Piano sonata no.1 in f mineur

Hi!

I posted this sonata in the keyboard section before, but someone suggested that it could belong here. So here it is:

Piano Sonata n0. 1

The files (score and mp3) are both on my website that you can reach through the link above.

greetings,

Andr

from the point of view of notation, I'd recommend trying to clean up and eliminate as many of the superfluous rests as possible.

for example, in the finale, it would be much clearer and more idiomatic from a piano notation point of view to beam together those runs of 16th notes that alternate right hand/left hand (with a beam between the two staves... in Finale they're called Cross-Staff Beaming, I don't know if you use Finale or Sibelius for notation)

Have I mentioned that the second movement of this is one of the best adagios I have ever heard? There is so much good in this sonata. Nothing bad. I can't critique it. It's pretty amazing.

from the point of view of notation, I'd recommend trying to clean up and eliminate as many of the superfluous rests as possible.

for example, in the finale, it would be much clearer and more idiomatic from a piano notation point of view to beam together those runs of 16th notes that alternate right hand/left hand (with a beam between the two staves... in Finale they're called Cross-Staff Beaming, I don't know if you use Finale or Sibelius for notation)

I use Sibelius for this, cross-staff beaming isn't something I was able to do with it till now. But I doubt a little bit if this is really needed in this piece. Could you give me some measures in which you think it could be improve the score?

Andr

I use Sibelius for this, cross-staff beaming isn't something I was able to do with it till now. But I doubt a little bit if this is really needed in this piece. Could you give me some measures in which you think it could be improve the score?

Andr

You're obviously a much more competent composer than me so I'll just say what I can.

I'll just touch on the first movement 'cause that's all I have time for right now. It seems most of your variation is based on key relationships and transpositions. That's all well and good but there's SOOO much more you could do.

The most exciting moment in this movement(To me anyway) is bars 33,34,35 when you stretch out your main rhythmic motif. In fact, I was hoping you would run with that idea and was dissapointed when you didn't.

This is probably just a difference in our approachs to music though.

pages 6, 10, 17, 19, 23, 26, 27, 28, 29, 30

Now I understand what you mean. I tried it in Sibelius, there is a command called cross-staff notes, but when I use it the way they suggest, the only things that happens is that the notes from one stave go into the other one. The beams themselves are not getting connected. Another command I found was Reset Beam Groups. This allows me to beam over rests. All the chords are clearer connected ow but still not crosses over the staff. I'm not sure if Sibelius is ab le to do this.

pages 6, 10, 17, 19, 23, 26, 27, 28, 29, 30

Hi!

I changed the parts that you suggested and uploaded the new score. It was a little bit work around in Sibelius but not difficult now I know how to do it. It looks much better and I even found some little double key mistakes in the process. Thank for your help.

Andr

You're obviously a much more competent composer than me so I'll just say what I can.

I'll just touch on the first movement 'cause that's all I have time for right now. It seems most of your variation is based on key relationships and transpositions. That's all well and good but there's SOOO much more you could do.

The most exciting moment in this movement(To me anyway) is bars 33,34,35 when you stretch out your main rhythmic motif. In fact, I was hoping you would run with that idea and was dissapointed when you didn't.

This is probably just a difference in our approachs to music though.

Hi!

Thanks for looking and listening. I agree that I mostly work with key relationships and transpositions in developing my music, that is a favorite thing of me. I'm curious though what the other things are that you talk about; never to old to learn new tricks :D

Andr

Hi!

I changed the parts that you suggested and uploaded the new score. It was a little bit work around in Sibelius but not difficult now I know how to do it. It looks much better and I even found some little double key mistakes in the process. Thank for your help.

Andr

If you want to check out someone who has a wicked talent for variation I would say it's Bela Bartok. Check out some of his music, maybe the piano concertos(The first one is a favorite of mine). The rhythmic relationships he creates are almost more interesting than his harmonic ones. Check it out.

Thanks,

I studied his first piano concerto when I studied music in Holland, I love this piece. I especially studied a lot of Beethoven's scores for my sonata because I love the way he develops his material, so that shows in my sonata. Another composer I really like is Frank Martin, he wrote a very nice piano concerto.

...Another composer I really like is Frank Martin, he wrote a very nice piano concerto.

two of them, actually, plus the Ballade for piano and orchestra.

Yeah. But you still have a very Beethovenian approach to your variation. You studied the Bartok concerto, did you take anything from it?

I studied that concerto somewhere in 1988, long time ago. Afterwards I got much more in the Beethovenanse style, wich I studied really a lot. I know that I undercomposed the rhythmic element in the sonata, and focused more on other elements, maybe I will give it more attention in my second. I worked more with those things in some of my songs and in the scherzo of my classical symphony an love to experiment with it.

I must agree with the others, while the themes are exceptionally beautiful, I think there could be much more development. Use more rhythmic variation, more elements of suprise, etc. to keep the listener's interest. When I heard the beginning, I thought this would be real masterpiece - after a while, it became a bit boring and repetitious.

Anyway, good job on the whole (it could just be a lot better! And you have the talent, I think).

I think i appreciate the most the Scandinavian sound of this sonata! Afterall you are Swedish and because i'm from Estonia i'm very much in love with the Scandinavian folk music...can't get enough of it!

I must agree with the others, while the themes are exceptionally beautiful, I think there could be much more development. Use more rhythmic variation, more elements of suprise, etc. to keep the listener's interest. When I heard the beginning, I thought this would be real masterpiece - after a while, it became a bit boring and repetitious.

Anyway, good job on the whole (it could just be a lot better! And you have the talent, I think).

I like the idea of going more into the rhythmical variation field, however at the same time, after hearing so much atonal and music that is labeled as modern, it felt as refreshing to write this piece. I'm studying it at the moment and it's great fun to play it, still fine tuning it here and there. I wrote some atonal pieces in the past but it could never grip me, I'm too oldfashion for that, I guess, but the Bartok kind of rhytmic is something I 'm going to try in a next piece.

I think i appreciate the most the Scandinavian sound of this sonata! After all you are Swedish and because I'm from Estonia I'm very much in love with the Scandinavian folk music...can't get enough of it!

Nice to hear that you like to Scandinavian sound, although I have to tell you that although I'm living in Sweden at the moment, I'm not Swedish myself. I am from The Netherlands, plain old Holland and live here now since 2003.

I am from The Netherlands..

Now the "in f mineur" makes sense! :whistling:

Hey,

I've just re-listened to your piece and I think it is a very lovely work. I think it's one of the best works I've heard on YC - for the following reason: you seem to be one of the very rare who is able to combine traditional rules (harmonics and form) with own creativity. Often I listen to music on this board and I think, well, the boy knows what he's doing, but the theme is just boring (maybe because he got it by guessing intervals *scnr* :sadtears: ). Yours isn't. I bet it is a theme which came from inspiration ;-)

thanks Ralph, for your compliment. I never guess my themes, you're right in that. I put a lot of work in developing them and then use them again to develop the rest of the piece. I am very much in the traditional music, yes, I don't really feel the atonal music so well. Maybe I'm born in the wrong century...

I really enjoyed this sonata! It is a fantastic piece of art.

My one bit of input is that perhaps the 3rd movement is a bit too long and repetitive. I enjoyed all the movements, especially the last, but I think the third just seemed overtly drawn out.

Great job tho, that was superb! ;)

thanks!

the first movement sounded so familiar.. I just can't place it..

I LOVE this piece, I might get it =P

I've listened to it twice already :)

-Smartyy!