Piano Sonata in C

hello amir1057-

If you want to write a classical sonata of three to four movements in this type of style, I'd recommend looking at some Beethoven or Mozart sonatas, they will be better teachers. Writing a baroque prelude first that sounds like a fugue should follow, then a classical period rondo, then a beethoven-ish adagio is a very odd layout. Odd layout isn't a problem, except when the music within each section is a bit cliche for the time period with nothing new. Then I wonder where imitation ends and art begins within it. The overall effect is scattered, I don't sense any connection between them, and am left cold. Please read on, I'm not trying to bash you, but to help.

I'm not willing to say that you purposefully stole something from Bach. I came up with a melody I loved once, played it for a friend, and it turned out to be identical to a theme in a Wagner piece I hadn't heard. I was upset about it, but the fact is I can't use even though it would have had a different character. Your progression, melody, and character in the prelude is far too similar to one of the most well-known works by Bach (and of all time) for you to be able to use it even if you didn't know, plus the structure is nearly identicle. Your weaknesses only will be what is heard, that's just a fact. So, my suggestion, if you haven't heard it, is to study his first prelude in C. It will show you how an extremely similar progression/mood of arpeggios can be used in a very masterful way. I'm afraid beyond a study however, you simply can't use it because no one will hear it without thinking of a masterpiece, which i hope you will agree is miles above this prelude-and that's nothing to feel badly about, it's BACH! And actually, if you erase everything except :40 to :53 and develop it in a different direction entirely, you may have something.

I have to go now, I may review the others when I have time. Have a good day/night

please tell me about technical problem of my sonata (if you know naything about it) and dont write childly.

and remember, i dont have any plagarism

We do know something about it. And you DID plagarise with the Prelude, it's NEARLY IDENTICAL to Bach's Prelude in C. Saying that we don't know anything is like saying that your better than everyone. And being honest is not being childish, I gave you an indepth review of all 3 movements, I happen to know a bit about music, and plagarism is one of the easiest things to spot. Even a younger member can spot it (no offense Mark) From a technical standpoint, your sonata is fine, but it's the plagarism that all the commentators hate.

dear ma2 yes i'm agree with you about sonata layout..

thanks dear sevanism for comment, ofcourse i heard-and played- that prelude and fuge, but i didnt expect Upbraided plagarism...

a prelude with slow tempo in first movement and then a piece with allegro form and the finally an andante piece, i compose this sequence because of i needed to know what do people feel when we dont use a fugue after the prelude and using a prelude as first movement of a sonata i thought it could be nice....well, i was wrong

how is your believe about the little modulation from C major to C minor ? did u attend that ?

and finally dear will,you continue your snoop *lol*

I will leave a comment on each of the 3 movements

On the Prelude

dude, you totally plagarised Bach's Prelude in C from the Well Tempered Klavier, seriously, that was terrible, I suggest using an idea of your own next. The Harmonic ideas are parallel of his in the right hand, and the left hand is terrible, you probably should have just let that piece slide without posting it.

On the Rondo Allegro

Ok, this was not as bad in terms of plagarism, you pretty much copy one idea from the first of Clementi's Sonatinas and do some ok things with it. In my opinion, again, try to use an idea of your own instead of copying other composers, that's just lazy. I also would suggest researching a way to strengthen your melodies and harmonies and such, because in this piece, they are quite weak.

On the Adagio

Again, this sounds incredibly familiar. But I would have to agree with the other two commentators that the piece is FAR better than the previous two movements. Enjoyable to listen too, although I found it was lacking alot in terms of harmonic variety, and that the melody seemed weak alot of the time throughout. But this piece is far better than the previous two.

Sorry to be so brutal, but that's my honest opinion

Will K

this piss me off a lot...

how could you accuse him of 'plagarism' when perhaps he is not even aware of it...:P

Wait for 2 seconds pal. I happen to like Nico's music, J Lee's. And a few others here. You really shouldn't accuse others of wrongdoing simply because you don't agree. If I were to say anything about you, I'd say you don't seem to know plagarism when you hear it. Too much weight? Sounds like you were describing yourself. You obviously know nothing about reviews, Review's and comments are supposed to be honest opinions and honest criticism. You can't water everything down and tell them that what they're doing is fantastic. On the other hand, it's a better idea to be honest and offer constructive criticism. When I first came to the site, I got bashed numerous times. Why? Because I was still learning, but I didn't really care, I learned from what they told me, what they didn't like. And made it better.

and here you talk about constructive criticism?

please u ve only attacked him accusing him of plagarism. :P

concerning the piece, u just needed to modulate a bit in the rondo , thats my only critique.

yes dear javileru, you're right

thanks for suggestion

and here you talk about constructive criticism?

please u ve only attacked him accusing him of plagarism. :P

I did, you obviously didn't read my earlier post.

I could scallop at you, but I think I'll let my music prove my point by comparison.

How mature of you Nico :w00t:

i did it before young N.S.

i mean i heard

ok young N.S. just get relax

and thanks every one for comments (absurd or useful);

anyway you friends were review my piece and it's very very valuable for me.

i hope u did'nt waste your time with listening my sonata

young as I may be, don't talk down to me like you're doing. That's extremely belittling and degrading. It's kind of funny how someone so "young" can prove you wrong, isn't it?

let me add weight to "young" Nico's review of your piece:

I agree whole-heartedly with his assessment of the "sonata".

he hit the nail on the head, I don't think I could have written the review any better.

now, before you get upset at ME for being young and unknowledgable, I am a professor of music, with 2 university degrees in composition, am in my mid 40's, and compose adn conduct for a living.

So I guess you can't dismiss my opinion as easily... well, you probably can, but then you'd be missing out on a learning experience.

I'd like to add to Nico's review:

Yes, you may have done so subconsciously, I'm sure I've done that in the past myself without realizing it, but you DID basically rehash Bach's C major prelude from the Well-tempered Klavier... though not quite as interesting as the Bach version.

The rondo is "tonal", yet it is full of parallel octaves, faulty harmony, errors of counterpoint, and, basically, it's rather dull. It goes nowhere.

Unlike others here, however, I didn't care for the adagio either. I found the same sort of harmony error throughout that movement as well, and those were just too distracting to get past.

****

My advice would be, and I seem to repeat this often to people, watch how your melody (soprano) interacts with the bass part. If they are parallel too often, or come to the same resolutions in the same direction, all the time, it gets incredibly boring. It removes any sense of "harmony".

If you can play ONLY the soprano line and ONLY the bass line and it is STILL harmonically interesting, then you are doing something right.

If you play the soprano and bass lines only and it is BORING, then no matter how much stuff you stick in there between them, it will STILL be boring... just noisier and boring.

Avoid having your soprano and bass lines play in unison (octaves, etc...)

Avoid the simple common counterpoint errors between those parts (parallel 8ves, 5ths, direct 8ves, 5ths

Be sure you are not leaving any dissonant notes unresolved if your music is not entirely BASED on non-functional harmony.

I'm 17, M is D is older than me. Jen is 17 (I think)

And we do happen to have some knowledge.

Face it bro, you plagarised, and now you're getting burned for it

Actually I'm 13 :-P

And I totally agree with you and Nico, Will.

Actually I'm 13 :-P

Oh hehe, My bad :cool:

thanks professor of music with 2 university degress :rolleyes:

Amir, you should really learn to be more open-minded. Not everything you write is going to be perfect all of the time.. not everything you write will be even close to perfect. You have to accept all the criticism you get, because if you never do, you'll have a bunch of mediocre pieces, which is perfectly okay if you're satisfied, but don't get angry at someone for giving their honest review if you ask to have your piece reviewed. Would you rather us lie and say it was amazing? :( I also agree with Nico and Qccowboy.