Jump to content

Search the Community

Showing results for tags 'sonata'.



More search options

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Board
    • Announcements and Technical Problems
    • Young Composers Magazine
  • Upload Your Compositions for Analysis or Feedback
    • Orchestral and Large Ensemble
    • Chamber Music
    • Choral, Vocal
    • Piano Music, Solo Keyboard
    • Incidental Music and Soundtracks
    • Jazz, Band, Pop, Rock
    • Electronic
    • Incomplete Works; Writer's Block and Suggestions
  • Community
    • Masterclasses
    • Music Appreciation: Suggest Works or Articles
    • Composers' Headquarters
    • Repertoire
    • Performance
    • Advice and Techniques
  • Competitions and Collaboration
    • Competition Hall of Fame
    • Monthly Competitions
    • Collaborative Works
    • Challenges
    • External Competitions
  • Technological
    • Finale and Sibelius Help Desk
    • Sound Libraries
  • Rite of Spring analysis Club's Part 1: Augurs of Spring
  • Rite of Spring analysis Club's Part 1: Introduction
  • Rite of Spring analysis Club's Part 1: Ritual of Abduction
  • Rite of Spring analysis Club's Part 1: Spring Rounds
  • Rite of Spring analysis Club's Part 1: Ritual of the Rival Tribes
  • Rite of Spring analysis Club's Part 1: Procession of the Oldest and Wisest One
  • Rite of Spring analysis Club's Part 1: The Dancing Out of the Earth
  • Play this Passage's HOW IT WORKS
  • Play this Passage's WHO PLAYS WHICH INSTRUMENT(S)
  • Music and Media's Discuss and Collaborate on a Project
  • Young Composers Preludes and Fugues Project's Submit a piece
  • Young Composers Preludes and Fugues Project's Rules and Guidelines

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


AIM


MSN


Website URL


ICQ


Yahoo


Jabber


Skype


Biography


Location


Occupation


Interests


Favorite Composers


My Compositional Styles


Notation Software/Sequencers


Instruments Played

Found 45 results

  1. My Piano Sonata No.1 in F Minor composed in 2018. The sonata has 3 movements and is written in a romantic style. The first movement is in rondo form. The second consists of a prelude and a short fugue, and the final movement is more free in its form. The sonata is inspired by some of the works of Chopin and Beethoven. I'd be interested in any feedback. Sorry about the awful recording quality.
  2. Im trying to write a full IV movement piano sonata, I have finished the 1st movement, but I'm having trouble with the following movements. My plan is this: I. Moderato-Allegro Sonata form II. Adagio, Rondo form or theme and variations (I'm not pretty sure about the B part) III. Allegreto Scherzo IV Presto or Allegro vivace Rondo sonata form I have composed a little of the second movement, Does it fit the first movement well? Also I have composed the first theme of the IV movement, I wanted to "recapitulate" some of the ideas, so I used same harmony as the first movement, but it doesn't convince me so much. Any feedback is apreciated :3.
  3. The Emperor Sonata for Two Pianos is he 14th sonata I wrote for piano (even though the 1st for two pianos). I consider this sonata my 1st sonata (because the other 13 before this one could fall into the "Sonatina" cathegory.). The idea with this piece was inspired by the concept of Liszt's Sonata in B flat minor of creating an enourmous sonata where all the sonata is a gigantic sonata form. The first movement introduces the first subject (the Prometheus Theme by Beethoven). Second movement he second subject. Finally the third would be a third subject and the development . The cadenza its the recapitulation where all the subjects are restated in the same key and are transformed into this kind of "Fugue" where all the subjects sound toghether in harmony. The sonata is inspired in the 5th symphony of Beethoven, the first movement starts in C minor and the last in the glorious C mayor. During most of the piece the doted rythim can be heard. That rythim is for simulating a horse running. MOVEMENT I (Allegro) The first movement is written in sonata form. The first subject is introduced in C minor (1:28 min), the second subject (the Prometheus Theme by Beethoven) is presented in G mayor (2:20 min). The movement stills need to be finished (a lot) Ingnore from minute 3 until the end. MOVEMENT II (Adagio) The second movement is written in G mayor, (it needs to be transposed to D mayor so the theme in the second movement is in the dominant of the Prometheus Theme). The movement is still very raw. Its still needs to be developed and polished. In 4:13 min, the arpeggios of the first movement reapear. MOVEMENT III (Alegro Maestoso) The third movement, the finale, presents the last subject (that is just a baseline for the ending "fugue"). Then it develops the baseline and repeats it again. When the coda starts (5:48 min), there is where I need to work. In that part the "fugue" will enter (6:04 min).
  4. There's a bit of a difference between this sonata and my previous two. For starters, this is probably a more serious attempt at the genre. I've never been a good person to describe my works in non-abstract terms. It is safe to note, though, that various parts of the piece explore septal and quintal harmony as well as a juxtaposition of whole tone tonality amid heavy chromaticism. That said, as I mentioned above, this work definitely seems like a strong development in my overall compositional ability. I'm not sure if there is a bit of maturation occurring or what -I'd be interested in everyone's thoughts! Hope you enjoy!
  5. Piano Sonata 1 by Florian.pdfPiano Sonata 1 by Florian.mp3 Hello everyone, I am new to this community and looking forward to engage with everyone in sharing our compositions. This is the first piano sonata I have just completed. It is not in the traditional sonata form, but I tried to implement Theme A and B in different places and cast them under different lights. I especially like the Largo (3rd movement). Any sort of feedback would be highly appreciated! 🙂 Thank you for listening.
  6. Sometimes inspiration comes from different places: a car passing by in front of you, leaves rustling in the wind, the username of a member of an online forum, or simply... it just is. My first sonata was inspired by one of these three things. Ironically, as long as I've been composing, this is my first... complete (well, somewhat, I'll probably renovate some of the movements later) piano sonata. I. Allegretto Grazioso: The entire sonata rests on the motif found in the bass. 5 simple notes. The motif in this movement is treated to development in a type of hybridized sonata form. II. Adagio Sostenuto: This is one of the movements that I'll probably strengthen later. The form is basic ABA'. I wanted the A section to have a solemn quality to it. Resignation. The middle section introduces some new material -but again is heavily resting on the 5 note motif found in the first movement. III. Presto - Andante con moto: The five note motif becomes the basis of the scalar material utilized in the first half of this movement. Despite being a tad basic, it provided some interesting sonorities -particularly with the infusion of chromaticism. The second half of this movement features snapshots of material utilized in the previous two movements (for the sake of maintaining cohesion throughout the piece). All in all, I'm fairly satisfied with this work. I'll most likely update the second movement -and the second half of the third. Hope you all enjoy!
  7. So, I've been working on this sonata for 5 months and i got to the point where i was stuck and could not think of anything for the third movement. Should the third movement be a fast agitated movement or a slow-paced one? What motif should I modify and use from the 1st and 2nd movement for 3rd? Feedback and suggestion would be much appreciated.
  8. Where my first sonata was based on the username of a member on this forum, my second sonata is a little more abstract. The work begins with material derived from a tone row. The opening motif, of the first movement, then transforms into a more freer atonal chromaticism. My favorite texture and passage from the first movement begins at measure 70 and lasts until measure 82 -I don't think I've written a passage like this before. The second movement starts with a light, almost dance-like atmosphere. This is my testament to chaos and resignation. The final movement continues the material from the previous two movements and brings it to a final closure. Hope you enjoy. As always, comments welcome!
  9. 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 be able to write pieces made of this terminal development alone". And he gives this example from les Enfants de Dieu (from la Nativité du Seigneur): First element over a dominant pedal in B major and development A great fortissimo cry upon a sort of schema with augmentation of the theme A tender phrase, forming the conclusion, established over a tonic pedal in B major. You can hear this part here: In his writings, he gives additional examples of this kind of technique and new "free forms proceeding from the development of the sonata-allegro". Some thoughts about all this: Having in mind that tonality in Messiaen cannot be understood in strictly classic ways, he uses a contemporary technique (as Debussy did) to establish tonal centers and a relationship between them: the pedal tone. It's interesting how Messiaen is not interested at all in parts without development, ruling out at first glance the recapitulation ("obsolete") because it has no modulation nor development. It's also interesting how he takes only a section (or better said, the concept of a section) of the sonata-allegro, to build up his own coherent form. In my opinion, this is related to the big idea in Messiaen of "progressive music": non retrogradable rhythms or added values, non transposable modes... All of them have to be with that idea on not allowing the music to fall in the repetition patterns where classic music had rely on. This is just an example of what Messiaen did with forms. He talks about fugue, an other forms he was interested in, some of them fresh and new (Bird son), some old (plainchant). Is this concept interesting for you? For me, it is. It opens more possibilities of organising music material.
  10. Hi :3, I´m new to this forum. I'm a begginer composer I would like to have some feedback on my first piano sonata. Thanks in advance for the comments. I added an mp3 an here is a link to a youtube video with the sheet music. https://www.youtube.com/watch?v=ODoW8caLo0k Here is an analysis of the structure. 0:00 exposition 0:00 Introduction 0:26 first theme C minor 0:45 bridge 0:51 transition theme Eb minor 1:03 bridge 1:14 Second theme Eb major 1:29 Transition 1:37 retransition progression by circle of 5th 1:44 second theme Eb major 1:52 retransition to the first theme 1:59 repetition of the exposition 3:25 Development 4:13 dominant preparation 4:42 recapitulation 4:42 first theme C minor 5:02 bridge 5:09 transition theme C minor 5:32 second theme C minor 5:47 bridge F minor 6.02 second theme C minor 6:10 Coda C----------> Eb major-----> C minor
  11. 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.
  12. 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! 🙂
  13. 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.
  14. 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:
  15. 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 :)
  16. 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
  17. 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.
  18. 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.
  19. 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.
  20. 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
  21. 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!
  22. 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
  23. 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
  24. 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!
  25. 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
×
×
  • Create New...