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The finale to season one is almost here. Here's episode 10. Features include a fantasy/improvisational form, diminished scales, and relentless tinkering with motivic development. Comment my faults, plz

Hello Guys, Here's my new piece of music, Spring Night. I'm really interested in your opinion!

Hi everyone! I am here to present the third movement of my Piano Sonata no.2 in A-flat major. Previous two movements are also posted in YC and you can have a look in them if you're interested: The third movement opens with the opening theme of the first movement in a more flowing manner with some counterpoint. It also plays with the texture of the second movement with the movement almost non-stop with the quavers except some cadential moments. The pdf and mp3 files are attached as usual: Piano Sonata no.2 3rd Movement.mp3 Piano Sonata no.2 3rd mov 26-04-2023.pdf The movement is in sonata form without a development, since nothing needs to be developed here as an Intermezzo: 00:00 Exposition, 1st Subject 00:31 Transition (?) 01:15 Exposition, 2nd Subject 02:01 Recapitulation, 1st Subject 02:26 Transition (?) 02:53 Recapitulation, 2nd Subject 03:40 Coda, roads leading to the main hurdle... (Even I myself am not sure where is the beginning of the transitions and 2nd subjects since there's no medial caesura...) For me this is my least favourite movement of the sonata. I feel like it's less emotional and authentic here than any other movements. But of course this can be a bias. The youtube video is also attached here: After this movement it's time for the real hurdle and my favourite movement of the sonata... Even though it's prepared and hinted throughout the previous movements but the coda of this movement cannot tell less of it... Stay tuned... Henry

The modulation at 2'45" is especially gorgeous! Definitely my favourite moment in the piece.

Why hello there, Henry... the infamous Henry that I hear so much about. You're the talk of the town, the word on the street, the.... sorry, I'm dumb I like this piece of yours. You mentioned it's your least favorite (I won't tell you not to do this anymore since you seem insistent to do so). Just because it doesn't have heavy emotional depth doesn't make it bad. I think it's what your sonata needed. A chorale 1st mvmt, a vigorous torrent of notes for the 2nd, and a jovial 3rd mvmt seems fitting. I know the character of the 4th, so I think with what I've heard so far it's what the music needed, not necessarily what you wanted to write. That said, this was really cool. It's like Bach meets the Eroica symphony. I don't have much to gripe about, but with the previous 2 movements, you could have maybe made the overall texture a bit lighter. I like what you did, but was hoping for more spots with a single line and accented with light staccato chords or something. As is, it seemed more dense than it needed to be. I agree about the comment of the chord at b.142. I don't think it was out of place necessarily, but a deceptive cadence or something along those lines might be advantageous to the music. All in all though, wonderful piece Henry. As much as I enjoy your compositions, I get just as much excitement out of your performance and ability to bring this to life. Fantastic music, can't wait to hear all 5 movements together!

Hi @olivercomposer, There are many flat sixth of Eb here which is great for both the harmonic flavour and modulation. For me the ending is beautiful with added motion in the left hand! The contrasting middle section is in minor key which is good, but I hope there's contrast in texture and dynamics here, maybe just a littpe bit is ok since the piece is short and beautiful! Thanks for sharing and I'm happy you are presenting us piano works here! Henry

Hey, dunno how I missed this. What do you use to record yourself, Henry? Dunno, but I would say that you have indeed written better and more unique works. This one is not to be disdained though, it's very solid. There may be a lack of directionality, as Peter noticed too, and this may be the cause behind the lack of "emotionality" or "authenticity". I am no detective though, haha. Too much legato perhaps? For me this phrase would have had a lot of power if stacatto: I would also suggest rapid arpeggios in the 1st beat of M104 and 105, I just think that it might be interesting to see if they fit. I marked on green what turned to be my favourite motive that you use in the right hand starting at the 3rd beat of M12 (but whose rhythm you anticipate already at the 2nd measure!) and that develops to its climax reached in the passage at M96-M99. Overall a great work, but I agree with you in the, say, "emotional" aspect of the movement. By the way, it seems that the score rendered badly at M96. Kind regards Henry!!

Definitely, the machine cannot (yet?) reach the musicality of a good performer approach to rits. and accels. Perhaps I expected them to be more brusque and this is why they went unnoticed to me. Yes, perhaps this may be more appropriate for the human performer, but whatever suits you is fine. Kind regards!!

Regarding your compositional style, it's very very particular in my opinion, and I must confess that after checking other pieces of yours I would really say that it transmits a strong feeling of fear and uneasiness to me. I do think this is positive. Also, this is a bit of a cliche sentence but fear the day you "end" learning composition. I think your pieces are pretty nicely conceived already in any case. Indeed, I think it's something we as composers almost always enjoy. I understand, though, that many composers who usually submit their work here do not have enough time to drop feedback to others, be it criticism, suggestions, or opinions overall, which is kind of sad for I assure there is a wide catalog jewels and talented authors here, including you obviously. That said, I will share your music with some non-musician friends of mine if you don't mind. I am very curious about how your unusual approach strikes them. Have a wonderful day you too! Kind regards, Daniel–Ømicrón.

Definitely strange, it happens...Sometimes. Hi Samuel, this looks really promising to me. I don't really have tips or advises on orchestration further from what you could find in books you probably already know. Some harp touches here and there may improve the output you currently have, which is already great, so my suggestion would just be: consider adding one. Looking forward to check the finished Poème. Kind regards, Daniel–Ømicrón.