Figuration in middle voice - Variation on a theme by Weber.

(apprentice) Here is a variation on a motive by Weber (B flat major) with figuration in middle part, as an exercise (ch64, 4.6) from the book 'Material used in Musical Composition (1909)' by professor Percy Goetschius. I have extended it with 2 variations/repetitions.

March 7, 2026 update (attached v3c): I have modified the beginning of the original figuration and took freedom of more variations. I took care of accented 8ves (now I understand how dry they sound!). I deleted the old mp3 but left the pdf for comparison. I have put in red the oblique octaves (at bars), and in orange the accented melodic 4ths. 

Edited March 11Mar 11 by Frederic Gill
update

A beautiful piece with particularly harmonious interest.
It needs to be completed with dynamics and accents.
With that, the fact that the accompaniment pattern does not vary would not be such a problem, as it is a little monotonous as it stands.

Thanks for your feedback. I'm here to have peers pointing at flaws that I have not noticed yet. This way I can improve faster. I don't consider figuration as a true accompaniment, like the counterpoint in bass. The aim of the exercise is to keep the (imposed) figuration (in the middle voice) mostly constant throughout the piece, so that it doesn't distract from the melody and the counterpoint. All but with some changes at key points, to avoid monotony. Which I did. I found that 3 variations of the motive with that fast & complex figuration was enough. All my exercises so far are without dynamics or accents, and for sure they lack it and are just exercises, not finished pieces. Yes there was a lot of harmonic potential to develop from this motive. In the same exercise, I had 2 other figurations to apply with that motive, but it is this figuration that made a strong effect on me. So I wanted to explore and develop the harmony the way it makes sense to me.