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It depends what you're writing. I'm in the process of writing my first piano trio. which involves sonata form for the first movement. So I have done a pretty detailed plan for that I want to happen. say, I will write the first theme, which will about 30-40 seconds long. then I will do long chain modulations to my second themes key which will last about ta minute and a half. then I write my second theme, which is another minute. then move back to my first key before repeating. even a very lose plan like that is better than none. because then you know what your going to do. You don't have to plan out exactly like "I'm going to start in C major then use I-V-IV-VI chords until I modulate using pivot chords to F major" because that would interfere with the general music you'd produce. study up on what forms use what. for example Etudes tend to be Ternary or a rondo. and are very compressed. sonata form has several large structures that are very deep requiring themes and Lengthy transitions between themes and long passing modulations. With your invention, take the initial theme break It down, sequence it. make it longer or cut it off at particular points., just things like that, study up on Bach and handle to better master that form. You've got fantastic potential and I can't wait to see what you produce!

Thanks - I appreciate your explanation

Good afternoon everyone! I'm fairly new to the forum, so I thought I would share something I wrote to introduce myself. I wrote this piece last year and finished around November, but just now decided to make a score so I could share it with you all. I'm interested in any and all feedback, as long as it's constructive. It is a rather long piece, so I included an outline if you would like to listen in "chunks". I used what you might call an "abbreviated sonata form": There is an Introduction, an Exposition stating two themes, an abbreviated Recapitulation of both themes, and a Resolution. (i.e. there is no development section) The outline is as follows: Introduction (0:00 - 5:13) Ominous opening, built around an ostinato figure (0:00 - 2:13) Lyrical theme (2:13 - 4:17) Return of ostinato figure, transition to exposition (4:17 - 5:13) A Theme of Exposition, somewhat manic and bombastic (5:13 - 7:09) B Theme of Exposition, pastoral yet deeply emotional (7:09 - 10:42) Brief transition to Recap of Exposition (10:42 - 11:21) Recap of A Theme, abbreviated (11:21 - 12:48) Recap of B Theme, abbreviated (12:48 - 15:07) Brief transition to Resolution (15:07 - 15:48) Resolution/Coda (15:48 - 19:21) As you listen, there are a few specific things I would be interested in your impression of: What is your favorite part? What is your least favorite part? While I have included a score and would certainly appreciate feedback on its appearance, I'm mostly concerned with feedback on technique, structure, orchestration, etc. How do you feel about the overall form? Does it work well? I am a former brass player, and know relatively little about string playing. Is my string writing convincing? What could be improved? What overall effect does the piece have on you? Does it create a certain image? Does it bring out a certain feeling? Anything else that jumps out at you. While I'm mostly happy with the way this piece turned out, there is certainly room for improvement. There are a lot of things I really like about it, but if I'm being real honest with myself I think the overall form falls a little flat, due to the lack of a development section. I dunno, maybe I'm too hard on myself, what do you guys think? Thanks for listening, and I hope you enjoy! If you have any questions about anything I did, feel free to ask and I will explain to the best of my ability. gmm New Piece for Orchestra.pdfNew Piece for Orchestra.mp3

This is quite wonderful, and yes I think of Ravel. Impressive!

thanks, i'll try to revise the piece again. AND BTW, The festival lydian mode is you meant,is the indian raga called Hameer kalyani,we have this concept of parent raga and the raga's that take root from that particular raga (there are 72 parent raga). The western mode of lydian is equivalent to the 65th parent raga in the melakartha system, Kalyani and the raga i used here ( Hameer Kalyani) was born from this raga.

I was only referring to the fact that in the context of your very tonal and harmonically transparent beginning the constant harmonic changes you employ at around measures 55 and around that area sound kind of comic to me. Not that that's a bad thing - I assumed that that was what you intended. I don't think you need to change anything about it - I'm sorry if I gave you that impression (maybe I shouldn't have used the word 'wacky'?) If you're worried about cluttering your score up too much I might suggest going the route of using three staves for your piano writing like Ravel has sometimes done. You're welcome. Thank you for your music!

I like all the little features you add to this to give your music more character (example: the grace notes, and later the chromaticism which at first is kinda wacky). I am not sure what program you use to write your score/perform your mp3 but I think that it's possible to give the top note of each chord more loudness than the rest so that your chords sound more balanced instead of sounding like there's just alot of bashing on the keyboard. Most pianists will try to find the main melodic line and bring that out while playing the rest of the chord a little quieter. That's just a little nit-pick on my part. I like how you end the piece. Thanks for the music!