Woodwinds and Strings: A Sonata I

A sonata in four movements for strings and woodwinds. I write post-modern tonal music. I don't know why there's no such category. There's a lot more to contemporary music than the meager list of options offered here. BTW, I consider myself to be a rank beginner.

Woodwinds and Strings: A Sonata I

A sonata in four movements for strings and woodwinds. I write post-modern tonal music. I don't know why there's no such category. There's a lot more to contemporary music than the meager list of options offered here. BTW, I consider myself to be a rank beginner.

Woodwinds and Strings: A Sonata I

I don't understand this kind of music very well. However, I'll say this - it'd be nice to have some kind of resolution, instead of keeping me in this uncomfortable state of tension and dissonance the entire time. Also... having too much of a melody is not necessarily a good thing. You need to calm the melody down sometimes, and have it be slower, and be more meaningful. What kind of feeling were you going for in this song?

I don't understand this kind of music very well. However, I'll say this - it'd be nice to have some kind of resolution, instead of keeping me in this uncomfortable state of tension and dissonance the entire time. Also... having too much of a melody is not necessarily a good thing. You need to calm the melody down sometimes, and have it be slower, and be more meaningful. What kind of feeling were you going for in this song?

I was not going for a feeling in this song. It is an intellectual exercise in exploring a simple theme. I do disagree: there are many points of resolution. The kind of music is somewhat old-fashioned as it harks back to the styles being explored in the late 19th, early-20th centuries. I've used tools such as artificial modes, polychords, quartal harmony, etc -- all well established techniques in tonally-centred music.

I like what you have written. One small question. I guess this is for a dectet. But as you have written it could be very well be for a chamber orchestra. This should be made clear on the score. Keep up!

I like the sound and ideas, but I hear one idea going in one direction, plodding along to the same quarter-note rhythm. There is a loss of interest. Why not vary the texture, have the strings do more effects, the winds explore more ranges? Right now I hear one idea going and moving along without too much development or changes of mood. With more ambiguous and more effectual harmony used, rhythm and dynamics, texture and orchestration become a provider of tension and release (as opposed to harmony)... without variation and development of these elements, interes and tension are not provided. A good beginning, but it needs some work in my opinion :santa: