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Hi, my name is Ali Afifi. I’m new the the Young Composers Forum, and I decided to share some of my compositions with you all to hear your feedback on them, and suggestions on what I should improve and what I should keep the same. One of my compositions I would love to hear your opinion on is my Sonata for piano in D major, posted on MuseScore (https://musescore.com/user/4035251/scores/5675232). It is currently my best finished work of music, but keep in mind this is seven months ago, and I have somewhat improved in composing music. Yet like I said, this is my best finished piece so far, so I would like to hear your opinion on it. Thank you. 🙂

I couple of times, yes. Although generally not either. Galant music up until the 1770s used the more exotic chords more sparingly, although Mozart and his more mature contemporaries certainly applied them more frequently. Something to learn I am sure.

Spotted a parallel 5th in the first version so I have alternated the horn and clarinet towards the deceptive cadence, and added some extra material that leads to a converging cadence to F Major. Any questions just send them over to me.

Hey Gulliem, There is no combination of instruments I love more than woodwind. Mozart wrote some beautiful serenade's for wind instruments that really bring out the potential of these instruments. I think for the purpose of studying counterpoint, you really need to hear each individual part. Therefore I would suggest reducing the speed. I like your opening material and think we can work with that. You have the right idea to imitate the first 3 notes within the bassoon part, which then goes on to providing an arpeggiated foundation, passing through I-VI-V-I-IV before converging into Gminor. I have adapted your music somewhat whilst trying to maintain your ideas, although I had difficulty with your cadence which ends on the dominant of G minor. As this is a deceptive cadence, it should end on the tonic of this key, with the bass rising from a raised / sharpened leading note (F#). Furthermore, the presence of the C# to the D makes the movement from the 7-1 in the bass impractical given the parallel 5th that would arise. This is why I have altered bar 3, so that we can achieve the proper deceptive cadence. I have also changed the bass part somewhat in such a way that continues the contrary motion between the other parts. The inner parts are also adapted. The horn is utilized as a dominant pedal. I personally think that your use of the monte is a little premature and is unusually prepared by the dominant of Gm. When I use the Monte, it is usually prepared by a perfect cadence. Furthermore, they are usually characterized by either 2 or 3 stages and yours has 4 stages. There is no rule against a 4 stage monte, although it is important to vary the texture somewhat if it is to be extended further. What you have written mostly makes harmonic sense, although we need to work on how to give each of your parts meaning. I have suggested you practice two part counterpoint until you are confident with the relationship between the bass and upper voice, in particular cadences. Once you have mastered this, the rest should just be a matter of filling in the other parts. The foundation is essential to have before you attempt 4 part writing.

Hi, I made a second movement for my sonata but, I'm not sure if it fits the first movement. Sorry but I haven't transcribed the score of the second movement to Digital. My plan is to make the 3rd movement a minuet in C major and the 4th a presto in C minor, in rondo sonata form Any comment is apreciated :3

That's great! M.59 feels specially pleasing. I agree that it sounds a bit baroque which I don't think is a problem at all. You may even take that as a compliment. It feels consistent and amusing throughout. Good job!

nice to hear dear. We are also dealing into Classical Choral Music Classes in Rockville Maryland USA. After seeing your update I am very motivated Thanks

It is a shame that no one has sung this(at least that I know of), it would be really good! good job!

I think sounds convincing 😀. I like particularly the "kyrie" parts where you introduce a G major chord and then repeat the sequence F major.