Sonata-Allegro, Movement I; written in historic Classical-Era style

How's it happening, YoungComposers community,

Would you all like to casually take note of all the potential historic inaccuracies of this suite's movement? 😁 (I have two.)

edit - Just to clarify, my inquiry above was tongue-in-cheek; it's not ALL I was looking for in this piece's discussion. You can make any kinds of comments, suggestions, constructive criticism and any such responses as you feel you like to contribute.

3-movement Alto Piano Trio Suite in G - Jubilant Hall for the Dance of the Giants - Movement I - Evening's Entrance (Sonata-Allegro).pdf

Edited 1 hour ago1 hr by ARCMusicPublishings

You managed to get my attention with that other thread, so i thought i’d spend some time looking at your work.

First impressions: Sounds late viennese at times Schubertian.

From its title, it is programmatic? You are depicting a specific scene to music, something to do with giants dancing? What kind of dance is this?

Second, you mention this is in the “classical style”; my question with respect to this is whether you’re aiming for an authentic classical style or more fluid (neo-classical). I feel this is an important question relevant to the feedback you may be seeking.

As for the music itself, you’ve done well to develop your ideas. On first glance I didn’t detect any stand-out issues with the voice leading.

I did also feel the Viola-bass pairing not only unusual but ineffective. I understand that pairing is very rare in the repertoire, probably because composers preferred treble/bass pairing to access a wider range in pitch. It may well be due to the MIDI quality, although it was at time difficult to hear the distinctive voice of either the bass or viola when together.

Finally, you could look to spice the piano part up a little more. It is largely effective as it is, but you could expand its expressive capacity as a third voice in the dialogue. But if you wish it to be primarily supportive that is fine.

Edited 21 hours ago21 hr by Markus Boyd

Lots of points to address here!

14 hours ago, Markus Boyd said:

First impressions: Sounds late viennese at times Schubertian. From its title, it is programmatic? You are depicting a specific scene to music, something to do with giants dancing? What kind of dance is this?
Second, you mention this is in the “classical style”; my question with respect to this is whether you’re aiming for an authentic classical style or more fluid (neo-classical). I feel this is an important question relevant to the feedback you may be seeking.

I was going for upper Classical era (1775-1799), but I can see a bit of Schubert era in it; perhaps not in the modulations I used but in the texture and techniques.
(Modulation: I strictly stayed away from modulation by Chromatic mediant and heavier use of the chromatic scale. That would have occurred decades later. I did, however, stick to borrowed Major-minor and common dim. sevenths; both of which were highly characteristic of Piano Sonatas of the era!).

As far as whether my music is absolute or programmatic: one may say it's in a grey area between. I do hope to paint a loose narrative at best. The rest is simply left to be enjoyed for the music it is.

14 hours ago, Markus Boyd said:

As for the music itself, you’ve done well to develop your ideas. On first glance I didn’t detect any stand-out issues with the voice leading.

Thank you. And, cheers!

14 hours ago, Markus Boyd said:

I did also feel the Viola-bass pairing not only unusual but ineffective.

The MIDI was indeed a little distorted. So, hopefully, that does clear up a lot of any questioning areas that you may have found. Otherwise, I suppose it would behoove me to ask specificallywhere you particularly saw issues with this ensemble's effectiveness. If limited range, as well as the DB playing too fast in its 'Altissimo' range where it wouldn't speak like the Cello, are it, I am completely aware of these issues; and have made revisions to an earlier addition that hopefully address them decently. Though, I am still open to addressing any lingering and persisting issues that may still be there.

That aside: It was very much my knowing someone would say this that actually drove me to be a passionate Viola composer; and to develop the Alto Piano Trio ensemble to begin with. 😁

The Viola is, from my understanding, still an under-represented and continually under-appreciated instrument; in the orchestra and in general use. (Though, thanks to the classical movement that I am a part of to promote it, representation has improved since the Classical.) The Double-Bass is not too far from that same boat. And thus, my hope to see ever-changes to that gave birth to this ensemble. (As one Violinist, who actually supports my vision and mission, had light-heartedly told me: "You don't need to write anything more for us. We have enough Piano Trios, Violin/Cello Concertos, Violin/Cello orchestral solos, Violin/Cello Sonatas, Violin/Cello string duos, String Quartets featuring Cello/Violin I, etc. to last [Violinists/Cellists] a lifetime".)

Edited 6 hours ago6 hr by ARCMusicPublishings

@ARCMusicPublishings

By ineffective I was referring to areas where there is less spacing between the soloists (for example the passage starting bar 9).

I do get your point about the viola being underrepresented, although my broader point was its pairing with a bass string instrument. That is unusual for the reduced range of pitch exploit.

Regarding the engraving, there are a few things I’d like to ask. The note stems you use are sometimes joined between the bass and treble. Also some of the note values are written counterintuitively. For example, bar 50. The A in the db lasts a whole note, but is tied a dotted quarter note, quaver and minim. The viola also has a tied A across two quarter notes while effectively lasting one half note. I wonder whether this has something to do with the way you input the notes - perhaps you’re using a midi keyboard into which you play, and the computer inputs the notes on the stave?

Last thing to mention, in that nice motif from Bar 17 that is repeated once, you could vary the dialogue slightly with diminution when repeated - perhaps in the piano part - as a way to intensify the passage towards the cadence. It’s just a suggestion, but it’s something I personally would look at.

Edited 9 minutes ago9 min by Markus Boyd