Sonata in C minor

Hi, I made a second movement for my sonata but, I'm not sure if it fits the first movement.

Sorry but I haven't transcribed the score of the second movement to Digital.

My plan is to make the 3rd movement a minuet in C major and the 4th a presto in C minor, in rondo sonata form

Any comment is apreciated :3

Your first movement is very nicely constructed. It's themes work smoothly and the movement is coherent. 

With your second movement you build up a lot but it's resolved convincingly in my opinion. 

Thanks for sharing it sounds very good. and I can't wait to hear the rest of it.

Amazing work!! The only trouble that I seee is that in the first part, you don't let breathings, eventhought you could use them instead of holding notes unnecessarily

On 4/9/2020 at 8:58 AM, Bradley Scarff said:

Your first movement is very nicely constructed. It's themes work smoothly and the movement is coherent. 

With your second movement you build up a lot but it's resolved convincingly in my opinion. 

Thanks for sharing it sounds very good. and I can't wait to hear the rest of it.

 

Thanks :3, I will upload the rest when I compose it xD.

6 hours ago, J.Santos said:

Amazing work!! The only trouble that I seee is that in the first part, you don't let breathings, eventhought you could use them instead of holding notes unnecessarily

 

Yes, that's a problem with most of my compositions, I just don't know where to stop, maybe I will recompose some parts of it when I find the correct way to introduce pauses :3.

Interesting work. I wouldn’t worry about whether the second movement fits with the first - contrast is important, although Haydn once said that it is also important to find ways to relate the movements, whether with thematic material or in a structural sense.

You say you intend to write a minuet as for the third movement. May I ask why this is your intention? I would not say the music is characteristic of the common practice period, but more romantic in its disposition. Something you may want to consider 

Thanks 

3 hours ago, Markus Boyd said:

Interesting work. I wouldn’t worry about whether the second movement fits with the first - contrast is important, although Haydn once said that it is also important to find ways to relate the movements, whether with thematic material or in a structural sense.

You say you intend to write a minuet as for the third movement. May I ask why this is your intention? I would not say the music is characteristic of the common practice period, but more romantic in its disposition. Something you may want to consider 

Thanks 

 

I want to write a minuet because of the 4th andd 1st movement. hte 4th movement would be a rondo sonata. which is a rondo with the developtment of a sonata. This developtment in the middle of the rondo reamains the esence of the trio in the middle of a minuet, and also the developtment of a sonata form so, I want to unify all the movements in a structural way.

Or maybe I can write a scherzo, IDK , most of the time my plans change on the progress.

Also if you have good ear, you may notice that, I made a common use of the IIb as a subdominant, and I plan to keep doing it :3.

Thanks for your comment :3. I hope my english is understandable.

3 hours ago, Markus Boyd said:

Interesting work. I wouldn’t worry about whether the second movement fits with the first - contrast is important, although Haydn once said that it is also important to find ways to relate the movements, whether with thematic material or in a structural sense.

You say you intend to write a minuet as for the third movement. May I ask why this is your intention? I would not say the music is characteristic of the common practice period, but more romantic in its disposition. Something you may want to consider 

Thanks 

 

Don't you mean more Baroque in disposition? The Minuet more or less died out with Beethoven and has only relatively recently made a comeback as far as composing. And all the famous Baroque composers wrote minuets as did Haydn and Mozart. Meanwhile the Scherzo, while first used by Haydn, didn't really get used that much until Beethoven started using it in his sonatas, symphonies, and concertos and then it has stayed popular since amongst composers. And since the common practice period goes from the start of the Classical Era to the early Romantic Era, both are about equally common in that entire time span, it's just that the early to mid Classical Era has a lot more minuets and the late Classical to early Romantic Eras have a lot more Scherzos.

7 hours ago, caters said:

Don't you mean more Baroque in disposition? The Minuet more or less died out with Beethoven and has only relatively recently made a comeback as far as composing. And all the famous Baroque composers wrote minuets as did Haydn and Mozart. Meanwhile the Scherzo, while first used by Haydn, didn't really get used that much until Beethoven started using it in his sonatas, symphonies, and concertos and then it has stayed popular since amongst composers. And since the common practice period goes from the start of the Classical Era to the early Romantic Era, both are about equally common in that entire time span, it's just that the early to mid Classical Era has a lot more minuets and the late Classical to early Romantic Eras have a lot more Scherzos.

 

I would rather not steer this topic in the direction of what defines common practice. However I admit that I used the term loosely to define the common practice of the 18th century (technically speaking, the term common practice can be applied to any part of music history during which a "common practice" is observable - see https://en.wikipedia.org/wiki/Common_practice_period).

The point I wished to make was that it seems unusual for a work in a romantic style to feature a minuet, as by the 1830s the dance had more or less become less fashionable, in contrast with the Waltz or Scherzo.