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Just a little sad flute solo.

Here’s another one with heavy Beatles influence. I’m interested to know how the balance is and if the bass is too loud. Thanks for listening.

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!

Fine melody, it goes well with the text. If you wnt an opinion from a Spaniard: The part "al que no era mi pueblo" in measure 10 and similar is OK because "al - que - no" are here unstressed words and the melody remains stable in th same note. The accent must be (and it is) in "e" (Era mi pueblo. The only thing is odd in m. 18 - 19: pueblo mío, pueblo mío..... MÍO takes the stress in the "í" but the melodía goes up in the "o" of "mío", and we would never sing naturally "mío" ending in a step up. Logical sound here is that "mío" ends in the same note "mi-o", or going down. Besides, if you let it as it is, it seems you are asking something (with a strange pronuntiation): ¿pueblo mío?

Since "al" means "to the", is that weird as a downbeat syllable? I speak Spanish, but text setting it is a different story. Anyway: m. 11: Not a huge fan of the harmonic anticipation of V over i, since it takes a half-beat in order to execute. m. 13: A bit of an awkward-sounding piano part in the right hand. Triadic, but also leap-y. m. 15: I don't see the reason for a chromatic passage there. Comical tone shift in something that doesn't really set itself that way. m. 18, beat 2: Again with the dominant over tonic voicing, but this time it just sounds kind of wrong instead of like a choice since it's arpeggiated in the bass. m. 25: 8-9 bass suspension in piano and tenor is harsh. Less of a problem between tenor and soprano. m. 38: major seventh between bass and alto as a 7-8 suspension sounds awkward in the ii half diminished setting. Piano's fine.

Not bad at all. You begin with a good frame (a layer at the top, another at the bottom) and more things in the middle. It starts with enough tension, afterwards it seems more a music for an action movie or something like that. Without images it's difficult to say. Y would use some clusters or dissonant parts, and some eerie or odd instrument (theremin, for example).

This is kind of a piece I had written before knowing much about theory, but knew enough about composition and form to formulate a coherent piece. It didn't help me get into Oberlin so I'd love to hear why from you!