wesleymiller

Well, since this is a tonal composition for a solo instrument, I think that the piece has to imply harmony more. Sometimes I do not really know what the harmony is. This would be helped with a more clearly defined phrase structure. Also, you have to keep in mind the implied rhythmic accents of the 4/4 meter. Some times you have the phrase lead to the tonic note on the second beat, or the fourth beat, which is ok if you are doing it for an intentional effect, but the fact that you do it all the time makes me think it might not be intentional. It is also less desirable to do at the very end, the very end should be on a very strong beat, so 1. Also, if you want to create some more drama, try adding some secondary dominants! They sound really good and add some tension to the tonality. So in this case it would be E Major (dominant 7) to tonicize the dominant A Major, which would then resolve back to the tonic. You could also play something in the dominant key by using a B Major (dominant 7) to go to E Major, which would resolve to A Major. Going to the dominant makes transitioning back to the tonic key extremely easy. Just some thoughts. Overall, nice work!

How did you write this down? I really like the sound, but it would be hard to nail down a key center because it is not all diatonic.

Not sure about a name, never been good at those. I normally just call it the form or the tempo or whatever. Something descriptive. Do you want any advice with respect to the piece?

It's an excellent way to learn as a developing composer. It also provides a nice dramatic structure

I would say that staying diatonic restricts your tonal language and thereby restricts your ability to convey meaning, unless you use it intentionally as a device, for example at the end of a piece or in a finale in which staying diatonic conveys a sense of solidity in the key. It is by no means bad to stay diatonic but it opens up a world of possibility-SONATA FORM, among many other things-expressively and compositionally.

I have submitted this before, but I have made several revisions and the previous post did not receive many responses, so I thought I would make a new thread. The piece is in a sort of Rondo form, although I don't think it is the classical ideal of what a rondo is-IE ABACABA. It is just ABACA. Let me know what you think!

A new edition I made:

Thank you very much! I am not sure I really considered it to sound English, but in retrospect, I can see how that can come across. Especially the second theme, at least the first part, was inspired by opera overtures which I have played in orchestras. Thank you very much for your compliments, and I will take note of your ideas about development etc. Thanks again!

Why not revise it?

I really like this! There's a great energy to it. I think one thing that I didn't like is the constant stopping, it sort of diffuses the energy that you build up with the 16th notes.

Not done yet. Musescore likes to screw up the grace notes when it plays. I originally shared this on a discord server so I'm just going to copy/paste what I wrote there I'll outline a few of the things going on There's a short adagio introduction, then the first theme, which is a sort of andante, lyrical, thing. I'm not very good at describing these things The second theme has two major sections-one short, in major, then a long developmental section Eventually we get back to the first theme, augmented The third theme is a sarabande, first in c minor, then developed, recapitulating in c major Then we get the first theme again, then the coda

Thank you for your compliments. I like your advice, but I'm not really sure how I could accomplish that. Do you have any specific ideas? Either way, I will go through the literature and look for that sort of idea. Thanks again!!

I'm not sure about the program of this piece, but I really like how it sounds. The A sections are really nice with the percussion textures!

Wow! I love these. I'll play them and post the mp3, if you like!

I like this! I would say that m.14 the flute should play a melodic minor, not a natural minor, correct? Also, I see a number of doubled leading tones throughout this piece between the guitar and tuba, which might not fit the style this piece is going for, but overall well done. I like the improvisatory feel this has.