Flute Sonata op. 23

Just joined here and decided to put one of my favourite pieces, my flute sonata which I wrote approximately one month ago.

Are you sure that your soloist will have time to breathe? The flute takes a lot of wind.

Edit: I think you could afford to put more countermelodies in the cembelo. part. I'm not very good at them, so I won't try to tell you how.

I have accompanied flutists dozens of times, I know precisely how this instrument works. There is more than enough room for them to breathe in this piece. Also, since the cembalo is only a continuo instrument in movements 1 and 3, there is no reason to add any direct counterpunctal parts to it. Notice that the cembalo right hand in these movements is only figured bass which has been spelled out by me. Be reassured that these parts are perfectly fine for their baroque style.

As a flute player, I can clarify there are enough places to breathe. 

11 minutes ago, RDVMusic said:

I have accompanied flutists dozens of times, I know precisely how this instrument works.

I'm not entirely sure it works like that. I have accompanied saxophonists, yet I would never dream of knowing "precisely how it worked."

Nb: You have said that you are new to this forum. Be prepared to receive reviews that don't say what you expected or wanted. Your comment came across as a bit defensive.

Alright, sorry for that, I'm always thankful for valid criticism.

10 minutes ago, RDVMusic said:

Alright, sorry for that, I'm always thankful for valid criticism.

 

Don't worry about it. It is a very good sonata. The thing about writing in the baroque style, however, is that the flute has changed so much since then. In the Baroque era, each note on the flute had different tonal characteristics. Some were hollow, some were dark and full. Also,.Baroque flautists used syllables such as "di" "ri" as well as the common "ti". When the modern flute was invented, the emphasis was on consistency across the range, and making sure the articulation was clear. 

Just something for you to think about, whether you want to write for the old or new instruments, which could affect the style that you use.

1) if you can, put the pdf score here. It allows  for better critiques.

2)  2nd and 3rd movement are great.  The first movement needs some work.

a.) I would double the notation values.  Based on how you want it to sound, your pulse is the eighth note.

b.)This is DYING for some counterpoint. Give us something.

c.) It took three minutes or so for us to get a pause in the flute.   More of that would have been awe.

d.) The continuo is waaaaayyyyyyyy too static. Change it up some to add life to the music.

Thanks for the pdf recommendation. As I said, I'm always thankful for valid criticism. None of your other points is valid sadly.

a.) This is a matter of taste. The piece is supposed to be Adagio, and the kind of notation is perfectly fine.

b.) There's more than enough counterpoint going on between the Basso Continuo and the flute. The harpsichord only accompanies the flute in movements 1 and 3 since it's only Basso Continuo instrument here. Also, the piece is supposed to be a shepherd-like pastoral tune, I won't change anything about that. Counterpoint is not appropriate in this monody-like piece.

c.) Maybe you'd think it's awe, I don't.

d.) Again, the piece is supposed to be a pastoral, calm tune. The motion in it is a result of the changing harmonic schemes, the modulations and the walking-bass like Basso Continuo. This piece does not need any revision.

I'm getting the feeling you didn't understand the piece completely if you'd give feedback like this. I'm thankful for the pdf tip though.

7 hours ago, RDVMusic said:

I'm getting the feeling you didn't understand the piece completely if you'd give feedback like this. I'm thankful for the pdf tip though.

Dude, be careful not to act as your an uncomprehended genius of past centuries. Your piece isn't close to being perfect, and critcism like that of @maestrowick should be regarded as very valuable to your compositional endeavours. It's always important to assess if other people didn't get what you wrote or if you simply didn't put across what you intended for. In my pieces, the latter is usually true.

As @aMusicComposer said:

On 2/26/2020 at 4:47 AM, aMusicComposer said:

Be prepared to receive reviews that don't say what you expected or wanted. Your comment came across as a bit defensive.

Who are you to judge whether my pieces are perfect or not?

9 hours ago, RDVMusic said:

Who are you to judge whether my pieces are perfect or not?

 

I'm not understanding two things regarding this thread:

1. Why post your work on a forum comprised of young and emerging composers if you're just going to be hostile to commentary and critique? 

2. Why relegate a work with promise as being the final version instead of gaining insight on ways to improve it?

That said, I like your ideas. The imitative counterpoint in the cembalo at measure 37 is nice. The cadences could have bit a bit more defined as is customary of this style -but I can understand why you chose not to define them as strongly. All in all, not bad at all. 

Dude, chill out. People are not here to judge if your pieces are perfect or not, they are here to help you with what you got.

Believing your pieces are perfect will do far more harm to your progess as a composer than good. Because they aren't perfect. Not acccepting that won't allow you to grow, as you won't spot the problems you can work on. 

I'm not saying this piece is bad at all. It was actually entertaining to listen while demosntrating some good knowledge on your part.