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Hey Aaron,

It’s nice to see you try ternary form and a waltz! I see that you love using triplets, maybe you can semiquavers for the opening figure! That will make it smoother with G F E D C!

For the Allegro I think you wanna try new things, but b.3 is quite weird for me! The E natural Db augmented plus the Gb bass reminds of Middle East music! Why not use Eb instead and Db in the next bar to hint Bb minor, before getting to B major in b.5?! Nice sequence for b.9-12, but I imagine one more will be in G minor before having a half cadence on B major and then get back to B major like what you do in b.13! Thx for sharing!


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21 minutes ago, 44W74l4 said:

If i remember correctly it's called a german doubly augmented sixth chord

I heard it a lot on works that were in minor keys

So maybe thats why it sounds strange to you in major

It's indeed a German sixth chord with Gb, Bb, Db and E, nice try on that! But the melodic usage of the augmented second between Db and E seems strange to me! Maybe you can instead having the Db in LH and just leave the E on RH! The resolve is correct tho to a I 6/4 chord!

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4 minutes ago, 44W74l4 said:

Yeah if i dont do that the rules of counterpoint are going to kill me because  perfect consonances dont vary in harmony so if u keep repeating them its boring but sixth and thirds can vary

theres a fifth between the Db and Gb  and a fifth between the F and the C 

Yeah in fact that’s the topic in Brahms article “Mozart’s Fifth” when Brahms noted the parallel fifths used by Mozart during the resolving of a German sixth to a dominant chord. It may be more permissible if it doesn’t involve the outer voice. Or some composers may turn the German sixth to an Italian sixth in the last second to prevent that parallel fifth while still using a V chord after it!


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