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Love your rhythmic grooves in this. I agree with Hugget about the opening being a little stagnant harmonically, but You have a strength for fitting together inter-locking lines in really fresh and exciting ways! I'm thinking specifically about the ending of mvt. 2. Overall a nice work! Sorry I can't give more feedback right now, I'm listening at work. Cheers, Gustav Johnson

The Good: I found your harmonic ideas beautiful. Also, before having read your post, I did get a sinking feeling that some ideas were reappearing in some guise, which was a great touch. The re-use is subtle because you seem to have so many ideas, but it was there and subtlety is cool. The Bad: I was missing rewarding cadences and transitions to glue it all together, especially in the first half (but later I found it okay sometimes, which means either I got conditioned to it due to the piece's length, or you made it work.) The Ugly: Nothing about it was truly ugly in my opinion. Try a little harder next time

@pateceramics My students sometimes do the same. Just like practicing an instrument, you're not getting better by not doing, that's for sure.

@pateceramics Extremely helpful, thank you so much! The text setting was intentionally a split group Klangfärgenmelodie, so that's why it's a little weird.

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.