Violin Sonata in F minor

I finished the first movement of a violin sonata a few days ago, but I wasn't sure whether it was worth posting.

For the first time I use proper sonata form in a first movement (although the development's techniques are, in my opinion, a bit unconvincing) and unlike in my two sets of variations for violin and piano, I focused more on the music and less on the show-off. The only mildly challenging passage in this piece's violin part is at the beginning of the development, and even then it's no biggie.

Musically this has a late classical/early romantic flavour, although the development isn't too classical and feels rather disjointed, which is something I'm trying to improve (and composing more is one of the best practices.) I like the thematic material I came up with and I don't think I did that bad when it comes to re-using material appropriately, but I still need tons of improvement, especially when it comes to this musical style.

Much appreciated for any comments, and pardon the messy score. (I know you'd trash me for it, QCC :P)

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(Despite the fact I'm not too happy with my transitions musically, the GPO recording only makes them worse: unsmooth and with no feeling of transition whatsoever, suddenly jumping into a new dynamic, giving the recording a cut and paste feel.)

violin sonata f minor.mus

Well now.

To start off, i was really starting to think "here we go, another pop chord progression". However, after a few bars, i was actually becoming rather impressed...and then i saw your understanding of harmony.

It was a very intriguing piece. The main theme really started to whack me on the head by the last repeat of it at the end of the piece...but in a good way. It was a little melancholy, but very good. The slow theme was very beautiful. i especially love the part where u have that Gflat, and it comes down in thirds...its very rachmaninoff. It is a crying, passionate melody. i would refer you to the bar, but im sure u can find it there somewhere. Its very nice.

Just a few minor things. Have you actually played this yourself? If not, try having a go at it, particuarly with the main theme in the piano. You have the tremelos going on an F Minor key, and then about a 10th down thru to a 14th apart you have a melody in the bass. I think that yes, it does deem possible to be played like that, but you'd obviously have to be pretty good at doing tremelos in thirds and sixths with the right hand (and later on in the piece, flipping to play that bass in the treble instead)

If you can, perhaps tidy that part of the score up. Perhaps put the two tremelos into the treble stave, and then the bass part can be clearly played by the left hand alone.

It makes decisions on how to play the piece a lot easier.

The slow theme, whilst beautiful, has a rather un-original bass...oh i cant think of the word...but the chord being arpeggiated is far too...well its used too much. I mean, im not saying "Right, scrap it all and try again"...but this is something i have to steer away from myself. I mean, i actually stop composing a piece completely sometimes because i have this rather common bass progression. The harmony is good, but yea, just the way you wrote the left hand is a bit...boring.

Perhaps for future pieces, consider writing arpeggio forms for the left hand in septuplets and quintuplets. Finale will screw them up completely, but a human wont...look at rachmaninov's 2nd concerto, first movement, and the rolling chords in the left hand. There are bars that have 7 notes in the first beat of the bar, and then 9 in the second beat...all quavers, except, tuplets.

Just an idea.

But im very impressed. If i had a friend who was a violinist, i would learn this with her/him.

Thanks for posting, hopefully my comments have found you well.

Well now.

To start off, i was really starting to think "here we go, another pop chord progression". However, after a few bars, i was actually becoming rather impressed...and then i saw your understanding of harmony.

It was a very intriguing piece. The main theme really started to whack me on the head by the last repeat of it at the end of the piece...but in a good way. It was a little melancholy, but very good. The slow theme was very beautiful. i especially love the part where u have that Gflat, and it comes down in thirds...its very rachmaninoff. It is a crying, passionate melody. i would refer you to the bar, but im sure u can find it there somewhere. Its very nice.

Just a few minor things. Have you actually played this yourself? If not, try having a go at it, particuarly with the main theme in the piano. You have the tremelos going on an F Minor key, and then about a 10th down thru to a 14th apart you have a melody in the bass. I think that yes, it does deem possible to be played like that, but you'd obviously have to be pretty good at doing tremelos in thirds and sixths with the right hand (and later on in the piece, flipping to play that bass in the treble instead)

If you can, perhaps tidy that part of the score up. Perhaps put the two tremelos into the treble stave, and then the bass part can be clearly played by the left hand alone.

It makes decisions on how to play the piece a lot easier.

The slow theme, whilst beautiful, has a rather un-original bass...oh i cant think of the word...but the chord being arpeggiated is far too...well its used too much. I mean, im not saying "Right, scrap it all and try again"...but this is something i have to steer away from myself. I mean, i actually stop composing a piece completely sometimes because i have this rather common bass progression. The harmony is good, but yea, just the way you wrote the left hand is a bit...boring.

Perhaps for future pieces, consider writing arpeggio forms for the left hand in septuplets and quintuplets. Finale will screw them up completely, but a human wont...look at rachmaninov's 2nd concerto, first movement, and the rolling chords in the left hand. There are bars that have 7 notes in the first beat of the bar, and then 9 in the second beat...all quavers, except, tuplets.

Just an idea.

But im very impressed. If i had a friend who was a violinist, i would learn this with her/him.

Thanks for posting, hopefully my comments have found you well.

A tad wordy you think? and personally I don't see any tremolo anywhere in this piece

Anyway, here's my thoughts Tomas

I must say you have a knack for writing memorable themes with your pieces.

As for this piece I have a few comments though

The piano part I think has a few moments were it's a tad repetitive, but nothing extremely grating on the ears. I think the piece achieves a good balance between both the piano and violin.

It does have a rather pleasant Gypsy feel to it as well which I just love :P

Good Job and keep composing

I dont mean tremelos in the sense that you are most likely thinking of...its rather, the figure of the repeditive motion of the semi-quavers that the piano plays in the theme. And yes, its wordy...but I cant get my point across in 2 sentences like you.

Well now.

To start off, i was really starting to think "here we go, another pop chord progression". However, after a few bars, i was actually becoming rather impressed...and then i saw your understanding of harmony.

It was a very intriguing piece. The main theme really started to whack me on the head by the last repeat of it at the end of the piece...but in a good way. It was a little melancholy, but very good. The slow theme was very beautiful. i especially love the part where u have that Gflat, and it comes down in thirds...its very rachmaninoff. It is a crying, passionate melody. i would refer you to the bar, but im sure u can find it there somewhere. Its very nice.

Just a few minor things. Have you actually played this yourself? If not, try having a go at it, particuarly with the main theme in the piano. You have the tremelos going on an F Minor key, and then about a 10th down thru to a 14th apart you have a melody in the bass. I think that yes, it does deem possible to be played like that, but you'd obviously have to be pretty good at doing tremelos in thirds and sixths with the right hand (and later on in the piece, flipping to play that bass in the treble instead)

If you can, perhaps tidy that part of the score up. Perhaps put the two tremelos into the treble stave, and then the bass part can be clearly played by the left hand alone.

It makes decisions on how to play the piece a lot easier.

The slow theme, whilst beautiful, has a rather un-original bass...oh i cant think of the word...but the chord being arpeggiated is far too...well its used too much. I mean, im not saying "Right, scrap it all and try again"...but this is something i have to steer away from myself. I mean, i actually stop composing a piece completely sometimes because i have this rather common bass progression. The harmony is good, but yea, just the way you wrote the left hand is a bit...boring.

Perhaps for future pieces, consider writing arpeggio forms for the left hand in septuplets and quintuplets. Finale will screw them up completely, but a human wont...look at rachmaninov's 2nd concerto, first movement, and the rolling chords in the left hand. There are bars that have 7 notes in the first beat of the bar, and then 9 in the second beat...all quavers, except, tuplets.

Just an idea.

But im very impressed. If i had a friend who was a violinist, i would learn this with her/him.

Thanks for posting, hopefully my comments have found you well.

Thank you very much for the extensive review - certainly one of the best I've ever gotten :)

I too am particularly fond of that second theme, and it's curious you'd mention it sounds like Rachmaninoff, because I'm a big fan of his and the kind of mood he achieves with his themes was the mood I was trying to get as well. I was extremely flattered you refered to it as crying and passionate, because that was the exact state of mind I was in (then and now.) I also understand your criticism about the left hand: I first tried a few faster left hand basslines, and then some chordal ones, but I felt it sounded too grandiose and in the end the triplets seemed fine to me. I'm no pianist so I always expect criticism of the piano part. You're not the first one to have mentioned the potentially confusing way the piano tremolos are written. Indeed, they are to be played with one hand, I just personally felt it would be easier to read that way. Guess I was wrong, hehe.

As to me having played it myself: yes, but only the violin part, since I barely play the piano. I guess it shows. Maybe I should try investing a bit more on piano writing to make it less boring.

haha. well thats awesome that you play violin. lol, its ok. Im kind of like you. I can't write very well for violin...well, not fast things anyway. So...i guess some us can, and some of us cant. However, the best to do...is practice. And its good to see that you won't just give up. The piano part in this piece however, is VERY good for a non-pianist.

Like i said, keep it up, and practice...and you will have some very very very awesome pieces in the future.

haha. well thats awesome that you play violin. lol, its ok. Im kind of like you. I can't write very well for violin...well, not fast things anyway. So...i guess some us can, and some of us cant. However, the best to do...is practice. And its good to see that you won't just give up. The piano part in this piece however, is VERY good for a non-pianist.

Like i said, keep it up, and practice...and you will have some very very very awesome pieces in the future.

Thank you :)

(Btw, check your PM inbox ;))

eu gostei desse pe

J

Didn't look at the score but took a listen...

I really like how energetic and fiery the opening theme is in both parts. The second theme is a wonderful contrast. Yes, it does remind me of Rach as well as a bit of Chopin but no in the sense that you were trying to be exactly like them, which I liked.

I like how you use your material and move around the instrument.

I didn't mind the repetitious texture of the piano so much. I do think if the harmony was a little more varied when applying the repetitious texture it would come across differntly.

I haven't listend to your music in a while but I think this is my favorite of yours so far.

Eu venho de Brasil, mas nasci em Portugal.

(I come from from brasil, but was born in Portugal) ;-)

the piece has some really catchy bits and phrasing, its great music to listen to.

*BUMP*

After months of being blocked, today I finally managed to finish the 2nd movement of this sonata, AND record the violin part with the GPO piano.

However, I was sightreading, having had absolutely no time to practice, and the performance has some glitches and coordination errors :P

In case you manage to overlook those, enjoy.

violin sonata 2nd mov.mp3 - File Shared from Box.net - Free Online File Storage

Good job.

There are a few harmony issues you could clear up, but I'll discuss those with you.

The performance was great for a first run through, with GPO.

Also, yea, some spots where the hands are asked to do too much in the piano part, but easily remedied.

Anyway, I think it's an enjoyable, emotionally satisfying piece.

First of all, excellent playing, harmonies, and coherency.

I felt that your harmonies were very interesting, and that this almost exclusively held my interest. The repeated triplet figure was effective at times, but it became increasingly boring to listen (though not too much)

In addition, the B section seemed a little lacking because of the sudden loss of movement. I think you should smoothen the A to B transition (the B to A one was excellent, btw)

Overall, great job! It was sentimental while still interesting to listen to.

Wow. How beautiful, and passionate. I especially love your A theme in the second movement - I guess it's partly your playing too, which is also beautiful here. I felt myself craving a little more sustained movement in the second theme of the second movement (like maelstromtempest), just to underline the relative stillness more securely, if that makes sense - perhaps a real piano performance would be able to convey this more effectively, but still I wonder if it could be improved. Your harmonies are so very beautiful and effective, and partly it is these which make the piece seem so individual. I was thinking Brahms, Rachmaninoff, a bit of Beethoven etc, maybe Chopin, but none of it seemed like imitation of these, it was very distinct, and coherently so. I agree that sometimes the bass line in the piano part could be a tiny bit more interesting - or actually, I think the key is probably to go for 'less repetitive'. I'm not very good at this myself though so besides suggesting you give it a bit of melodic/imitative interest, I can't comment more usefully.

Overall, I loved this piece very much (both movements). As others have said, it is passionate and very beautiful, and harmonically constantly renews the listener's interest in and enjoyment of it. So thank you!

Wow. How beautiful, and passionate. I especially love your A theme in the second movement - I guess it's partly your playing too, which is also beautiful here. I felt myself craving a little more sustained movement in the second theme of the second movement (like maelstromtempest), just to underline the relative stillness more securely, if that makes sense - perhaps a real piano performance would be able to convey this more effectively, but still I wonder if it could be improved. Your harmonies are so very beautiful and effective, and partly it is these which make the piece seem so individual. I was thinking Brahms, Rachmaninoff, a bit of Beethoven etc, maybe Chopin, but none of it seemed like imitation of these, it was very distinct, and coherently so. I agree that sometimes the bass line in the piano part could be a tiny bit more interesting - or actually, I think the key is probably to go for 'less repetitive'. I'm not very good at this myself though so besides suggesting you give it a bit of melodic/imitative interest, I can't comment more usefully.

Overall, I loved this piece very much (both movements). As others have said, it is passionate and very beautiful, and harmonically constantly renews the listener's interest in and enjoyment of it. So thank you!

Thanks a lot for the flattering comment :)

I do agree the 2nd movement is repetitive, I always found it to be its main flaw. I'm planning a 3rd movement which will be considerably different from the existing ones, particularly when it comes to the variety of the writing. I guess the 2nd movement is a sort of simple intermezzo.

Yeah. That sounds great, I'm looking forward to it...

(commenting on the 1st movement) Echoing everyone, I must congratulate you on this piece. It's beautifully crafted.

I especially like the slow part, it's so dreamy and melancholic.

I'm listening to the second movement now. It sounds quite straightworward, but I'll get back to you when I have a score.

Two thumbs up!

(commenting on the 1st movement) Echoing everyone, I must congratulate you on this piece. It's beautifully crafted.

I especially like the slow part, it's so dreamy and melancholic.

I'm listening to the second movement now. It sounds quite straightworward, but I'll get back to you when I have a score.

Two thumbs up!

Thanks! :) I hope you enjoy it.

I'll upload a .pdf, but it includes some changes to the violin part - very minor ones, and you should notice that a few bars of the piano part are impossible. That will be fixed later on as well.

Finale 2006 - [vln sonata 2nd mov.mus].pdf

Listening to it for the second time now.

It is simple and beautiful. Very tonal, but you manage to keep it interesting.

Nice and emotional interpretation, by the way.

The impossible piano parts are very easy to correct.

Still two thumbs up!

M is D:

The second movement is one of the most beautiful and haunting things I have ever heard (Influenced by Roma (Gypsy) music?)

I really enjoyed it and was inspired by it and your (amazing) playing. I am soon going to try to learn the violin (pshh- let's see how that goes) and I was blown away by your technique, especially considering that it was sight reading.

Thank you.

Wow. I can't believe you brought this ancient thread back to life - and with such a flattering comment.

Though I didn't specifically have it in mind, I adore gypsy music and it influences my playing (whenever my teachers aren't bossing me around, that is).

Thank you once more :)

As to learning the violin: how old are you? I'm lucky enough to have started at 4.

how did you know i was listening to your sonata??

i liked both movements, specially the first one, even if in some places it was a little bit redundand, but the theme was basically nice and that "reiteration" is eventyually functional to the whole mood of the piece.

I also like the repentine change of to the triplets part, which is sudden and not really espected, and also the nice modulation byt the half of the piece, in the exposition. it's a good work over all.

ah another thing about the second movement... lucky you that you got a violinist to play it, but, the piano is the digital one or it's you playing live?

or else, you let the stero play ur piano part and you played on ur violin the violin part??? hehe

i like the slow movement, it is very dreamy and calm.

are you writing/plannyng other movements??

lucky you that you got a violinist to play it

I'm the violinist. The piano is GPO.

Don't know how I missed this!

Tomas, this is remarkable. The true soul of a romantic is everywhere, and your technical skills are improving all the time. Great melodies, expressiveness, passion, and some very nice harmonic ideas. You'll learn how to handle some of the finer details even better as time goes on...nothing to harp on now. Marvelous job!