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https://youtu.be/7S0fxQVLeA0

(Edit: better autogeneration) This is small finale for violin and some background instrument. The auto-generated mp3 which is made with musescore, is slightly too ascetic. This is something what i could start to develop more.

Is this homework? Or just self-study? Hopefully not the former lol Assuming you're studying both voice-leading and harmony, there are a lot of problems, but the foundations are there! All of your chords have all the chord tones present, which is a great start and, for the most part, you correctly identified your non-chord tones. Measure 1: a. Get in the habit of putting serif lines on all of your major Roman numerals. Most teachers will mark you down if they just see a v because they can't tell if it's major or minor. b. No retrogressions: in the first measure, your V (dominant) chord goes to ii˚6 (predominant), which isn't allowed. I've attached a chord chart for you. c. @Henry Ng Tsz Kiu is right. Leading tones in the outer voices must resolve up to the tonic in the next chord. d. This bar has five beats in it, despite the 4/4 meter. e. And, yes, Henry's also right that your neighbor tone creates a parallel fifth against the alto. Measure 2: a. Your first V6 chord's tenor moves down to the seventh (F) as a passing tone, and sevenths must ALWAYS resolve down, so it should go to E-flat in the next chord, which it doesn't. b. Same issue with leading tones in the outer voices, but this time in the bass. The B-natural should move up to C, which fixes the issue @Henry Ng Tsz Kiu mentioned about avoiding 6/4 chords unless they're serving one of the four functions he mentioned. c. The tenor is only three beats long. Measure 3: a. Bit of a large leap from G to C in the soprano, but this isn't a huge deal. Technically doesn't break any rules, except we want to see it resolve in the opposite direction of the leap. b. The first 6/4 chord here isn't passing, neighboring, pedal, or cadential. If your 6/4 chord requires a leap either in or out, chances are it's not correct, unless it's cadential. c. The second 6/4 chord here is technically passing, but wrong to be coming out of another 6/4 chord. d. No minor v's (yes, minor v's exist, but students are taught to avoid them). If you did make the B-flat a B-natural, you still have a problem because the alto has to leap by an augmented or diminished interval, which is not allowed. Measure 4: a. I think you're misunderstanding what a plagal cadence is: the piece should still end on i, but approached by iv, not ending on iv. Plagal cadences aren't really a thing anyways... long story, but they're more often extensions to previous cadences. I would stick to HCs, PACs, and IACs, unless you're explicitly trying to work with plagal motion. b. End on a root-position chord, not a 6/4. c. The last two beats of this bar have too big of a space between the tenor and alto. Voices should be no more than an octave apart from each other, except for the bass relative to the tenor. There's a reason why students HATE learning this stuff, because it feels arbitrary, and it is. Useful in some cases, for sure, but very arbitrary. You should be proud that you're trying to learn a very niche and difficult thing. Keep at it!

Don't think I would've attempted to orchestrate (or-castrate) this sonata; but looks like you had fun with it! I'd love to hear this with the piano part muted.

I declare my intent to participate in the competition

Simple motives are the best, and you've got a good one going. If you're able and not sick of it, I'd really try to take this piece and develop it (not necessarily expand it), because there's a lot that could be done here, especially since you're so early in the learning process. 1. It's good that your main motive has rhythmic variation, but I'm not always so certain that it's intentional. For instance, the version we hear at the beginning sounds cleaner to me as the kind you have in mm. 35 and 39. The variation you have in the F minor section between straight eighths and the dotted figures is nice, though. 2. A couple jumps in technique that sound a little abrupt, talking about mm. 21 and 44. It's a pretty substantial change and it doesn't feel like it's supported well enough to me. A bigger lead in/out or a pattern change in the left hand could help with that. 3. The resolution at m. 56 jumps out to me as a little odd; it's plagal in A-flat major, but coming off of VI in the original key makes it feel a little sudden because you have two tonic-functioning chords in a row. Your bass counterpoint in that phrase is very smooth, so use that to your advantage and really sell that modulation melodically; I don't think you have to be so harmonic about it. 4. I'm not entirely sure what you want to do with the end section. The chromatic lines against the new tonic are pretty cool (I think some people call them line clichés, but I don't remember), but it's an entirely new key, so I'd take the extra time to really justify that big change. You've got a decent start to an idea, but it's not just repetition that makes things sound proper, but the time and space to make those things feel worth it. 5. In that vein, I'd also let yourself develop the melody more. You have two distinct sections in two different keys (the waltz part at least) with a decently strong melodic idea; I can tell you know that it needs more variation because of the flourishes and stuff I mentioned in Point 2, but what if you made those variations two or four or eight or sixteen bars or a whole new section... you see where I'm going with this? There's a fine line between developing an idea and wasting the audience's time and I'd encourage you to try to explore what that line is. Like I said, great ideas; I'm excited for this and you!

Turmoil.pdf 25099099.mp3 A short brass quintet piece I wrote, originally just to serve as a sound pack demonstration for Vienna Brass sound library in Muse, that ended up becoming a full score. Thought this sounded pretty cool 🙂