1 hour ago1 hr Hi everyone! I'm currently working on a 4 movement Piano Sonata in E minor, and I've already written the first movement, at around a little over 10 minutes in length alone. Im 15 years old, and although I'm a classically trained pianist studying at the peabody preparatory, I'm a self taught composer, so I'd appreciate any feedback on notation, structure, and really anything else that could benefit the piece, which could help me refine further. The piece is in sonata form, with the A and B themes in the exposition both lasting from m.1-163 (A - m.1-82, B - m.83-163), a development section (with a brief 24 measure Fugato on the main theme from m.21-37) lasting from m.164-219, and then the recap from m.220-293. The piece goes through many modulations, occasional complex polyrhythms, chromaticism, complex late-romantic/impressionist harmonies, cross-staff textures, delayed resolutions, distant key relationships, using "deceptive" major keys, and it ends the exposition in B major, the dominant, rather than G major the relative major. The development begins with the fugato in D# minor, and then after going through A# minor, G# minor, Ab major, breaking the fugato, and E major, it begins the recap back in E minor, moving through a few more keys to finally reach E major in the end. For this sonata, I'm very inspired by liszt (both his more virtuosic showpieces and his more introspective late works), especially with how he uses thematic development and combines "mephisto" drama with lyrical spirituality. In the beginning of my piece, you have the main motive of the entire piece, what I call the "B octave motive", since it's just octaves in both hands repeating the note B, but this single motive (both rhythmically and melodically) can be found in almost every section of the piece, from the tempestuous A theme, to the spiritual, watery and flowing B theme. The polar opposite contrast between the A and B themes creates both immense technical and musical demands for the performer, while still being idiomatic.Additionally, many of the ideas in this sonata, come from my own improvisations over the years, which I think helps give me a little bit of a distinct voice, but I'd like to know the perspectives of others. As I already mentioned, all feedback is appreciated!Note: the first link is me playing a slightly cut version of the exposition, and links 2 and 3 show me playing the parts I cut out from the first link. Links: https://youtu.be/MyptBsYMNiwhttps://youtube.com/shorts/-kIa8oVrUg4 https://youtube.com/shorts/_eLFRSilBzs https://youtube.com/shorts/_lOHz4Nz5qE https://youtu.be/qlEPGqwAq64 Piano Sonata in E Minor - Full Score.pdf
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