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Yesterday I was hearing some Beethoven sonatas and I got inspired to write that short piece. It has a ABA' form. A in EbM, B in Ebm and quite contrasting in character. A' is a repetition of A but with triplet accompaniment instead of eighth notes. I have two questions: No idea about the name. Any ideas? Are there parallel 5ths on mesures 73-74? It looks like, but the passing note G creates a sense of different harmony, though it's in a weak beat. I could change the "tenor" line to avoid that, but I wanted to have the same notes before the deceptive cadence as on mesure 77 in the final cadence. Otherwise, being a piano piece I don't think those 5ths are as evident as for human voices. What do you think?

Very nice Guillem, excellent effort here. There is a lot of music here to look at to critique, though it sounds great. I know of a few early symphonies of Haydn, and of course Mozart and can see your choice of orchestration is consistent at least for the minuet. I am now tempted to try the same myself, though no doubt would take me a long time! Best Markus

Hi everyone, just wanted to share a song I wrote and produced. I'd love to hear what you thinkHeartbroken (master).mp3

Hey, thanks, glad you liked it! And yes it's in a major key. Here are the lyrics: Overcast with no sun, on a rocky beach Seems to fit the mood, I wait for you Show up and you're late, going a different way Seems like our time, it has run out Heartbroken, you've left me heartbroken Harsh were the words you said to me I'll take my turn in misery Three weeks have gone by, and I just pass the time Dimming all the lights, I'm on my own You are not that great, I have seen of late Can't believe that I thought you were the dream Heartbroken, you've left me heartbroken Harsh were the words you said to me I'll take my turn in misery Heartbroken, you've left me heartbroken Heartbroken, you've left me heartbroken

I enjoyed it! There is some tonal ambiguity in this. It's unclear whether your chord progression starts on the bVI or the IV. Assuming that the piece is in a major key the progression is IV, ii, I, vi. In a minor key it reads as bVI, iv, bIII, i. From the introduction and the end I infer that the key is major though. I could listen to this over and over without getting tired of it. I just wished I understood all the lyrics. Would you post the lyrics here in the forum for us to read? I like how the singer spends most of the time on the major 3rd - it's a great mood you set here. Great job!

It's a good trio, contrast between Solo Piano and Violin/Cello Duo and Full Trio throughout the piece, contrast of octaves in the piano part, and many other things. The only thing I really question about it is the bass clef passage in measures 50-51. I understand that it's both a harmonic sequence and an application of that octave contrast I mentioned. But could it actually be played in the right hand? That's what I'm questioning, especially measure 51, which has 2 notes in a row that according to the notation are supposed to be played by both hands on the same key, G and Eb. The Ab on beat 4 of measure 50 is also the same note in both hands. I mean, I've seen passages with notes notated like that in piano repertoire, both originals and transcriptions, but only occasionally. More commonly, when both hands are in the bass staff, I see one of these 3 things happening: Left hand in Great Octave while Right hand is in Small Octave or even sometime Left hand in Contra Octave while Right hand is in Great Octave ex. Moonlight Sonata First Movement, In The Hall of the Mountain King Hands intertwined, like for example the left hand playing an octave chord and the right hand playing melody within that chord, An example of this intertwined hands, though not in bass clef, is a bit in the Fugue part of Toccata and Fugue in D minor Full on hand crossing, though usually, this hand crossing situation has the left hand in the Treble Clef, but low enough that it could be notated in bass clef if the composer wanted to without any real issues ex. Pathetique Sonata 2nd theme, Piano Concerto no. 21 Second Movement Piano Solo