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have been working for a while on my first proper attempt at writing a piano sonata. Here is the complete double exposition, albeit un-orchestrated. I would much appreciate feedback + ideas on how to approach writing the development section. The development section is already underway but, it has not reached the same level of completion as the exposition. Also, ideas on orchestration would be appreciated as well as comments on the form. soundcloud.com/louis-fletcher-433112829/concerto-in-b-minor-double-exposition?si=d7e98d79d30642e3add8de4aebcf2e91&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing Concerto_in_B_minor_-_Development.pdf (59.81 KB)

Yeah would be really excited to see your progress! I think composing a concerto is a really difficult thing and I don't dare try it!! Maybe it's better to learn to write a single exposition first to write a double one!! Hope you can finish your piano sonata soon and share it here!! Henry

Hello Henry, I am now planning on reducing the ideas that I have written into a piano sonata to make it more manageable. Thank you for the advice, it is definitely appreciated. Louis

Now for the penultimate movement! The themes are very memorable for me after listening to this for a few days. I can recall the main theme in fourth movement, piercing chord and hymn tune! I am wondering why you don't use a different key signature, since there are many accidentals here and the A major/F sharp minor is never tonicized here. I love this movement for its succinctness. I think the motives and themes presented here prevent the redundancies as in previous movements, and they combined in a great way. The ideas of descending as reflected in the melody is good and creative. Thanks for sharing and looking forward to the final movement! Henry

This is a enjoyable and iight-hearted sonatina for me which fits well for a sonatina. I really enjoy it! To begin the recapitulation from the subdominant G major, then to modulate back to D major (overall tonic, G major's dominant) as in the exposition is very Mozartian for me like in his "Easy" piano sonata in C major (which is not easy at all!!!). When I say it's Mozartian I didn't look at your reply but later find this! The modal mixture in the second subject, vivacious rhythm and lighter texture remind me of Mozart as well! Sonatina needs not be easy to play though, like Ravel's or Bartok's sonatine. The triplets against semiquavers are definitely not easy for novice and could be challenging for intermediate players as well, but it creates good contrast to predominant steady texture! The last half of b.7 and similar is quite neo-classical for me with harmonic emphasis on the mediant minor chord. For a sonatina the length is absolutely fine. In the last movement of Beethoven's op. 10 no.1, the development only contains 11 bars, and the tempo is pretissimo so you can imagine it flows within a few seconds: Also there's a type 1 sonata named by Hepokoski in which there's no development: The recapitualtion immediately follows the exposition after the cadence in the second subject. It happens more in the slow movement like that of also in Bee's op.10 no.1, but for a sonatina it's fine to have a diminutive development or no development at all. I love playing the Clementi and Kuhlau piano sonatinas! They are very lovely!! Thanks for sharing Peter! Henry

I don't know why, I find this very oriental for me. Lots of time gaps and pointilistic percussion here signify the mono no aware as in Japanese poetry. I think this aesthetic principle for this piece should be different with the traditional one: not to develop the motive or themes or something, but just embrace it and have it at the moment. Just let the alto flute, different percussion play occasionally and let audience enjoy the silence between them will be really great. The temporal aspect is crucial to this piece more than the western one. Henry