Two movement piano piece in D Major

Any and all feedback is greatly appreciated.

Please note that some of the grace notes are written like they are due to a better playback performance.

Any advice on what the genre is? When it was just the first piece it was a Bagatelle, but now I’m not sure

This is bright and fresh throughout, and plenty imaginative.  If you ask me, this feels like a Sonatina.  

In the first movement, you give the oom-pa-pa a break just in time before it get gets monotonous - even Viennese waltzes break this rhythmic figure occasionally. 

I'm guessing that staying close to the tonic key is part of your style, but I think both movements could use more modulation to other keys in the course of the piece to freshen to tonal palate.  Also, the first chord in the left hand of the very last measure is strange to me...consider making it an octave D instead of A.  It will solidify the finality of the ending.  

Good job!

I also find it to be a very imaginative piece that maintains a great deal of expressive coherence in terms of motifs and developments.

Hi @Alant,

The chord progression sounds familiar but this one is quite interesting to listen to when you use different variation techniques. Just beware of some playability issues: the left hand passage in b.136-137 is barely playable and the constant 32nd notes at the end for the right hand would be quite difficult and exhausting to play. Thx for sharing.

Henry

On 1/16/2026 at 4:16 AM, J. Lee Graham said:

This is bright and fresh throughout, and plenty imaginative.  If you ask me, this feels like a Sonatina.  

In the first movement, you give the oom-pa-pa a break just in time before it get gets monotonous - even Viennese waltzes break this rhythmic figure occasionally. 

I'm guessing that staying close to the tonic key is part of your style, but I think both movements could use more modulation to other keys in the course of the piece to freshen to tonal palate.  Also, the first chord in the left hand of the very last measure is strange to me...consider making it an octave D instead of A.  It will solidify the finality of the ending.  

Good job!

 

I don’t have an aversion to modulations I just don’t have much experience with them. Were there any parts you thought could use it specifically? I was thinking maybe around 1:00 and 2:45 (measures 41 and 126)

2 hours ago, Alant said:

I was thinking maybe around 1:00 and 2:45 (measures 41 and 126)

Yeah, like the two places you quoted, b.41 can be modulated to G major with the constant Mixolydian C natural throughout the piece, and D minor in b.126!

This sounds like an interesting and inventive subversion of a waltz.  I'm curious why you describe it as two movements, though.  I guess you're considering a new movement to start at m. 106, but it's in the same tempo and style.

Also, you probably know this, but the stuff in the right hand at m. 158 and forward would normally be written as tremolos.  I assume you wrote out the notes so that the notation software played it back correctly, but in such cases I'll usually prepare separate versions of the score for playback and for display.

On 1/18/2026 at 2:22 PM, Alant said:

I don’t have an aversion to modulations I just don’t have much experience with them. Were there any parts you thought could use it specifically? I was thinking maybe around 1:00 and 2:45 (measures 41 and 126)

@Alant Both of those spots would be excellent, especially 41.  

This is a  charming and very imaginative work.  To my ear it's a bit Jazzy with a Gerhwinesque flavor.  It was delightful to hear.  

Mark

I have a question about dictation. I’d like the melody that appears 25 seconds in  (measure 17) to have a more “jumpy” rhythm. This is the audio of how I want it to sound. Basically some parts (like measure 19) are little quicker and come in a little earlier. Is there a way I can write this in the sheet music? Any help is appreciated.

On 1/18/2026 at 4:34 PM, Henry Ng Tsz Kiu said:

Yeah, like the two places you quoted, b.41 can be modulated to G major with the constant Mixolydian C natural throughout the piece, and D minor in b.126!

 

Can you clarify what you mean by “constant mixolydian C natural throughout the piece”? It goes over my head, do you mean stay in G major and go back at b.126?