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I wrote this piece a while ago, I'm not quite sure why I haven't posted it yet, as I believe it is my best choral work so far. This is a dark piece in the latin liturgy, and I wanted to use it to imitate some late-renaissance styles, without really adhering the the rules strictly. I aimed towards a Gesualdo like harmonic progression, and in doing so I broke ALOT of renaissance writing rules. But the texture is interesting nonetheless. Let me know what you think! Also I added two files, one is a Cantai Recreation, which has some annoying imperfections, but actually attempts to simulate voices. I can't fix just about any of the issues, but I only got a month trial so I'm not gonna complain too much. Aestimatus sum cum Descendentibus in lacum. Factus sum sicut homo sine adjutorio, Inter mortuos liber. Posuerunt me in lacu inferiori, In tenebrosis et in umbra mortis. Factus sum sicut homo sine adjutorio, Inter mortuos liber. Translation: I am counted among those Who descend to the depths. I became like a man without help, Released among the dead. They have laid me in the lowest pit, In darkness and in the shadow of death. I became like a man without help, Released among the dead. Aestimatus.mp3 Aestimatus.pdf Aestimatus.mp3

Hi everyone! This is my second complete sonatina in three movements: I. Moderato – A simplified sonata form movement that was inspired by an idea from the second movement of Beethoven's Sonata No. 1 in F minor. II. Larghetto – A gentle piece in ternary form that is by far my favorite movement in this sonatina. It is very simple in nature, but I think it fits nicely as a breath of fresh air between the faster movements. III. Andantino – A variant in rondo form that explores both the traditional feel of the first movement and the more lyrical texture of the second.Sonatina No. 2.pdf YouTube link Timestamps: 00:00 I Movement 02:18 II Movement 03:15 III Movement Thank you for giving me your time and valuable feedback like always! Sonatina No. 2.mp3

Hello @MinGry, I really enjoyed your piece, and I love the amount of thought you put into its design! It even gives me some inspiration for my next sonatina! I’ll focus on the first movement right now, since it’s the most important, and I think it also shows the most room for improvement. Score formatting: The movements should be formatted into separate flows. When a hairpin follows a dynamic marking, the two should typically be on the same level. Also it’s easier for performers to read when they are between the two staves. Most of the time these guidelines are followed, but there were a few points that could be slightly cleaner (for example, ms. 22, 32-33, 43). The triple-forte in m.66 is probably excessive in a sonata—fortissimo will suffice! Compositional elements: I must admit, my first general impression of the piece was that I couldn’t tell if I was hearing neoclassicism, or bad counterpoint. I settled on the latter by the end of the movement, and more so by the end of the second movement — though I think you could set the scene earlier so the listener doesn’t have to guess. You could be a little bolder in your dissonances in this part, using a few more sonorities that can’t be reduced to triads or incomplete triads. The main figure for the transition (m.9) gave me a little bit of trouble, for two reasons. First, it contains a lot of internal rhythmic contrast, more than I’d expect in a transitional theme. Second, I didn’t hear how it connected either to the primary or secondary themes — it just sounds a bit out of place. I then observed that it could be derived from the figure in bars 6-7: But I think the link could be made stronger, and more audible, by slightly modifying the figure’s metrical position. One possible solution for m.9: I would also personally omit bar 11, as I don’t think it’s really necessary. My favorite part of the movement was the secondary theme, and I also liked how it was introduced first in the bass! Moving onto the mini-development, I wasn’t initially convinced by the figure in bars 24-25, though I find it creative how it connects to the coda, and to the accompaniment of the secondary theme. To give it more interest, I’d suggest consistently omitting the first eighth note when it occurs in the right hand, as you did in bars 24-25. It also leads more naturally to its target note that way. Overall, really good work! I have much less to say about the other two movements, because I think they’re pretty strong.

Thank you! The reason i don't post the scores is that my counterpoint is actually quite bad. So there would be tons and tons of errors people would notice and i prefer not to give it as i'm still working on it. Oh and by the way this piece is not 100% original, the main melody of the 1st part is from a rittornello in Claudio Monteverdi's opera "Il ritorno d'Ulisse in patria". Of course i did not use it note by note but i changed it a bit.

Thanks for the feedback! The reason why it's blocky it's because i'm using the galliard rythm very strictly, wich is: quarter note, quarter note, quarter note, dotted quarter note, eight note, quarter note (In my time signature 3/1 i use breves instead of quarternotes). And actually a lot of galliards from that time (Specially Italians!) had a very homophonic approach, but i do agree i could have added a bit more motion. About the cornettos, yes! They can play that fast! In fact, for quite some time, about 100 or 150 years, cornettos were considered the most virtoso of instruments, so much so many famous musicians of that time considered "Virtuosos" were Cornettists, they can play much much faster than what i used here by the way. By the way the cornettos don't have ornaments in the notation, i only added them for exporting, because the diminutions are supposed to be improvised by the player.

Just bumping this, because it's received no comments yet. I guess nobody has heard of Koechlin! Though I think he's a very interesting and underrated composer.

youreastallasplanetree.mp3 you are as tall as a plane tree I fall asleep sitting up and you catch me I could bury you up to your nose in pear soda cause Origen’s praying for us you are as tall as a plane tree when we’re Lake Superiors away you loom over me that shadow you cast over the shrovetide mass makes leo quake and strip his dandy vestments sometimes as small as a birdseed when i'm a pigeon and you feed me star anise but I’ve seen you freeze before in the falconry store so it must be the phantoms I keep I am as poor as a penny I walk up to your room and you take me I know marx didn’t die for me to cream and cry but you know just when I am needing when you're raptured up to armenia and I’m burning down make sure Origen’s praying for me in one tiny bed we could fall asleep but you get red when you can’t see into me but we ate Sherpa pie where the daisies did die so it must be the phantoms I keep we stewed Presidents’ eyes where we told our first lies so we drank from the fairies you’d steeped and we burned Baptists’ blood when we played in the mud so it must be the phantoms I keep cause you’re as tall as a plane tree when you eat chickpea thali in a glorified body see that Oregon’s waiting for me cause you’re as tall as a plane tree make sure Origen’s praying for me cause it must be the phantoms I keep make sure Origen’s praying for me cause you’re as tall as a plane tree make sure Origen’s praying for me cause you’re as tall as a plane tree