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Im enjoying composing minuets and marches for beginners on the piano. They are very simple and easy to play. The B section of this minuet is experimental for me, I've tried my hand at counterpoint.

Hello! Here is a new piano sonata allegro movement that I've written during the pandemic. I'd welcome any feedback you might have. 🙂 Dan

I think Coxi has done an amazing job analyzing the counterpoint of the piece. I wanted to make a few remarks (but I am by no means an expert so anyone can correct me if Im wrong). I think large gaps are usually nothing to worry about in two-voice counterpoint (maybe really large gaps should be avoided or used scarcely, I am not sure). I have seen intervals as large as 24th in many bach two-part counterpoint pieces. I think intervals of the 7th are common in two-voice counterpoint when they outline a seventh dominant chord and the seventh is prepared and resolved correctly. However, I am not sure if it is common in strict counterpoint as I do not remember seeing it in Bach inventions.but I do remember I have seen it in other pieces such as the french suites. I heard about two fifths or two fourths in a row not being recommended, since they outline no triad. I did not know about a fourth and a third in a row but I might be wrong. If the jump is upward it makes sense since the chord outlined would be a second inversion chord, which is not that common. In this case I think there would be no problem since the jump is downwards and it is only a momentary jump to the fifth of the chord as a passing chord tone to the third. Nothing to add here, technically they would be considered counterpoint mistakes. In the first case it could be acceptable by some because of the stepwise motion in the soprano. I am no expert so I could also be wrong, if anyone see some mistakes correct me please.

Hey, I also liked the sound of the B part better. Also, since I litterally just started to have a look at what counterpoint is, I tried to have a closer look at the technicity of the section. Here are a few remarks on the counterpoint (of course, many of those comments might be wrong since I barely even started scratching the surface of counterpoint study): m10: there are 3 3rds in a row, which is not ideal for independance of the voices m11: a gap of 12th between parts a bit much and I think it could be avoided m12: you have a gap of 16th between parts; that's a lot m13: gap of 19th between parts m14. 3 3rds in a row. Also, I think repeating patterns in the melody are not recommended in species counterpoint (although in real music I agree that it is important to have repetition) m16. you have a harmonic interval of 7th on the last beat; which is considered dissonant. Also a gap of 21st between parts m17: gap of 27th. At the bass, you have a skip of 4th, followed by a skip of 3rd in the same direction, I think it's not recommended m18: 5th by direct motion on the last beat m19: consecutive 5th FC->GD m20: octave following the 2 5th Sorry if there are mistakes in my comments (very likely)m and congrats on the piece!

I like it! I like the variation you introduce to the melody line at meas. 23-25. And the deceptive cadence at the end that prolongs the final phrase is a nice touch!

Really lovely piece! I think the B part was great and that entrace of the Bb in the melody was so beautiful!

Yes in the cadences is where C7 - Fm is seen. Although at the very end, the Fm is altered by G in the bass. Why? I don't know. I like it. The times D7 or D7b9 appears is as part of chromatic fall Eb.... D7b9... Cm (in this case is also a tritonal substitute of G7). In general, I don't take much care about functions except in some points that establish the tonality (cadences). What happens inside or between, can be many things. That's how Ilike harmony.

Thanks a lot for your feedback Jorge! Saludos desde Barcelona.

This is a great classical symphony! I am just curious but do you intend to always compose in the classical style? The symphony since then has undergone so much development - I am thinking you just want to take a gradual and well educated path towards writing more advanced symphonies? There are many variations on the symphony that haven't even been explored by other symphonists. Take for example Prokofiev's "Classical" Symphony instead of resorting to the traditional minuet and trio he wrote a gavotte. Technically you could include any dance from the baroque dance suite such as a bourrée, sarabande, gigue, or courante just to name a few. You could also include a programmatic context for your symphony like Beethoven's 6th etc. There are so many possibilities! I hope you don't interpret this as a put-down of your symphony - you did a tremendous job! You've obviously put a lot of work and study into classical composition. I just hope you don't limit yourself to some very specific rules you read or studied somewhere as the end-all of possibilities for composition in this genre. The first movement is my favorite - I like the idea of having an introduction in the minor mode leading into the sonata-allegro form. Very cool. Thanks for the music and congratulations on this tremendous achievement!

wow... really really lovely symphony! I can totally feel how much care you have put into it! My favourite movement is also the last one, really nice job with that rondo form! 🙂 Congratulations!!

@Guillem82 Haydn's symphony 104 is a masterpiece, and now that I listen to it again I can see clearly the influence. I love late works of Haydn and the introduction of his 104 symphony has a very similar mood to "The Creation" overture (the two works where written in the same period). The mood of the first theme in your sonata form reminded me to Haydn's morning symphony (nr.6).

So how would you call the first chord here?

wow I really like it