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I've been working on a piano sonata in the classical style (Mozart/early Beethoven inspired) and recently finished a draft of the third and final movement. It's intended to be in sonata-rondo form. I wonder if some of the transitions are little off and/or abrupt particularly at measures 93 and 195. Thanks for listening.

Your English is fine, really. I'm not a natural speaker either. I've just been shouted at by my violist friend who said I took his advice too seriously, that fifths can be played... they just might not come as easily and as clear as desired, which is an aspect you should consider if you care about the players. I care about the players too, some say I do too much. And yet, I think that you should rethink your themes and structures. Look at other people's works on this site, there are some great talented people all around the forum, you might have some realizations doing so.

First movement was fun to listen to specially when it goes entirely off the rails, like in measure 38-39 and the section afterwards with the tremolo. It's jarring enough that it makes the stuff that comes after that seem like compensation. Then there's measure 66 that's just ????, maybe you can figure out a better voicing for this that doesn't feel so harsh? All in all, reminds me of the stuff Mozart did that was really awkward and he would spend a good amount of time trying to compensate by making the most cookie-cutter filler possible to make people forget he just suddenly sprung some augmented chord or whatever out of nowhere. The second movement is a little disappointing after hearing the first. It's a little more on the Beethoven-Early romantic side than the first movement, specially with the rubato segments and the little subdivisions. But yeah, it's competent. Also, maybe think about using those 5ths a little more sparingly in the left hand, since they do sound kind of harsh, specially noticeable in the beginning (m 5-7.) The third movement also has it's moment of going off the rails, which is the modulation that happens in measure 100 onwards, which I think is actually the highlight. You actually repeat it later (m. 169), since, y'know, it's hella cool. It's extremely outside of the style to do that kind of jarring change (Amaj, Dmin, Gmin7(!), Cmaj, Fmin(!?) and so on) but just like the change in the first movement I think it gives it a lot more character than the rather generic, though competent, beginning. Speaking of that section, do please add safety accidentals, specially in like measure 178 the B there is not flat, but I'm 99.9% sure that people will play that flat by accident on the first few readings. I like the way you transition into the reprise too and it's a little comical coming from something so dramatic. As for the ending itself, I want to play the last chord once more at the end. Or twice more. It just ends too abruptly in my opinion, and it would go with the stop-and-go movement of the ending cadence. It's like it suddenly

Alright then here we go: this is... pretty much impossible. You can't expect them to hold three notes at once, especially not these three. Playing a fifth in a bow instrument is definitely a possibility, but those should be open ones. Think about the player who must have both of his fingers at the exact same place. That's so very extremly difficult to do. More than that- you put a fermata in there which means... that you expect them to be able to use all three at once? Which is two hands and pretty much destroying both the bow, the bridge and some parts of the strings? This should be notated that way for you're breaking the beat. Nice use of... I think it's Phrygian there? Wait. You've written 6 bars and are introducing a new theme already? Please, give me some time to get attached to the first one. I don't have anything to grip onto. You should really pay more attention to your doubles and triples. Not everything is playable, you should have an actual player to advise you, at least at the beginning. Structure-wise... at seems as if your piece is built of a few separate tiny blocks mashed together. First of all- try to have fewer themes. I don't get out of this piece being able to hum anything, I don't really remember what I've just listened to. Try to mix theme with one another, allow them to develop and bloom. Give them some place to breathe, some food and water, let them play with each other, grow through life, become swifter and slower, duller and brighter, allow them to tell a story...

Most of my pieces by far would not be classified as "serial". I've not written a CP tonal work in over a decade... I'm sure there's remnants on this forum of them somewhere though lol.

Thanks for the lengthy review. Movement I: Motivic development is a hallmark of my compositional technique. I tend to relish simple Motivic units, so glad you picked up on that in this movement. Movement II: This movement is loosely based on a twelve tone row. The fugato uses the row itself in its entirety. Eventually, I'll get around to expanding the fugato itself and the false start section that occurs after the first statement of the row at the beginning. The purpose of the false start was to leave the listener feeling offset by the movement.... bewildered and confused. Movement III: Like I said in the description, the third movement isnt quite finished. Material wise, I'm not gonna add any new stuff. I am going to expand and further connect the movements. I think the sonata, as it is, is tightly connected both thematically and harmonically. The expansions I plan to do will be updated once finished.

Wow! Its beautiful, its energy is irrepressible and the bass lines are simply awesome! I'd love to hear your other 3 sonatas.

Thank you very much for your feed back, it was really useful. I reworked it to see if I could improve it.