April 27, 201016 yr This is the first movement of a cello sonata I am in the process of writing. I would usually wait until I finished the other movements to post but I am thinking about playing this movement for a recital in June or July so I would like comments before then so I can give this piece to my pianist to learn. I would love comments, but especially those concerning the piano part as I want to be sure it is acceptable. Comments about the music as a whole would also be wonderful because I don't want to bore or bewilder my listeners! Thanks in advance!As a note, I have already decided that if I perform the piece I will omit the repeat because I don't want it to last a ridiculously long time. Cello Sonata
May 2, 201016 yr It does work, so I'm glad that I could actually hear it! I think the baroque stile works well here, I enjoy the melodies you chose for the cello. I also like that it doesn't feel like the piano is just a distant memory. It actually helps the cello and gets a more fun accompaniment. I like how sometimes you would throw something a bit odd in there. That's probably the secret to music, good music that is. I think it might be a bit short to call a sonata. Just a hair to short. Really nice work here though, please do upload more pieces!
May 2, 201016 yr Haven we been listening to the same, graham? I hear a more of beethoven then I hear baroque. I think the structure/development and harmonic language are closer to the classical or early romantic period
May 2, 201016 yr Author Well hecklaphone I'm glad you like it (and I'm especially glad it works now) but I think I'll have to agree with part of jr's statement, in that I didn't intend for it to be in the baroque style. However, I don't think its really classical or early romantic either. Its not really supposed to fit in any historical period of music, really, and has influences from a bunch of different ones. And this would be short for a whole sonata, but it is just the first movement after all. But the third one is almost finished and the second is about a third done! I'm glad you liked the piano part, because I wanted to try to avoid the cliched "oom-chucks" that are so easy to write, but so boring to play. Thanks for commenting! I just uploaded the second movement. Hopefully it works! I am hoping to record this somehow because I find the midi rendition of it a bit unsatisfying. I haven't decided whether I like that movement. Sometimes I think its great and sometimes I think its terrible. I particularly react inconsistently to the ending, which I think could be neat if played well but also probably difficult to pull off convincingly. Another thing is playing the cello part by itself without the piano is...weird. Maybe it's because the cello part is rather non-linear, and the harmonies are tricky to deduce without the piano part. What do you think?
May 4, 201016 yr I think the most influences that I can clearly see this piece taking are from the mid (perhaps late) romantic. Your harmonic language is one thing I would try to be more adventurous on. At times, the same harmonic passages get a little boring.... but where that occurs you make up with a nice use of melody. I would've loved to have seen a much more expansive development take place particularly of that second theme. Also, a more thorough use of the tonal regions within G minor (even the more remote) would've been very welcome AND I think would've benefited this piece considerably. To me, G minor has always been one of those stormier key signatures - and the tonal regions near and far to the key are some of the most important aids in expressing that. One thing to note... the end of the first movement is rather long and at times seems to be a little overwinded (for lack of a better word). I think a more clear and concise ending that perhaps plays on your themes more lyrical nature would've been a better choice - know what I mean? All in all though, good work and I look forward to hearing more.
May 8, 201016 yr Author Hmm, I'm not really sure what you mean by "the tonal regions within G minor" or "remote regions." Thanks a bunch for your advice about the ending, as ending a piece satisfactorily is for me the greatest challenge. And I will try to make my harmonic language more complex. I had thought that I used quite a variety but what you said made me look closer and I discovered that I am really dependent on I, V, and IV chords, and everything else is more the exception than the rule. I tend to write melodies and then add harmony that seems to fit the most naturally, and maybe in the future I will try to do the opposite. Anyway, thanks so much for your advice, which gave me tons to think about. Movement 3 (the last movement) is coming soon!
May 17, 201016 yr Hi I enjoyed listening to this, and I am quite impressed by what you have written for not having knowledge of tonal regions and the like. There were many occassions, though, where your harmony was inconsistent and the melody did not fit into the appropriate harmony dictated by the accompaniment. Voice leading would be a good thing to look at if you wish to improve your writing. Speaking of music in this vein, the presence of an accompaniment voice often leads composers such as yourself to rely on arpeggiation a little too much... by the end of the first movement, my ear was growing tired of it, though it worked well in the beginning, given the harmonic rhythm you presented. I did like the thematic unity, and even on a first listen, I could see you working with prior thematic material, creating a storyline for the music. I suggest that you expand on this and use more thematic development to create motion in your music. Well done!
May 18, 201016 yr Author I wish I had read your comment before I wrote the third movement (which is now posted), because I am afraid I used a lot of arpeggiation again. Dang. And yeah, I suppose I don't know much about "tonal regions and the like." I'll need to do some researching before I post another piece here... Anyway, the third movement is up. And thanks for your comments, which have given me a lot to think about.
May 19, 201016 yr Wonderful work, DK :) --I like how you mix melodic and harmonic flowing, in your allegro, with percussive/rhythmic strength: it very well mixes the different aspects of Romanticism, the perfect blend of logic and emotion. The chord inversions at measures 33-48 with the rhythm was a wonderful contrast to the flowing, hard progressions of the previous measures, for example :thumbsup: --At points where you hammer the same chord for a measure in the piano, why not play with the rhythm some instead of just assigning them to eighth notes? Measures 58-81 in particular -- it's an awful long phrase for there to be so little rhythmic change, with that set-up... --Also, I have to admit that as well put together as the piece is, I daresay this is only for Romantic die-hards: at about the 2/3 point, I was getting pretty antsy. Maybe too much is too much, yknow? --All in all, though, don't get me wrong: this was a very enjoyable work! I'll review the other movements when I can: I gotta take a break man :lol:
