Bagatelle in C-sharp minor

A classico-romantic piece I composed just in my leisure. Constructive criticism is warmly welcome 🙂

Very enjoyable and readable beginning and delightful small variation of the first passage. I feel something brusque in M37, probably that 10º interval you do without any preparation but who I am to complain about that lol. It just kicked me a bit off the mood the piece was giving till that point but that's just a subjective opinion.

Why did you decide to change the key for just a few bars? Did you want to avoid double-sharps perhaps (but you use them later)? That sudden change without preparation again didn't kick me off that much but perhaps the transition could be better with some of that preparation, or perhaps not. In the end, it's up to each composer's hand and mind.

The 2nd volta M(58-63) is very likely my favourite part of the bagatelle along the first section that happens to be repeated just next to that part! Epic.

Definitely enjoyed it, and definitely gonna like and subscribe =).

Kind regards!!

3 hours ago, Omicronrg9 said:

Very enjoyable and readable beginning and delightful small variation of the first passage. I feel something brusque in M37, probably that 10º interval you do without any preparation but who I am to complain about that lol. It just kicked me a bit off the mood the piece was giving till that point but that's just a subjective opinion.

Why did you decide to change the key for just a few bars? Did you want to avoid double-sharps perhaps (but you use them later)? That sudden change without preparation again didn't kick me off that much but perhaps the transition could be better with some of that preparation, or perhaps not. In the end, it's up to each composer's hand and mind.

The 2nd volta M(58-63) is very likely my favourite part of the bagatelle along the first section that happens to be repeated just next to that part! Epic.

Definitely enjoyed it, and definitely gonna like and subscribe =).

Kind regards!!

 

 

I couldn't thank you enough and I am glad you enjoyed it. I appreciate your criticisms and I feel they are valid. However, I did want the fast passage to be sudden and without preparation to symbolise sudden agitation out of dreamy melancholy. Regarding the key switching, I did not do it as any symbolical means but just to make a creative use of the neapolitan chord as a pivot point and then figure out a way to return to original key using rising diminished chords. It was mostly a technical decision. However I do think that the passage in the new key should have lasted longer. Many thanks again for listening!

It really is a lovable piece, especially the beginning, having the aura of Chopin's nocturne. The agitated middle section is also effective enough. C sharp minor is my favourite key and I love almost every piece in c sharp minor.

I wonder if the time signature of the slow section should be 3/4 time rather than 6/8 time, because I feel like it's more in simple triple meter rather than compound duple meter.

4 hours ago, Omicronrg9 said:

Why did you decide to change the key for just a few bars?

I agree with @Omicronrg9that it's weird to change key just for a few bars.

44 minutes ago, ComposedBySam said:

However I do think that the passage in the new key should have lasted longer.

I agree with your reflection that the agitated passage can stay longer in g minor to provide more contrast, because it can create a dramatic with the neapolitan chord of D major suddenly reinterpreted as the dominant of g minor. Another option for me is just don't modulate to g minor, because I already find the agitated passage from bar 49 onward in the original key of c sharp minor enough to provide to provide contrast with different mood, meter, dynamic and texture. But it's up to your intention.

53 minutes ago, ComposedBySam said:

However, I did want the fast passage to be sudden and without preparation to symbolise sudden agitation out of dreamy melancholy.

I think the effect is dramatic and good with clear intention and knowledge of modulation and harmonic progression, only the passage in g minor is too short.

For the chord progression from bar 61-62, I will put the full dominant chord of c sharp minor, G sharp-B sharp-D sharp-G sharp in high register of the right hand, since it's more dramatic. But that's only my personal preference, since the lone D sharp also creates great effect for being lonely and in solitude.

My favourite part of the piece is the slow sections, because it is my favourite key!!

8 hours ago, Henry Ng said:

It really is a lovable piece, especially the beginning, having the aura of Chopin's nocturne. The agitated middle section is also effective enough. C sharp minor is my favourite key and I love almost every piece in c sharp minor.

I wonder if the time signature of the slow section should be 3/4 time rather than 6/8 time, because I feel like it's more in simple triple meter rather than compound duple meter.

I agree with @Omicronrg9that it's weird to change key just for a few bars.

I agree with your reflection that the agitated passage can stay longer in g minor to provide more contrast, because it can create a dramatic with the neapolitan chord of D major suddenly reinterpreted as the dominant of g minor. Another option for me is just don't modulate to g minor, because I already find the agitated passage from bar 49 onward in the original key of c sharp minor enough to provide to provide contrast with different mood, meter, dynamic and texture. But it's up to your intention.

I think the effect is dramatic and good with clear intention and knowledge of modulation and harmonic progression, only the passage in g minor is too short.

For the chord progression from bar 61-62, I will put the full dominant chord of c sharp minor, G sharp-B sharp-D sharp-G sharp in high register of the right hand, since it's more dramatic. But that's only my personal preference, since the lone D sharp also creates great effect for being lonely and in solitude.

My favourite part of the piece is the slow sections, because it is my favourite key!!

 

Thanks for the much appreciated detailed feedback and I am grateful to you for listening to it and finding it lovable! I do tend to agree with your criticisms which are most reasonable. Thanks again 🙂