PCC

Quality dramatic writing. I like the sudden fast thirds in the third movement, really captivating. Some of the more technical passages especially the first movement sound more like Hummel or Clementi at times. Maybe I'm just cynical but you have quite a few passages that are directly modeled from parts of Mozart's sonatas. They are not out of place but it's quite obvious, I'd imagine, to anyone familiar with his sonatas. I like the places where your originality shines the most, I'd point out the harmony progressions and transitions I like.

Would the title Sonata for violin and piano be more appropriate? We say violin sonatas informally, but the compositional weights seems balanced at least to a certain extent imo

ok promised I'd c+p lol

Chopin background with difficulties within difficulties the transition to the blues section was impressive. the reversion less so imo. but then I have no solutions I also felt the 2nd movement theme is a bit out of place in the middle of the piece, but then you do need it being there to prime for the coda for this theme to come out one last time

* looks at my own scherzi

by playing your works For one you are demonstrating reality, not just abstract concepts there may also be some performer/instrument/acusotics specific aspects only you can do of course being an amateur without the finest techniques I struggle to perform my own works even with more time in practice something I definitely lack irl i might also face musicality or intepretative blind spots so its always helpful to have someone else try to (at least how to) play your work

lol

It's a limitation of how I use MS probably. irl I would couple the manuals to the pedalboard so the bass would sound more prominent irl

Here you go. I have some Easter eggs in the arrangement of the piece. See if you guys can find them.

EDIT: SORRY I MADE A TRANSCRIPTION ERROR LET ME FIX IT EDIT2: pdf file is fixed but the audio I need to fix it later as well EDIT3: audio revamped MM2HN soundmix.mp3 The original work by Henry Since Henry insisted I post this as my own work, here it is. Bear in mind I have only played the organ for less than once per week for a few months, please comment any improvements that could be made. I tried to give different stop voices in the system but the sounds don't go very balanced and apparently the vibratos are pre-recorded and can't be removed, but it kind of gives the right impression I suppose. If I ever get competent enough I might try recording it for real

Schubert is the answer! (no, really, literally it is there) I understand bars 35-42 is meant to be a hybrid first theme/bridge, personally I feel like the piece could use more of a cadence in the new key instead of repeating the 4 bar phrase an octave higher. Let me see if I can arrange the piece for pipe organ, at least the choral part.

I'm not used to this style but I stylistically I can't find any glaring flaws here. On a practical level, 1. Are you sure this piece is playable, and at this tempo? I'm not that skilled so you'll have to judge it for yourself, but those semiquavers thirds can easily tense up my finger muscles, and the repeated octaves..., and repeated thumb notes? like bar 178, and Mr. big hands like bar 169 2. voicing issues like bar 13, the crotchets don't mean anything if the next quaver you are just going to bang fortissimo anyway

I meant it involved a lot of string crossing, which you might want to avoid if the melody can be projected all on one string, usually the A string maybe skill issue on my part most probably, and I don't know your context, but the lower notes of the double stops you showed here don't seem to provide melodic substance and I would much rather not double stopping on the cello here

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That passage is possible with thumb position on C (D string) G (A string) But it doesn't sound as connected as if I play the top note melody all on the A string. Does the context really demand double stops?