Waltz No.3 in G Minor for Piano

Hello everyone!

I decided to wrap up and record at the piano a short waltz theme that I posted in the "incomplete works" forum recently.
I found the theme quite complete by itself so I ended up adding only a coda (relatively long, so it works also as a second theme in some way).
I also modified some harmonies, inner notes, and decreased the tempo quite a lot (from 120 to around 90) since I think the theme sounds better like that (and the coda would not work at a fast tempo).

The sections are:
m.1~16: A theme (antecedent) ending in HC
m.17~32: A theme (consequent) ending in PC
m.33~49: Coda (based in initial quarter note motive)

I tried to record it in one go (instead of doing several takes and mixing them together) so I also share the video I took.
I was planning to practice it for longer, but the trill is quite hard and I realized that if I want to play it perfectly, I probably need to go back to it in the future after several months.
Also, I played it quite okay every time... until the camera was on, then random mistakes started happening hahaha.
As a result there are some mistakes, particularly in the dynamics, trills, and in the coda, where I rushed too much (on top of that, I accidentally played a wrong note too).
The audio for both the score and live videos are the same.

Thank you and any feedback is more than welcome!

Edited Sunday at 06:32 AM2 days by JorgeDavid

Hello,

What a wonderful waltz.

I listened it to 4-5 times now, and each time at 0:23, or measure 11....the Bnat in your right hand, really clashes with the Bb in the left hand.

In that same measure (11) and in measure 15, you do this thing where you have like a power chord going on....G in LH and G-D in right hand. Sort of feels out of keeping with the lovely sophisticated, I'm in a Cafe in Paris feeling smoking a cigarette reading Camus sort of feeling that you got going on otherwise.

In measure 11, I personally "feel" a Gminor9 chord sort of voiced in a way where it's clustered together. But I realize that that may or may not work with what you have right after (going into the Cmaj). Perhaps, just nixing the Bnat and keeping it Bb. Anyways, that's how the piece sounds to me...just this one place that seems out of place.

Really digging the chord/atmosphere at measure 37.

At measure 40, you play a F# I think that's not in the score? Maybe it was an accident/improvisation, but I like it! Perhaps you could expand on the idea since I believe that this general idea has not come up in the music yet.

@JorgeDavid Well done, that was excellent! The second half is particularly moving. I felt like it really built up the drama and peaked in a very satisfying way. You’ve got a really nice touch, both in the composition and performance.

Here’s my only recommendation: break up the accompaniment rhythm here and there. It will give the piece more character if the accompaniment is just a touch more rhythmically interesting. I’m only talking about rhythm, not the notes themselves. Even a small rhythmic change can have a big impact.

For example:

Instead of boom chuck chuck, boom chuck chuck, boom chuck chuck, boom chuck chuck…

You might try boom chuck chuck, chuck boom chuck, chuck chuck chuck, boom chuck boom (rhythm repeats).

The boom is the bass note and the chuck is the chord. You could keep all your same luxurious bass notes, but just alternate slightly where those bass notes hit. You may even find a configuration that sounds so delightful, you can use it throughout the piece as a motif.

Anyways that’s just a thought. Even if you keep it as is, it’s already lovely! Nice job.

On 9/21/2026 at 10:14 AM, Grant Weep said:

Hello,

What a wonderful waltz.

I listened it to 4-5 times now, and each time at 0:23, or measure 11....the Bnat in your right hand, really clashes with the Bb in the left hand.

In that same measure (11) and in measure 15, you do this thing where you have like a power chord going on....G in LH and G-D in right hand. Sort of feels out of keeping with the lovely sophisticated, I'm in a Cafe in Paris feeling smoking a cigarette reading Camus sort of feeling that you got going on otherwise.

Thank you so much listening and the feedback, @Grant Weep !

I have been listening to the sections you said attentively and I think I know what you mean.
Regarding the Bnat, I personally like it there, and I like that harmonic/melodic movement, but thanks to your comment I realized that I did too much crescendo there. I should be played only a little louder, but I play that crescendo to the Cmajor chord even louder than the Half Cadence. I think that might affect negatively the first section of the piece. I will try practicing that crescendo softer to see if, for the next time, I manage to make that part sound smoother and less out of place.

Regarding the power chords, I used those there for inner melodic reasons. You are right that they sound a little hollow, but I think I like the one in m.11, but in m.15 I might add the third to the right hand for next version. Thanks for pointing those out!

On 9/21/2026 at 10:14 AM, Grant Weep said:

At measure 40, you play a F# I think that's not in the score? Maybe it was an accident/improvisation, but I like it! Perhaps you could expand on the idea since I believe that this general idea has not come up in the music yet.

Yeah, that was an accident, but since it did not sound too bad I let it stay. I also think it sounds kind of nice the more I hear it. I will consider whether leaving it and maybe reusing the same idea somewhere else or getting rid of it!

Thanks for the comment!

On 9/21/2026 at 2:29 PM, Seni-G said:

@JorgeDavid Well done, that was excellent! The second half is particularly moving. I felt like it really built up the drama and peaked in a very satisfying way. You’ve got a really nice touch, both in the composition and performance.

Here’s my only recommendation: break up the accompaniment rhythm here and there. It will give the piece more character if the accompaniment is just a touch more rhythmically interesting. I’m only talking about rhythm, not the notes themselves. Even a small rhythmic change can have a big impact.

Thanks for listening and commenting, @Seni-G ! I am glad you found that it slowly built up. It was one of the main things I put effort on since it was such a short piece, and the addition of the Coda was mostly for that same reason, as I felt the piece needed a little extra build-up/release with the main quarter note motive.

I really liked your idea of the accompaniment, specially I might experiment with it during the coda since that is where the rhythm is freer and most of the notes of all chords are static, so it is a good place for testing it out. Thanks for the idea!

Thank you!