PCC

play it live, that would sound much less mechanical by that very nature, lol

idk why, I see the your 2nd episode as just a development of the refrain of part A', I see your movement more in a tenary ABA' form ok sure let me give you some feedback since it seems you gave the impression its all praises for you lol bar 18/34 (either or/and), would you consider changing the low e-sharp to c-sharp so the last quaver of this bar has a complete triad? I guess the second refrain does sound a bit random with all the running notes and stuff, but it could also be a playback and *** ahem I'm not qualified to say this*** skill issue, like I said the 2nd refrain the melody is hidden in between the voices it's hard to bring it out.

idk, bars 76-112 seems intimidating and you have to do it in one continuous motion though bars 69-75 is technically more musically difficult imo your slow movements are miles ahead of mine lol... and to actually play it

It's not extremely phenomenal but of course very solid groundwork tbh I posted that ss on the server channel hoping someone might play it or even finish off where I left off lol if anyone is interested go look at our discord lol

For me originally it was just something I do always since I was young but only very little bit. Then eventually I continued to compose to help me improvise better. edit: wait you can't allow other people to add answers?

The whole movement sounds very "safe", almost too much for my taste. But I like the harmonic territories you explored. The 2/4 section feels like it doesn't create enough contrast with the outer parts of the movement (perhaps it's part of the "safe"ness I was talking about). The score notations are a bit off imo so i had to rely on your computer generated playback instead of imagining the sound with my reading of your score, and you know playback has its limitations in delivery compared to live performance, so I don't think my comments here are the fairest, but here we go. Indeed there are issues with enharmonics (e.g. as early as bars 3-4) but I won't go into detail. I have a problem with visually essential rests being removed (compared bars 16 to 24). Bars 44 (and similar places), if, according to the playback audio, I feel like in the lower staff the fourth and eighth quaver "belongs" to the lower voice instead of the upper voice, to mirror the melody, but feel free to disagree. Overall I feel like this is something you can potentially work on to become a multimovement piece, I am eager to see the progress.

It's always nice to have more sonatas on YCF. And I don't really find any huge flaws here, good work. I think all the movements have good structure and form helped balancing things. The first movement definitely shares more than one thing with Mozart's A minor Piano sonata first movement though. I think a few places could do more harmonising, for example the staccato diminish chords in the first movement felt dry. That being said there a few places here and there that frustrates me. The first theme of the first movement reoccurs too frequently for my liking. Especially without variations. Perhaps it's something the performer can trump on, but it's helpful for the composer to inject variations to maintain his/her sense of authorship, I think. Perhaps out of my own inability to play really difficult things, I feel like many runs are difficult without contributing much musically. Like mvmt 1 mm 61-65, those left hand semiquavers felt needlessly unpatterned. bar 134 of mvmt 3, 15th jump on the left hand, La Campenella 2.0? Can't hear it anyway. But do feel free to rebut on this point, I might be missing on something. but overall I think this work is a positive for YCF EDIT: oh my, a neurologist... and your works date back so much too! Oh and also sorry I kinda skipped your second movement here.

Yeah I myself couldn't write or play at this level when I was 16

We are all busy people. So even if there is a negative comment, at least the work sparked some interest intriguing enough. To be honest there are a lot of posts on YCF I ignore, I just don't have the time and effort to listen and analyse every work here. It might sound arrogant, but as much as music being a crucial part of my life, it isn't the only thing. I simply am not obligated to use my work and study and family time to scroll through YCF. If I ever comment I always try to find things to appreciate and praise before pointing out how I feel it may have problems. If I can't even think of a single positive thing to say, I don't comment (this was not always the way I am, I learnt to be like this with time as I get slightly less immature than my past self) And the way I use web browsers, I am not always privileged to play the voice files on the forum, and I "listen" through reading scores. If your post does not contain a score it immediately reduces the chance I would even touch the composition by that much. I can't speak for others, so I'd be interested if there are other positions.

The problem with octaves on right hand is you don’t have the sustain pedal and it would sound choppy especially the octave leap… possibly mitigated somewhat but left hand sharing some notes but seems not possible for a lot of areas for this piece the pedal octaves are actually doable (not me lmao) but you might want to play with different stops first (like adding 16’ (or in big organs 32’) or reed or coupling) before doing the double foot thing but don’t take my word for it lol, i have so far meaningfully used the pedal for like less than 5 notes so far

I didn't learn this too long ago either but generally there is no incentive to write in octaves because this is done when selecting the voices you want on a particular manual (referring to bars 7-11, but also the pedal sometimes in general) and you don't have the sustain pedal on the piano to do the legato for you. Do you intend the whole movement to be played by flute or is it a software limitation lol What do you want to do after this? a few more movements? or a fugue? or both?

btw the g natural and g flat on the first fugue kinda clashes imo bar 4 other than that, you motivated me to write a fugue, so ty

I think the tritone leap can work if the other voices can work around it, and I think the first answer was harmonised well Actually the first answer is easy to change into a tonal answer, just use CDCBbA instead of DEbDCBb, the rest of the answer can stay the same and I think @chopin might still actually be interested in this if you are to submit it, but it's up to him

Those kind of doublestops can start to sound better at at least mp dynamic imo though still technically quite difficult (edit: and personally only I don’t feel like it’s worth the trouble but I’m not authoritative in this regard by any means) its just in your last version I saw them in pp lol