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Hello again! I'm enjoying writing music more and more, and your feedback is always great! This is the first movement of a bassoon sonata I wrote in the hope, after the pandemic, to play it together with a bassoonist friend. I think it could be performed with a cello, also. Please, let me know your thoughts and... constructive criticism very welcome! Ciao

Here is setting of the chorale melody “Ein feste Burg ist Unser Gott” that I composed. Any feedback is welcomed!

I hope you don't think I'm being nitpicky.... the piece has some good ideas. Seems you're tinkering with trying to find an inner voice -which is awesome!

I'm a violist, so I'm partial to the c clef being called alto. It would be called tenor in this case though. Lol. And by break, I didn't mean breathing gaps. Winds have a break that occurs within their ranges -usually from middle to low. One other point is your use of single clef for piano. Since you have the pianist doing runs from low to high, score this for both hands with the grand staff. It'd save time with your notation.

Hello @Henry Ng Tsz Kiu, Thanks for the comment, I appreciate it. Yes, I played the piece, although I know the audio is not very professional. Some people has been messaging me saying the audio is clipping a bit, is something I'll try to investigate for the next interpretations. Claudio

Having the flute play multiple notes is a tricky technique that very few flautists can do. I'd look having the clarinet or oboe take the bottom note in these passages. Also, bassoon don't typically use treble when the c clef (alto clef) is more common. I agree with Henry, the piece definitely had an oriental flare to it. I'm more concerned with the notation... at times you have wayyyy to many barlines. Use the 8va for these. Also, try to consider that the winds do have clear cut ranges... scalar material for them can be done, but it's best to keep within the timbral range unless you want the change in color that comes with the range difference. Also be mindful of their breaks.

Yes I find the score better now, at least the order is right and the parts are not cut! There can be improvements like the parts for the piano since it contains 1, 2 or 3 parts in different times. I would keep it constant with 2 parts and moments like b.100-109 can be written in 2 rather than 3 parts. Sometimes there are flutes playing as well though I expect there's only one. Keep going! Henry

I enjoy the third movement as well. I think it's simpler than the first movement (that said, first movement is not complicated either). It definitely fits the classical scheme when the weight is put more to the first movement while the last movement normally ends with a less weighted form and passages. For the color of the bassoon here, though it is less distinguished in the second movement, I think it's fine since the character of this movement does not require the high register. The only thing I am not sure about is the balance of structure. I see the f minor middle section enters in b.52 and ends at b.99. The last section returns to E flat major but it only last 17 bars from b.100 to 117. I find it too short to outbalance the middle sections, thus the confiramtion of the tonic key is not strong for me. I would extend the last section to provide a firmer ending. But overall this movement and the whole sonata is very enjoyable. Thanks for sharing!! Henry

I love the second movement too, if not better. With a simpler texture, the colour of bassoon is more displayed here. I enjoy the minor tonality here and I find it well suited to the timbre of bassoon since it's darker here. Very enjoyable movement.

Hi @Giacomo925, I've just listened to the first movement. I find it really enjoyable and I don't get lost at all. I love its rhythm and energy in it, it keeps the flow moving forward. I don't find it complicated at all: the structure is clearly a ternary one. I enjoy the counterpoint in it and love the interactions between bassoon and piano. It's not a monotonous piece for the showoff of the bassoon, but rather the two instruments cover each other really well. The style for me, as Quinn noted, is a classical one. I enjoy the harmonic language in it! Thanks for sharing and I will listen to the remaining movements! Henry

Nice tune and nice development. Two comments based on one listen: IMO the percussion is heavy and detracts from the overall lyrical style of the piece. I'd like to hear it with the percussion totally silenced; I have a feeling I'd like it more. Also, what's your intent for the clarinets and bassoons at bar 40? The tremolo notation generally means fluttertonguing on winds, which usually results in loss of tone quality and sometimes intonation.

Orchestration needs to be maintained in your score -regardless of whether you compose for chamber ensemble or orchestra. Parts in the master score need to follow typical orchestrational processes. The parts need to br scored in this order: flute, oboe, clarinet, bassoon, and then piano (with a grand staff). This helps immensely to relay your thoughts more clearly.

This is beautiful. The lenguaje fits well with the mood.

Hi @ClaudioCamacho, I enjoy the first poem very much. Very nice harmony and counterpoint, I especially enjoy your voice leading, definitely there's Rachmaniov in it. Great use of texture and register as well. And it's the recording played by yourself? All the tempo markings and expressions are perfectly executed, great job! Henry