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Found 9 results

  1. Hello, everyone. I am new to the forum and decided to share my most recent composition for solo piano in three part sonata form. I am looking forward to your reviews. This piece displays the current evolutionary stage of my musical language - where I'm at regarding expressive capabilities, structure, how I handle development and so on and so forth. I hope you enjoy or at least that it triggers an aesthetical response of some sort which in turn would mean that it has inherent artistic value. P.S. I put a bit of effort in producing a visually appealing score video too. It would definitely help
  2. Many classic forms were adapted in the 20th century. New ones were invented. Messiaen's musical world is amazing. Check what intervals are the best for him to build a cadence! Regarding the sonata, he says: "having written some absolutely regular sonata-allegros, we shall state that one thing in that form has become obsolete: the recapitulation. Then we shall try once more to keep what is most essential: the development. there are two in a sonata-allegro: the middle, modulating development; the terminal development, generally built over understood dominant and tonic pedals. We shall
  3. Hey Im writig a piano Concerto and have hit writers (Composers) block. i'm not convinced with the section at the end which would be the transition to my second subject. any advice welcome. ( i Know i haven't actually put the piano in the score.)
  4. I had this idea come to mind a few days ago. What if I combine the Waltz and the Sonata into a single piece? Since I already wrote several sonatas, I figured I would emphasize the Waltz part of this piece by constantly having a waltz-like bassline. I have finished the exposition of this piece. I made the first theme be more scalar in nature and the second theme have more arpeggios to provide melodic contrast, since the bass couldn't really provide much contrast besides key, being a waltz and all that. For the transition, I started in F major and then went to C major and then went back and fort
  5. Hello everyone! I've just posted my latest (and hopefully greatest) work yet. It's a Sonata for Oboe and Piano, which I've beew working on for the past month. The first and second movement took me 3 days to write, altought I altered them quite a bit. The last movement actually took a few weeks, as I had to experimetn with polychords (I had never used them before). Also, thank's to @Monarcheon for posting the masterclass on polychords, that's what stroke my interest on them! After listening to it various times, the image of a warrior that was cast on to an adventure, in wh
  6. So I decided that since it might be a while before I get any further progress on it, that I would post what I have so far of my bagatelle. I am composing a bagatelle and it is turning out to be sort of a hybrid between your typical bagatelle and a sonata. However, even once the piece is finished, it would be too short for me to put Sonata in the title(5 minutes at most, that isn't long enough for an entire sonata). I mean, I guess I could call it the Sonata Bagatelle but then the title would be confusing. Here is how I was planning things out. I was planning to do it in rondo fo
  7. Hi all, Been working on this for a while as an exercise in sonata form and, specifically, development. Since it was an exercise, I kept the language very tonal so I didn't have to worry about dealing with more contemporary techniques. Would love to know what you think. Thanks!
  8. What specifically do you do to plan out a development section in sonata form? Should the modulations and the order of the themes/fragments follow any sort of predesigned logic (other than 'mix them up')? The keys that should be used are mainly what's bothering me, mostly because my modulations tend to sound forced to me, especially in the development section.
  9. Hi, I'm new here, so forgive me if I'm doing something wrong. I'm writing a sonata-form movement in Romantic style (Schubert, Brahms...). I've written: 1st theme (8+8 bars), ending on i (G min) transition (G min >> Eb) 8 bars of the 2nd theme (starts at bar 57), ending on V (Bb major chord) However, I'm stuck here. :dunno: I've just moved from a classical to a romantic style, and the proportions are bigger. I know I should write something looser and more lyrical here, and it should be roughly 50-60 bars long for balance. I could use more than 1 theme (?), and perfect cadence
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