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Found 35 results

  1. 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 which he met various conditions and exotic creatures really fit the mood, so I decided to name the movements accordingly. So, here's the link to it! As always, feedback is greatly apreciated. Best wishes, Jean.
  2. Hi! I'm new here. I would be pleased if somebody gives me some feedback to this pice, is the last movement of a sonata for two pianos I'm writing: 3rd Movement Finale: Allegro Maestoso (3).mp3 Allegro Maestoso (1).pdf I advice that the pice it is not finished and that the coda is temporary. The sonata is called "Emperor " because is inspired in those gigantic paintings of battles. For creating the sensation of movement and horses moving there is this rhythm appearing most of the time in the pice: Thank you! 🙂
  3. I'm not finished writing this sonata yet, but I have finished the exposition of the first movement. As you can probably tell by its nickname, the inspiration to write this sonata was Franz Joseph Haydn. This is my first sonata for a duet that actually has a finished exposition. I finished the exposition of the sonata in an hour. I know Haydn is humorous, so I tried to be humorous with my sonata. There are a quite a few surprises in the exposition that I wrote. Here they are: Bar 5: Sudden entry of the flute and absence of the piano Bar 6: Sudden reentry of the piano Bar 10: Short diminuendo, like the theme isn't quite done yet Bar 11: Short staccato variant of the theme over a syncopated bass Bar 14: Sudden forte cadence, theme is now finished Bar 15: Piano dynamic in transition material right after a cadence at forte, sudden absence of the flute Bar 21: Forte dynamic when transition material is taken up an octave, flute comes back Bar 26: Piano dynamic yet again, descending trill motive Bar 41: Very busy texture as the repeat comes closer Bar 47: Sudden change in texture, sudden dynamic change as it repeats I'm wondering, is my sonata exposition Haydnesque in its nature? I tried to get a Haydnesque feel to it by being more humorous than serious with the music. Anything impossible for the flutist? Does it feel like a Molto Allegro to you(tempo is at quarter note = 140 BPM)? Or should I just take the Molto off and just have Allegro as my tempo marking? The audio ends at about 2:51 in the MP3. I am working on the development section right now.
  4. I am currently working on arranging some more Mozart sonatas since unlike Beethoven sonatas that seem to get me overwhelmed, Mozart sonatas never do that. A few people suggested that I shrink the quartet into a trio in my K 545 arrangement to get a more full sound. I didn't though because save for the second movement, where I would have to do some harmonizations, I saw and heard 4 melodic voices, 2 per hand in the sonata. However, I did find a sonata that Mozart wrote 4 years before his K 545 sonata that I figured would be perfect for a trio arrangement, his Piano Sonata in C minor, another well known sonata of his. I noticed that the first movement tends to be where I get the most arrangement mistakes. A few of the triplet passages, I took up an octave to avoid the cellist having to do double duty. The violinist playing eighth notes over a sustained quarter note is one thing, The cellist having to do triplets while sustaining a whole note is a totally different story and is an impossible task. Thus, I took some of the triplet passages up an octave. The triplet passages that I took up an octave all involve a cascade from the violin to the viola before the cello becomes the solo instrument for a while. Except for these triplet passages that involve the instrument cascades, I kept everything in the original octave unless it got too low(which was rare) and then of course I would raise it by an octave to keep it in range. I missed a few slurs here and there, I will fix those in the second draft of the first movement arrangement. In the development section, I tended to have the staccato figure in octaves because it was in octaves everywhere else. Even the Coda still had it in octaves, just scattered a bit. Bars 1-185 are all the bars of the first movement. This is what I want feedback on. Are there any impossible double stops in there? Is there anything I can do about the dynamics to make it sound better? I would love some detailed feedback on what exactly I did wrong so that I can improve the first movement arrangement, and maybe have the entire second movement arranged at the same time(That did happen with K 545, I got feedback on the first movement, I improved the first movement and finished arranging the second movement at the same time). Here is what I have arranged so far of the sonata:
  5. I saw a page in this sites wiki that was suppose to talk about Sonatas. It gave me some really important information... and then stopped. It was written seven years ago. If any of you can give here a Sonata masterclass... that would be great :)
  6. Hey all! It's been a while since I posted anything, but I thought I'd mark my return with this new piece! https://www.youtube.com/watch?v=dlqDGZ5r0uw I hope you like it! Dan
  7. This is my first attempt at a piano sonata. I used a very loose sonata form to encourage experimentation with the motifs and other themes. This is also a birthday gift to my parents, whose birthdays are both in March. Movements: I. Celebration at the Festival (Variation of the Arirang theme with excitement and joy) (0:00) II. Snow Divination (Calm and soothing (like snow falling from the skies) and then with passion) (2:02) III. Dance of Vitality (Quick melodies and a feeling of vigor) (4:58) Movement III is the one that I experimented with the most.
  8. Hey, guys! I just finished work on the first movement of a new sonata, this time for oboe and piano; it was a quick two days. I was first planning a piano sonata, but I shifted my mind over to a duet like this instead, a form in which I enjoy writing the most. The sonata, I plan, will have three movements, and this is only the first. It has several main key areas/significant harmonies, and all of them are in mm. 30- 31. This is a piece with a story-without-words, with many motifs depicting the motions and movements of the eponymous frogs and of flowing and dripping water. While much of the music could have been conceived of in 6/8, the music finally transforms starting in the frog dance at m. 156, wherein first the meter changes into the easiest conceptualization of the original music, then it shifts from duple into triple (i.e. the oboe's introductory line), and finally back into compound duple as its final transformation, all the while taming the bombastic eccentricity of the previous material, as well as the shifting harmonic language and chromaticism. Let me know what you think! P.S. The type-facing is elementary and it will be adjusted in the final drafting process, when the following movements are done.
  9. Hello. As the title says, this is the first movement of my first Piano Sonata in B-flat Major. Although it is just the first movement, I consider it to be the first complete piece made by me. All feedback is welcome. Thank you in advance. And a simple analysis of it: The Exposition begins an Alberti bass in the key of B-flat minor, responsible for a contrast with the B-flat major melody. It is followed by the first subject (A1) from bar 3 to the beginning of bar 5. After a brief quarter-note pause, a variation of this subject makes a transition to the second subject (A2), which goes through bars 7-10 and then repeats itself from bar 11-13. It should be noted that there is a variation of it in bar 12, followed by a transition, as it is in the first subject. After the transition, the closing section is made of G’s interrupted by pauses and followed by an ascending sequence of A, B-flat and C. This small motif serves both as a transition to the transition (yes), and as a normal transition to the dominant. The transition (to the dominant) (bars 18-22) modulates firstly to C, then to E-flat Natural minor, to finally arrive in the parallel of the dominant key of F Minor. It should be noted that, the whole transition, which has 4 entire bars, is made entirely of a repeating sequence derived from the transition to the transition. Which shows the astonishingly amazing creativity of the composer*. In bar 24, we have our first dominant chord, followed by a descending sequence of notes, until we arrive in the third subject (B), which repeats itself. This third subject, in contrast to the other two, is not accompanied by an Alberti bass, but rather by chords, of which evokes a melancholic mood, another difference in it from the other two. It may sound rather generic for the avid listeners of film scores, of which the piano themes are always in this mood, but one should know that this comes from the composer’s heart and he has no intent of changing it for now. Immediately after the repetition of the third subject, the Development begins, still the dominant, with the returning of the Alberti bass in bar 31. The fourth subject (C), which is exclusive of the Development, modulates from F minor (parallel of the dominant) to an interchange between A minor and F minor, and creates variations of itself, while it keeps tightening until we arrive in an A minor V7 chord, of which ends the Development. In the Recapitulation, the Alberti bass comes back in B-flat minor, but this time in octaves (Bb2 and Bb3; F3 and F4, et cetera). Now both tonic subjects lose their flats, making them slightly different, not much to usual listener. The transition to the third subject is now made of two bars. The chords after it, including the descending sequence, are now without flats. The third subject, now in the tonic, loses most of its melancholic mood, and gains a more hopeful one. After it’s repetition, the Coda theme (bars 70-75) is made of a small motif from the third subject, which goes until the end, with a perfect cadence. *sarcasm.
  10. Hello! Sometimes I just need to write and write and write... without thinking about whether people will like it or not. I decided to compose a piece based on motifs. This time, I decided to compose another neoclassical composition: String Quartet No.2 ''Cuckoo'' in G, Op. 65. The music is meant as a sort of scherzo. The main motif is the sound of a cuckoo. This string quartet consists of only one movement, which is in sonata form. Feel free to comment! Maarten
  11. After several months of off-and-on work, I finally completed my sonata for clarinet and piano. I have been extraordinarily busy at work, and so my revision process has been unusually long, though it is done now. I posted the first movement (in a less refined form) a while ago, and I received some great feedback on it. I am hoping to get it performed in the spring, and I am excited to hear what you guys think. Happy New Year!
  12. Hello! Here is my latest composition with a theme, on which I have always wanted to write music: DINOSAURS! This short one-movement sonata is composed for alto saxophone and piano. I will perform this piece for the pre-study composition on alto saxophone accompanied by a pianist. The sonata is kind of programmatic: The setting is a restful valley full of dinosaurs (including tryceratops). Baby dinosaurs are playing and having fun, but then the dinosaurs smell danger. There is panic, because the dinosaurs are not sure where the predators will come from, they only hear their heavy footsteps. Suddenly an enormous tyrannosaurus runs out of the forest. A friendly baby triceratops flees and runs as fast as it can. It is catched by the predator, but luckily the tyrannosaurus has become tired. The baby escapes and all dinosaurs continue with their restful life in the beautiful valley. I hope you like it! Feel free to comment! Maarten
  13. If you've ever written a long piece of music (say 10+ minutes), or got bored trying, what inspired you to do so, and how did the creative process feel different from that of writing a short and sweet piece (say < 5 minutes)? A lot of western art music is very long compared to popular music. Are there certain things that a long piece, in your opinion, can do better than a short one? I'm asking because I have long wanted to make a long music, simply to try it and see how it changes my perspective. I've read that Sonata form (exposition > development > recapitulation) is a good solution to writing a long piece. Can you propose a thoroughly analytical explanation of why Sonata form may be such a popular choice, and are there any other large scale forms which might be equally applicable? Thanks
  14. Here is a piece I hope to compliment with two more pieces for a more complete sonata -- this is only the first movement. I've spent a while working on making my writing more concise for chamber settings, and once I actually write this whole piece, I plan on getting it performed and recorded. A large focus on this piece is varying textures and moods efficiently, as well as using the different motifs and melodic fragments to construct the music, concerning myself less with harmonic relationships etc. I've included a score in concert pitch, as well. Suggestions are helpful, and thanks! P.S. I attached a poem by William Carlos Williams, which helped me start the piece P.P.S. I appreciate all the comments, especially on the difficulty of the piano part, and when I finally incorporate this piece into a full sonata, I might re-evaluate certain places. The feedback helps a ton!
  15. I always wanted to compose a sonata of my own, and now that I got the basic knowledge of how to use the orchestra, the timing feels right. However, I don't know if the ideas I chose are good, and I don't want to finish writing it, look back and think: "why the hell did I choose these ideas". Also, my brain works in minor (by that I mean that composing in major never really worked for me) so I don't know if theme 2 is good or not. Opinions, please! Thanks in advance :PIdeas for my first sonata.pdf
  16. Hey everyone! Can you please check out my new composition? Sheet music still needs some clean up, adding letters etc. What I'm most concerned about is piano part. What do you think about it? Also, maybe there is someone who would like to test this out? Any feedback appreciated! Thank you!
  17. A sonata for flute a wrote about a year and a half ago. I still consider it pretty good which is rare for me and my "hating pieces I've written" track record. Hopefully y'all agree!
  18. I have been working on my A-level music composition on my own, as the teaching at my school for music is virtually non-existent and would much appreciate some feedback on my composition so that I can improve on my work. It is not finished yet, but I will upload it when I have fully completed it. Many thanks. Piano Sonata in D minor Score.pdf
  19. Hi everybody, The last weeks I am focussing on instrumentation and orchestration. I wanted to arrange a clear Haydn sonata for a small orchestra with 2 natural horns and 2 oboes. The full name of the sonata: Piano sonata in D major, Hob. XVI: 37. Beautiful recording by Eschenbach: https://www.youtube.com/watch?v=b6JMbUgxq-0 I wanted to keep the atmosphere of the sonata, which is very energetic, but not complicated. Because this is for practice, I only arranged the exposition of the first movement. Score, which I used: Haydn - Piano Sonata in D Hob. XVI;37.pdf M.Bauer - Small Orchestral Arrangement for Haydn Piano Sonata Hob. XVI;37.pdf I'd love to hear your feedback! Maarten
  20. I wrote this massive piano sonata in about a week. I've been playing piano for 7 years and just recently am I taking formal composition lessons. I started to compose more prolifically last year though. I'd like to hear people's thoughts on this though. Thanks in advance :)
  21. SLICE for violin and piano (Soulful Latin In a Classical Environment)
  22. This is my newest piece, something I worked on for a long time. The entire piano sonata is called "Lovejail", and this is the 1st movement. This music was written as I went through a very difficult period in my life, when many things I held dear came crashing down; a period where I caused and received a lot of pain and learned some hard-fought lessons. Despite the pain, this piece is also full of love, and hope for a brighter future. Pain and hope, felt simultaneously. There is no better catharsis for me than to express my anger, regret, shame, hope, aspirations, and dreams through music. I hope this music brings you as much joy as it brought me.
  23. A few days ago I shared my Concertino for Alto Saxophone - which was my first post here - and received very useful feedback. So useful that I am planning to share more! Piano Sonata No.2 in F major, Opus 16. As the title already explains, the composition is for solo piano. Beethoven's and other classical composers' music has had a huge influence on this piece and me. I think (so this is just an opinion) the best way to master composition is by imitating the various styles of composers and then develop your own style of writing. Only then you can understand why music is how it is and how to compose it. Feedback would be very nice! Kind regards, Maarten Bauer
  24. This is my first sonata, it has two movements. In first, I played with the esthetic of minimalism, and in the second I clashed few different styles in rondo-like form to get some comic but still captivating effect. Feel free to give any comment, advice, suggestion :)
  25. Hey guys! So, I'm a little mentally exhausted -- I'm just after writing nine pieces in the past three days (which will all be uploaded soon.) This is my first true chamber sonata for oboe and piano, and I hope you guys enjoy. I really enjoy writing in this form, so let me know what you think and thanks for the help.
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