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My bagatelle in Eb, just as I thought, would be finished in the 16 day timeframe that I gave myself to write this piece. It is an homage to my favorite composer, Ludwig van Beethoven. You might notice that I use the motive basically throughout the piece. Beethoven does that a lot, so I figured that it would only fit if I did that too. And there are a lot of octaves. Again, Beethoven's pieces tend to have octaves all over the place. You might also notice a resemblance between the motive I use in my bagatelle and the Fate motive in Beethoven's Fifth. However, unlike in Beethoven's Fifth, I don't build chords out of overlaps of the motive. Instead I use the motive more for scalar motion and sequencing than building chords and tension. There are 3 contrapuntal sections, all of which are related. The second contrapuntal section is the inversion of the first contrapuntal section. The third contrapuntal section is where the original and inversion overlap. I wasn't aiming for baroque style counterpoint, but I would say that my counterpoint in this bagatelle isn't too terrible. The key areas are also all related. There are 3 key areas in the piece. Obviously there is Eb major. The other key areas are minor keys, C minor and Eb minor. Not only are C minor and Eb minor both related to the home key of Eb major, but they are related to each other as well, being chromatic mediant keys. The Coda is short, but the motive continues to be developed through most of it. This is I think, the part that resembles Beethoven's Fifth the most, what with the descending thirds and the Eb, D, C, D, Eb, motion in the bass. But, I never really have what I could call a Beethoven's Fifth moment in there, because the bass keeps chugging along in eighth note octaves while the melody develops the motive. The introductory 8 measures are supposed to first be played quietly and then loudly after the repeat, but I can't get it both in playback and notation so I settled for the notation. What do you think of my bagatelle?
Bagatelle in C major
caters posted a topic in Piano Music, Solo KeyboardSo I decided that since it might be a while before I get any further progress on it, that I would post what I have so far of my bagatelle. I am composing a bagatelle and it is turning out to be sort of a hybrid between your typical bagatelle and a sonata. However, even once the piece is finished, it would be too short for me to put Sonata in the title(5 minutes at most, that isn't long enough for an entire sonata). I mean, I guess I could call it the Sonata Bagatelle but then the title would be confusing. Here is how I was planning things out. I was planning to do it in rondo form. At first I thought of sticking to ABACA such as in Fur Elise. But the rondo form quickly expanded to be ABACABA, the typical form of a rondo in a sonata. But I was still planning on having 2 sections in the tonic. That is, until my melodic improvisation lead me somewhere else. This is really when the hybridization of the typical bagatelle and the sonata started happening. And it is why I am asking this question relating to bagatelles and sonata form. I will show both the general terms and the Sonata Form terms here. Here is the First Theme/A section of my bagatelle: And here is its motive division: As you can see, I have a lot of motives here. This means that I can have an extensive development without it being boring or completely unrelated sounding. Here are the motives: Red - Starting motive and its inversion Green - Second motive Blue - Triplet motive Purple - Dominant motive Orange - Scale motive Dark red - Cadential motive Here is my Second Theme/B section: And here is its motive division: As you can see, I have a single motive here, a scale step that descends through the theme. This means that the Second Theme/B section can't contribute as much to the Development/C section as the First Theme/A section can, but it is pretty typical for 1 theme to have more motives than another theme in a sonata form piece. With this, my bagatelle "Exposition" is in this form: ABA The C section, I am planning on having be in the parallel minor. So since I am in C major here, the C section would be in C minor. I have been told that my piece is getting too motivic to be called a bagatelle. But I thought bagatelles could very much be motivic. For example Bagatelle in C minor by Beethoven has a motive that has just 1 note extra but otherwise is almost exactly the Fate Motive. So I'm keeping bagatelle in the title of my piece, for now at least. I might change it to Sonatina if I think it is better suited as such after composing it. But here is what I have so far, the Exposition in ABA form and a short transition into the development. What do you think of it? Should I flush out my syncopated sounding bass line(I'm saying syncopated sounding because it isn't in the truest sense of the word, syncopated, but it sounds like it is) from simple arpeggiation to full blown chords? What about those left hand triplets in the B section/Second Theme? Should I continue those triplets instead of alternating triplets with rests? And is there a better way for me to transition to C minor than the fourth to fifth motion I have right now?
ideally i'd want the piece played with a lot of rubato, a lot of sustain and very softly in the style of Ravel, but I'm using very limited software to score it
Jared Steven Destro posted a topic in Piano Music, Solo KeyboardHey guys! Here are three simple piano bagatelles I composed on three animals (as it was inspired to be played to my six-year-old piano student). I tried my best at recording it, even though I dislike doing so, as I want things to be perfect (this is the reason I don't upload my piano pieces quite often), but I hope you enjoy the pieces. Thanks!
Bagatelle in D for String Orchestra
Emiliano Manna posted a topic in Orchestral and Large EnsembleA short, tense Bagatelle in D Minor for String Orchestra (+ Triangle), the second movement of a Suite still in progress. The form is roughly A-B-A, with the A parts in Agitato cut time, D Minor, and the dreamy B part Assai Meno, written on the contrast between mute sustains and pizzicati/short sforzandos. Apart of some notational distractions (I forgot the 8vb in the Violas, last bars and to write divisi in a couple of Vl.I passages, let me know If you note some scoring errors (I'm not a string player). Audio and score: https://www.youtube.com/watch?v=D0E-f7GmxXE