Jump to content

Search the Community

Showing results for tags 'sonata'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Board
    • Announcements and Technical Problems
    • Young Composers Magazine
  • Upload Your Compositions for Analysis or Feedback
    • Orchestral and Large Ensemble
    • Chamber Music
    • Choral, Vocal
    • Piano Music, Solo Keyboard
    • Incidental Music and Soundtracks
    • Jazz, Band, Pop, Rock
    • Electronic
    • Incomplete Works; Writer's Block and Suggestions
  • Community
    • Masterclasses
    • Music Appreciation: Suggest Works or Articles
    • Composers' Headquarters
    • Repertoire
    • Performance
    • Advice and Techniques
  • Competitions and Collaboration
    • Competition Hall of Fame
    • Monthly Competitions
    • Collaborative Works
    • Challenges
    • External Competitions
  • Technological
    • Finale and Sibelius Help Desk
    • Sound Libraries
  • Rite of Spring analysis Club's Part 1: Augurs of Spring
  • Rite of Spring analysis Club's Part 1: Introduction
  • Rite of Spring analysis Club's Part 1: Ritual of Abduction
  • Rite of Spring analysis Club's Part 1: Spring Rounds
  • Rite of Spring analysis Club's Part 1: Ritual of the Rival Tribes
  • Rite of Spring analysis Club's Part 1: Procession of the Oldest and Wisest One
  • Rite of Spring analysis Club's Part 1: The Dancing Out of the Earth
  • Play this Passage's HOW IT WORKS
  • Play this Passage's WHO PLAYS WHICH INSTRUMENT(S)
  • Music and Media's Discuss and Collaborate on a Project
  • Young Composers Preludes and Fugues Project's Submit a piece
  • Young Composers Preludes and Fugues Project's Rules and Guidelines

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


AIM


MSN


Website URL


ICQ


Yahoo


Jabber


Skype


Biography


Location


Occupation


Interests


Favorite Composers


My Compositional Styles


Notation Software/Sequencers


Instruments Played

  1. My 3rd piece and, my first time writing a piece in sonata form (sonatina). Wrote this piece originally as a practice piece to gain some grip in the sonata form. Some constructive criticism would be appreciated. (I have been composing for 6 months)
  2. So this christmas I've been working in this small piano sonata that is based on the theme from @Ivan1791 All movements are directly or partially conected to the theme. The first movement is in sonata form and has the theme as subject A. The second movement has the theme as a baseline (4 times slower). The third has little motifs from the theme in the scherzo, and in the trio there is a fugue wich subject is based on the theme. Finally the finale is in theme and variations based on the theme. I hope you all enjoy and any feedback is welcomed!🙂
  3. Hi. So this is a cello sonata. I wrote this between 2017 and 2018 and it was premiered in 2019. The recording is not the super bestest ever, but it does the job. This is the 4th long-form "sonata" type thing I wrote and it was mostly based around the idea of augmented chords within a kind of neo-romantic style.
  4. It's been awhile since I've posted anything to the forum, let alone really been active. Life is like that sometime. This work was born out of my own quarantine after being tested positive for Covid-19. While not exactly the main influence over the work -I'm sure it adds a little to it. The 3rd movement is close to how I envision it. I'm working on a revision to make it sound more coherent and complete. I'm not too excited about the ending -I think the material can be expanded some more. Just got to find the right way to do it. I present you my 4th Piano Sonata. Hope you enjoy!
  5. Hello! Here is a new piano sonata allegro movement that I've written during the pandemic. I'd welcome any feedback you might have. 🙂 Dan
  6. Hello there! During this COVID-19 pandemic, I decided to revise and continue one of my old compositions, a cello sonata, which I started around 2018 but have not managed to finish it. I decided to dig it out and start working on it again, and here it is. The sonata is in four movements, depicting the various musical periods of Baroque, Classical, Romantic and 20th Century. Movements: I. Allemande/Fugue: This movement was meant to be a separate project on a baroque suite for cello and piano, but I decided to make it part of this sonata.The movement initially only had the Allemande part, then I decided to add in the fugue in the middle to make the movement more interesting with a contrasting middle section. II. Allegro con brio: This sonata was in fact one of my early attempts in creating a piece in sonata form. I was quite inspired by Beethoven's sonatas at the time (both cello and piano), especially in the development section. To be honest, this movement is not really classical; it has some romantic references, especially the use of hemiola in the second subject inspired by a Brahms piece. I quite like how I have revised this piece, though I feel further improvements could be made. III. Variations on a nocturne: The tune is very familiar, and I think you will guess it soon enough. The first two variations are inspired by Czerny etudes (again, another Romantic composer), while the third is a dance modeled on some sight-reading piece. The fourth is inspired by a Brahms cello sonata movement, then the fifth kind of follows the style of a movement from Tchaikovsky's cello concerto. IV. Allegro marcato: The start is inspired by a Prokofiev sonata movement, in addition to one of Charles Ives' Violin Sonata which has an ostinato at the start. The piece functions as a recapitalization of the sonata, recalling motifs and ideas from the previous three movements. The start uses the fugue subject, for example. I hope you will all enjoy this piece. This piece is dedicated to a cello classmate in my music class. I have yet to show her this piece though haha. Any suggestions and feedback are welcome.
  7. Hello, fellow composers! This is my first topic and first submission for a review of one of my compositions and I'm very excited to share this with you. I work with pen and paper, using a piano for the most part, and only in the later stages of each section of sketchwork do I continue refining the sketches through the Dorico interface. I usually expect to record this with professional musicians in some way or another, so I never spend any time fiddling with the digital performance of the work, to be honest. Because of this, the performance is decidedly robotic, but it still manages to give you an idea of the work as a whole, and I'm sure that your ear and imagination are good enough to be able to realise what it could sound like if it were performed by real, living musicians. (The audio attached is produced by Dorico running NotePerformer 3.) This work was recorded in January 2020 for Signum Classics with Kerenza Peacock (violin) and Huw Watkins (piano) at the Britten Studio in Snape Maltings. Sadly, I can't yet share the audios from that session, since the album will be released in March 2021 for the label's catalogue. Sonata for violin and piano in F major, R. 6 I. Adagio — Allegro assai II. Andante sostenuto III. Allegro con fuoco IV. Adagio ed intimo In my next posts I hope to share work with you that is still in progress so that any input from you will definitely have more weight than at this later stage in the work's life. Oh, I almost forgot! If you're interested in having a score to follow, or if I'm lucky enough that you'd like to perform this work in a recital or concert, please send me a message and I will happily oblige. Wishing you all the best, Rodrigo Ruiz
  8. I am writing my first sonata. This is just the bginning. I hope you listen and give me suggestions (listen until the music stops; the rest is draft).
  9. This weekend I've been working in this cello sonata. The first movement I've finished but the second and third not. I feel that in the first movement I use to much the cello in its high register. In the first movement some parts are a bit akward I'm working on that. I would be pleased with feedback. If you go to this youtube video, there is a time analysis in the description with what I wanted to achieve:
  10. Hello to everyone, this is one of my latest 2020 piano compositions. It is a piano sonata in Am, the first movement. I hope you enjoy my composition and if you want to ask for anything or say your impressions just leave a comment! Thank you very much! 🙂 ^_^
  11. I am new to this forum. I have worked on and off for the last 2 months or so on this sonata. You can view my score at : https://musescore.com/user/27866262/scores/6096785 Feedback is welcome 🙂 This is the first piano sonata I have composed and am satisfied with, after multiple attempts. I have written it in a classical/romantic period style. I hope you guys like it. I'm still not sure about whether to include the fugue in the third movement development. I like the fugue but it goes way too long and the development with it clocks around 11 minutes 😕. There's also meant to be way more pedal, such as in the arpeggio sections.
  12. My first piece for solo violin: a sonata-form Allegro. I hope you enjoy. I'd welcome any and all feedback, especially if there's areas that aren't very playable...
  13. Hi, I made a second movement for my sonata but, I'm not sure if it fits the first movement. Sorry but I haven't transcribed the score of the second movement to Digital. My plan is to make the 3rd movement a minuet in C major and the 4th a presto in C minor, in rondo sonata form Any comment is apreciated :3
  14. The first movement of a four movement work, this piece is designed for relatively simple playing and is designed to be pleasant to listen to and enjoy. My own criticisms of it are at the moment it is too short, I am happy for any feedback available.
  15. This is an 8 1/2 minute piece about how turbulent this year has been. It consists of an ABCBA format, where the slow A sections represent homeostasis, the jazzy B sections represent celebration, and the abstract C section represents chaos and frustration. It was produced using Musescore 3 and the Compifont Soundfont.
  16. The Emperor Sonata for Two Pianos is he 14th sonata I wrote for piano (even though the 1st for two pianos). I consider this sonata my 1st sonata (because the other 13 before this one could fall into the "Sonatina" cathegory.). The idea with this piece was inspired by the concept of Liszt's Sonata in B flat minor of creating an enourmous sonata where all the sonata is a gigantic sonata form. The first movement introduces the first subject (the Prometheus Theme by Beethoven). Second movement he second subject. Finally the third would be a third subject and the development . The cadenza its the recapitulation where all the subjects are restated in the same key and are transformed into this kind of "Fugue" where all the subjects sound toghether in harmony. The sonata is inspired in the 5th symphony of Beethoven, the first movement starts in C minor and the last in the glorious C mayor. During most of the piece the doted rythim can be heard. That rythim is for simulating a horse running. MOVEMENT I (Allegro) The first movement is written in sonata form. The first subject is introduced in C minor (1:28 min), the second subject (the Prometheus Theme by Beethoven) is presented in G mayor (2:20 min). The movement stills need to be finished (a lot) Ingnore from minute 3 until the end. MOVEMENT II (Adagio) The second movement is written in G mayor, (it needs to be transposed to D mayor so the theme in the second movement is in the dominant of the Prometheus Theme). The movement is still very raw. Its still needs to be developed and polished. In 4:13 min, the arpeggios of the first movement reapear. MOVEMENT III (Alegro Maestoso) The third movement, the finale, presents the last subject (that is just a baseline for the ending "fugue"). Then it develops the baseline and repeats it again. When the coda starts (5:48 min), there is where I need to work. In that part the "fugue" will enter (6:04 min).
  17. My Piano Sonata No.1 in F Minor composed in 2018. The sonata has 3 movements and is written in a romantic style. The first movement is in rondo form. The second consists of a prelude and a short fugue, and the final movement is more free in its form. The sonata is inspired by some of the works of Chopin and Beethoven. I'd be interested in any feedback. Sorry about the awful recording quality.
  18. There's a bit of a difference between this sonata and my previous two. For starters, this is probably a more serious attempt at the genre. I've never been a good person to describe my works in non-abstract terms. It is safe to note, though, that various parts of the piece explore septal and quintal harmony as well as a juxtaposition of whole tone tonality amid heavy chromaticism. That said, as I mentioned above, this work definitely seems like a strong development in my overall compositional ability. I'm not sure if there is a bit of maturation occurring or what -I'd be interested in everyone's thoughts! Hope you enjoy!
  19. Im trying to write a full IV movement piano sonata, I have finished the 1st movement, but I'm having trouble with the following movements. My plan is this: I. Moderato-Allegro Sonata form II. Adagio, Rondo form or theme and variations (I'm not pretty sure about the B part) III. Allegreto Scherzo IV Presto or Allegro vivace Rondo sonata form I have composed a little of the second movement, Does it fit the first movement well? Also I have composed the first theme of the IV movement, I wanted to "recapitulate" some of the ideas, so I used same harmony as the first movement, but it doesn't convince me so much. Any feedback is apreciated :3.
  20. Piano Sonata 1 by Florian.pdfPiano Sonata 1 by Florian.mp3 Hello everyone, I am new to this community and looking forward to engage with everyone in sharing our compositions. This is the first piano sonata I have just completed. It is not in the traditional sonata form, but I tried to implement Theme A and B in different places and cast them under different lights. I especially like the Largo (3rd movement). Any sort of feedback would be highly appreciated! 🙂 Thank you for listening.
  21. So, I've been working on this sonata for 5 months and i got to the point where i was stuck and could not think of anything for the third movement. Should the third movement be a fast agitated movement or a slow-paced one? What motif should I modify and use from the 1st and 2nd movement for 3rd? Feedback and suggestion would be much appreciated.
  22. Where my first sonata was based on the username of a member on this forum, my second sonata is a little more abstract. The work begins with material derived from a tone row. The opening motif, of the first movement, then transforms into a more freer atonal chromaticism. My favorite texture and passage from the first movement begins at measure 70 and lasts until measure 82 -I don't think I've written a passage like this before. The second movement starts with a light, almost dance-like atmosphere. This is my testament to chaos and resignation. The final movement continues the material from the previous two movements and brings it to a final closure. Hope you enjoy. As always, comments welcome!
  23. Sometimes inspiration comes from different places: a car passing by in front of you, leaves rustling in the wind, the username of a member of an online forum, or simply... it just is. My first sonata was inspired by one of these three things. Ironically, as long as I've been composing, this is my first... complete (well, somewhat, I'll probably renovate some of the movements later) piano sonata. I. Allegretto Grazioso: The entire sonata rests on the motif found in the bass. 5 simple notes. The motif in this movement is treated to development in a type of hybridized sonata form. II. Adagio Sostenuto: This is one of the movements that I'll probably strengthen later. The form is basic ABA'. I wanted the A section to have a solemn quality to it. Resignation. The middle section introduces some new material -but again is heavily resting on the 5 note motif found in the first movement. III. Presto - Andante con moto: The five note motif becomes the basis of the scalar material utilized in the first half of this movement. Despite being a tad basic, it provided some interesting sonorities -particularly with the infusion of chromaticism. The second half of this movement features snapshots of material utilized in the previous two movements (for the sake of maintaining cohesion throughout the piece). All in all, I'm fairly satisfied with this work. I'll most likely update the second movement -and the second half of the third. Hope you all enjoy!
  24. Many classic forms were adapted in the 20th century. New ones were invented. Messiaen's musical world is amazing. Check what intervals are the best for him to build a cadence! Regarding the sonata, he says: "having written some absolutely regular sonata-allegros, we shall state that one thing in that form has become obsolete: the recapitulation. Then we shall try once more to keep what is most essential: the development. there are two in a sonata-allegro: the middle, modulating development; the terminal development, generally built over understood dominant and tonic pedals. We shall be able to write pieces made of this terminal development alone". And he gives this example from les Enfants de Dieu (from la Nativité du Seigneur): First element over a dominant pedal in B major and development A great fortissimo cry upon a sort of schema with augmentation of the theme A tender phrase, forming the conclusion, established over a tonic pedal in B major. You can hear this part here: In his writings, he gives additional examples of this kind of technique and new "free forms proceeding from the development of the sonata-allegro". Some thoughts about all this: Having in mind that tonality in Messiaen cannot be understood in strictly classic ways, he uses a contemporary technique (as Debussy did) to establish tonal centers and a relationship between them: the pedal tone. It's interesting how Messiaen is not interested at all in parts without development, ruling out at first glance the recapitulation ("obsolete") because it has no modulation nor development. It's also interesting how he takes only a section (or better said, the concept of a section) of the sonata-allegro, to build up his own coherent form. In my opinion, this is related to the big idea in Messiaen of "progressive music": non retrogradable rhythms or added values, non transposable modes... All of them have to be with that idea on not allowing the music to fall in the repetition patterns where classic music had rely on. This is just an example of what Messiaen did with forms. He talks about fugue, an other forms he was interested in, some of them fresh and new (Bird son), some old (plainchant). Is this concept interesting for you? For me, it is. It opens more possibilities of organising music material.
  25. Hi :3, I´m new to this forum. I'm a begginer composer I would like to have some feedback on my first piano sonata. Thanks in advance for the comments. I added an mp3 an here is a link to a youtube video with the sheet music. https://www.youtube.com/watch?v=ODoW8caLo0k Here is an analysis of the structure. 0:00 exposition 0:00 Introduction 0:26 first theme C minor 0:45 bridge 0:51 transition theme Eb minor 1:03 bridge 1:14 Second theme Eb major 1:29 Transition 1:37 retransition progression by circle of 5th 1:44 second theme Eb major 1:52 retransition to the first theme 1:59 repetition of the exposition 3:25 Development 4:13 dominant preparation 4:42 recapitulation 4:42 first theme C minor 5:02 bridge 5:09 transition theme C minor 5:32 second theme C minor 5:47 bridge F minor 6.02 second theme C minor 6:10 Coda C----------> Eb major-----> C minor
×
×
  • Create New...