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Maybe you could start from C major then try and switch from C major to G major to add some more texture to the music from time to time

As composers, we never really know why we compose. If we knew it , we might never have become composers. I DO know why I became composer. It is the passion and the will to speak positively to your audiences and, if necessary, criticize the negativity or simply enjoy the widest range of possibilities of art. It is also about exploring and sharing your talents with everybody. The Bible also says the talents should never be burried. And you should always try to improve your skills and explore the little explored and be open-minded.

Hey PaperComposer I really liked this. There was a lot of creative time signature switching up, and I think you orchestrated this really well. I'm not a string player, so I won't comment on the triple stops (Looks daring haha). I love how you broke up the 7/8 theme in different ways, and really enjoyed the clever use of each instrument. It's always nice to pick out different parts when listening and follow along without getting bored. I will say that I didn't care too much for the B theme. I felt like the A material was strong, and I appreciate the nice contrast it gave, but as a whole it felt a bit out of place to me. Kind of like I went back in time to a noble's manor in all its splendor every time I heard it. 😜 Moving forward, I would work on your transitions and pacing. You have great ideas that are uniquely you, but it felt rushed in between sections, like it was all just crammed together. Spread it out! You have four instruments, let them all have their time to be heard. You have contrast in your thematic material, but an easy contrast to employ is simply letting the viola and piano play for a little, or solo violin, or whatever combinations you would want to create. For some reason I've listened to this piece several times within the last days without commenting, so I figured I would share a few thoughts since I've enjoyed it so much. Thanks for posting 😄

Hi, beautiful and interesting. I love the exposition, every instrumente has its own work, the counterpoint seems to be born naturally. The FIRST change to the "dance" part m. 38 sound a bit odd to me, coming from a thicker and dramatic section. Very smart those previous glissandi with a "comic" effect that lead to the happier "dance" part. The second time I hear this is not so unnatural, once learned. The development of this part is briliant, only some spots are a less clear, in my opinion: m. 55 - 56, ... probably because there are too issues to have in the ear: 3 agains 2 rhythm, trill, staccatto... Nice work anyway. These are only minor impressions of mine. Overall, there is lot of work here. Interesting tonality, not often seen, particularly in orchestral sets (where some sections are better written in other tonalities, enharmonic following transpositions). But some works comes to my mind in this tonality: Scriabin piano sonata, nº 2, Liszt La Campanella, Shostakovich string quartett nº 8 (movement II).

Interesting, I hadn't considered there being three themes, I guess I'm biased toward assuming there would be only two for some reason. As I listen again this structure is more clear. I'd say give it the melody somewhere, and maybe trade back and forth between the other instruments. As an example, maybe give the right hand in the piano the melody in m.20-27 while the violin has a secondary role (maybe an echo to the piano an octave lower when the piano plays sustained notes), then have the violin take over to finish off the section. This also might make it more clear that a new theme is starting. Yes I do hear it as a ii V. As I sit and play the progression (G#m, D# Major, G#m, G# Major) on my piano a few times I hear what you're saying and I'm somewhere in the middle now lol. Maybe since the G# major on the downbeat of m.97 isn't immediately preceded by the D# Major on beat 3 of m.96 it doesn't sound as resolved to me? And since the D# major leads to the G#m, the G# major comes as a surprise? I dunno, if you're happy with it don't let me change your mind lol. I remember, you've come a long way in such a short time. At this rate you'll be composer in residence at a major orchestra by December 😂.

Really good work! I really liked your melodies and each instrument has unique, independent, and interesting lines pretty much throughout the piece. I also liked the contrast between the light major theme at m.38 and the darker section preceding it. I will say I think it might be a little "violin-heavy". For pretty much the entire piece the violin took the spotlight; if some of the melodies were passed around a little more it might add more variety. I also think the piano was particularly underutilized. I'm certainly no authority on sonata form, but I thought you did a good job. Here's how I interpreted it: m.1-19 - Introduction m.20-37- Theme A m. 38-42 - Theme B m. 43-74 - Development m.75-84 - Recap Theme A m.85-89 - Recap Theme B m.90-98 - Coda Am I close? I liked your development section and thought you did a good job twisting and turning the themes into new ideas. I will say the restatement of m.75-84 seems a little short since there was an additional phrase the first time I heard it in m.20-37. Maybe add an additional phrase like the first time to make if feel more balanced? Lastly, the end of the piece doesn't feel resolved to me, was this your intention? I think since I hear D# in the bass in m.96, followed by a big G# major chord in m.97, I'm expecting to hear a C#, rather than ending on G#. I have a feeling this was your intention since you hint at this being the first movement of a larger work, but just wanted to be sure. Again, really good work, and thanks for sharing! If I were in your shoes I would make it my goal to get my hands on some decent sound libraries and put together a good audio representation of the piece, (or better yet, get it performed). The sounds you used aren't too bad, but I don't think it does the piece justice.

There is no creaking on sonatina's violin. you can use them directly in musescore, no other player is required. The squeaky violin sound , good works on chords, making them more realistic. in this video I used two different violin sounds ( sonatina and vanilla sfz ) here to make it look realistic: https://youtu.be/uZC1NCCtCUk(still not as good as a vst, but not bad.)

The melodic ideas on the violin are nice but I think they can be developed. I got used to the sounds of musescore, but violin is really bad. Sonatina orchestra is free and works on musescore. For a squeaky violin effect sound, you can also try: https://vis.versilstudios.com/vsco-community.html