinking you are using the sonata form but I don't feel like here it's the traditional sonata allegro form, since there are no clear second subject, development sections, and the recapitulation is only a reprise of the first subject. What is the structure of the piece? I actually like your Symphony in C minor WIP very much, but less so for this one since this one is more an experiment of form. Thx for sharing! Henry

Hahahaha yup. I genuinely enjoyed your composition, and I think your experimentation with simple ideas and repetition was a fantastic choice. Sometimes they are our best friends and help give structure to the piece in very satisfying ways for the listener 😄

Hi Aaron! I listened to your pieces, and I must say I really enjoyed them, specially the Andante in D major. The way you transitioned from D major to A major in section A was really nice and created a sense of journey. I really liked it. An E7 chord in m.8 would fit so good for the perfect cadence in that A section hahaha I love 7th chords. In section B, the shift to a minor key provided a nice contrast. Very well thought. And finally the return to D major was satisfying and gave a sense of resolution. I felt overall, the composition carried a sense of subdued joy with a touch of melancholy. I really liked the pieces! I look forward to hearing more from you in the future! 😄

I really enjoyed listening to this piece! It had a soothing and contemplative quality that I found very appealing. The repetition you mentioned added a sense of continuity, and I thought the piece flowed well. I particularly enjoyed measures 19 and the next few that followed; they really stood out to me. They conveyed a light, happy, and optimistic feeling that reminded me of the joyful and optimistic mood often found in classical sonatas 😄. I really liked the ending too. Overall a very refreshing and enjoyable composition. Congrats!!

I love your harmony in this piece! At 2:46 I think you use a bVI followed by a IV which allows you to raise the b6 up a half step to a natural 6 of the scale. That is a harmonic trope present in many heroic-action soundtracks! I watched a YT video somewhere about this and I wonder if you might have gotten the idea for this progression from there? I also love the modulation you make right after that. I think you modulate to the vi by way of the III. That shows some harmonic know-how because you don't try to jump directly into the tonic chord of the new key but instead wean your way to the dominant chord first. Great job and thanks for sharing!