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Another minuet. The main theme was hard to 'unmodulate' in the second section, i cant tell if it sounds awful or not. 

 

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Heya I've only been taking theory for a year, so I can't provide anything technical, but I really enjoy listening to this piece. 🙂

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The period structure in the second half is a little... strange. 4+6 phrase lengths is a little odd because of the vi - V - I not stemming from a deceptive cadence.
Additionally, and maybe you don't much care about the rule, but not having the major third in your V7 chords, especially with that kind of voicing comes off a little strange, as does having these pauses of rhythmic motion. Would help at a faster tempo. Nice overall.

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That's really nice! I think you chose very well where to add doble notes on the right hand to make harmony clear. 

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On 7/16/2020 at 1:58 AM, Monarcheon said:

The period structure in the second half is a little... strange. 4+6 phrase lengths is a little odd because of the vi - V - I not stemming from a deceptive cadence.
Additionally, and maybe you don't much care about the rule, but not having the major third in your V7 chords, especially with that kind of voicing comes off a little strange, as does having these pauses of rhythmic motion. Would help at a faster tempo. Nice overall.

 

Thank you for your feedback. The pauses sound better when played on the piano but i was in two minds whether they work. The VI - II - V - I isnt too unusual i think, the G major chord leans well into C minor which acts as the predominant before the PAC, although it may not be a typical galant era chord progression. It could be argued that the melodic sequence of the opening theme can override the mistake of the ommitted 3rd as long as it doesnt sound too jarring. 

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On 7/16/2020 at 2:58 AM, Monarcheon said:

The period structure in the second half is a little... strange. 4+6 phrase lengths is a little odd because of the vi - V - I not stemming from a deceptive cadence.
Additionally, and maybe you don't much care about the rule, but not having the major third in your V7 chords, especially with that kind of voicing comes off a little strange, as does having these pauses of rhythmic motion. Would help at a faster tempo. Nice overall.

 

I don't see exactly what you are reffering to when you say:

" odd because of the vi - V - I not stemming from a deceptive cadence.

"not having the major third in your V7 chords"

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Posted (edited)

Hello, 

Nice minuet that you wrote !❤️

Concerning your "unmodulation" concerns b. 22-25 although the modulation is quick it works well however b.24-25 E is in contradiction with the Eb that surround it wich is called a "false relation".

E enters in conflict directly with the Eb before it but is also immediately rejected by the Eb after it. 

To avoid that you can either replace E by Eb or includes E in your right hand b.24. If you keep E you can also delay the arrival of Eb b.25 (making it appear only on the third beat).

 

 

I hope it was helpfull 

 

 

m24.GIF

Edited by Paul Orsoni

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9 hours ago, Paul Orsoni said:

Hello, 

Nice minuet that you wrote !❤️

Concerning your "unmodulation" concerns b. 22-25 although the modulation is quick it works well however b.24-25 E is in contradiction with the Eb that surround it wich is called a "false relation".

E enters in conflict directly with the Eb before it but is also immediately rejected by the Eb after it. 

To avoid that you can either replace E by Eb or includes E in your right hand b.24. If you keep E you can also delay the arrival of Eb b.25 (making it appear only on the third beat).

 

 

I hope it was helpfull 

 

 

m24.GIF

 

Thank you for your kind words and feedback. When i used the E natural in place of the E flat i had in mind the 'dominant of the dominant' but now that youve pointed out the surrounding E flat i agree its a bit odd and probably better to keep the (ii V7 I) progression.

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