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Aigh so I've sketched out and developed ideas for the introduction and exposition of a sonata-form movement. Overview of the current situation: I don't want to change too much about the introduction. However, it probably needs some minor tweaking and I'm not sure about the balancing of the instruments The transition between the tonic and dominant is clunky. It just has an ascending pattern in the bassi and has the previous theme end on the dominant. I'm not particularly happy with it The dominant section needs more fleshing out, however I was stuck for ideas thanks in advance!

I don't want to be rude, but this honestly looks like you placed notes and symbols around randomly with 0 intent. Unfortunately, I can't listen to it to really determine its musical-ness since you provided no audio. On top of that, I can't see below the snare drum because you did the wrong page size. Despite these, I will attempt to provide something constructive. 1. There are several moments in the wind instruments where there is more than one note played at once. All wind and brass instruments can only play one note at a time, unless special techniques are used, which are notated a specific way. 2. Throughout the score, you use several markings that are either impossible, change nothing, or are contradictory. For example, none of the instruments shown on this score have sustain pedals, and yet you score pedal marks. You have some instances of the tempo marking Allegro Moderato repeating reduntantly, since there is no tempo change between. You have seemingly random crescendos and diminuendos and hairpins that overlap in contradictory ways. You also use the Volta 2 frequently despite not having any repeat bars, thus making it useless. It seriously looks like you opened musescore, selected the preset symphony orchestra, placed notes randomly, then clicked and dragged things from the pallete panel, named it, and called it a day. To me this reflects a absence of any knowledge of music theory, so first, I will suggest you take lessons on an instrument if you aren't already. This will give you a basic grasp of music theory. Next, I will suggest that you study these topics in depth: - How to write a Melody - How to write Harmony - How to write with Musical Structure - How to develop ideas - Instrumentation - How to use Voice leading All of these can be studied pretty thoroughly simply with google. With knowledge of these things, you will be able to catch the attention of listeners with melody, provide context to the melody with harmony, give the piece coherency with structure, transform the melodies with development, bring colour to the music with instrumentation, and lead listeners ears with voice leading. Hopefully all of this helps you in your journey as a composer. 🙂

Hi @malumCompositor, Finally you have the draft of the Symphony in C# minor! I remember you said that your work will probably bring shame to C# minor, but no! This one certainly has potential to be great! For me I think the C# are too strong throughout the introduction. You are having the violins and violas all on in C# and sometimes instruments join too. I think you should mark divisi and having them play the whole C# minor chord. I like how you feature cello and bass in b.19 and 35, but the rendition sounds weak. Before entering the main section will it be better to bw on a half cadence featuring dominant pedal instead of persisting C#? That will make the transition smoother. In classical sonata form normally there are several options: half cadence of V, half cadence of I, PAC of I. You are having PAC of i here, and I agree that you should have a new transitional theme for the sake of making ut smoother! First, keep that quaver accompaniment of cello and bass in b.88 main 2nd theme. That brings motion as well as smooth transtion. I think the ending section is good but the same as the 1st subject in mood. Probably you should have a lyrical 2nd subject first playwd by the woodwinda before entering the codetta you are having now. Thanks for sharing! Henry

To be honest, it doesn't feel very Waltz-like, especially with the dotted rhythms in the second bar, and the left hand from 9 onwards. However, the theme sounds quite nice.

Thanks Henry! You're very good at identifying keys! I thought I was modulating to G minor in b.190, then Bb minor in b.206; but looking at it again, I can see your key suggestions are correct. I could try to add some more melodic lines in b.115 to b.190; though I'm not sure I want to change the ostinati. I'm still having great trouble deciding where to make cuts! For the clarinet part, I have them mostly doubling the 2nd violins, just in case they don't have enough violinists on the day.

That bowing is not that good. Ive attached what I'd do below. You should also remove that long slur over barlines in bars nine to ten as that is unplayable in a single bow and the effect wouldnt be pleasant.

What about replacing the Ab major chord in measure 142 right hand with an Fb major chord while keeping the Ab in the bass? I don't know if that would sound satisfactory at all but it's just an idea.

womp, https://drive.google.com/file/d/16mdUyFYLl5ZBtwQlpV484MOlrKEQ8wbe/view?usp=sharing, I think that should work now. Sorry about that, Peter.