I'm stuck

I'm writing my fourth piano sonata and I have the exposition, but I don't know what to do in the development. I've been thinking about just doing the second theme in minor and then chromatically and dramatically transitioning back to the first theme, but I feel I could do more. Any ideas or suggestions would be great. Thanks.

I was following along with the score and it seemed like the mp3 was cut off but the score kept going ... ???  Maybe you had an error when uploading the file?

9 hours ago, PeterthePapercomPoser said:

I was following along with the score and it seemed like the mp3 was cut off but the score kept going ... ???  Maybe you had an error when uploading the file?

 

Sorry it took me so long to reply, I wasn't notified for some reason. I must have uploaded the file before it was done exporting, oops. Should be good now.

Now that I listened to the whole thing I don't really see why you're stuck.  It sounds like it's just about nearing an ending where you're at.  Maybe if you don't listen to the piece for a while it might give you some perspective as to it's state of finality.  I struggled for a while with many pieces that felt like they just wanted to keep going and going.  My Gavotte in C and 11 Variations on a Brisk Theme to name just two.  I ended up cutting  them short and just finishing them where they were at - they were just about ripe to end and I just couldn't hear it in my obsession with continuing them.  That approach might benefit this piece.

On a different note, I feel like each of the sections in this piece are just about stretched as far as they can be without boring the listener.  You create some interesting contrasts with how different each of the sections are.  I do have to say that some of them are a bit cliche though and reminiscent of other piano works like the chords at 95 being quite similar to Tchaikovsky Piano Concerto No.1.  At least you keep that part relatively short in comparison to the other sections and it quickly segues into a variation of your main motif in 7/4.  Btw - in the score it's a bit confusing when it's apparent that you meant to split the 7/4 bars into 4/4 and 3/4 sections but the numbers "4/4" still appear on the page (did you forget to erase them???)

Anyways - I hope some of that is at least helpful and good luck on finishing it!  Thanks for sharing.

Peter

Not sure how to submit Tortoise and the Hare piece. Can you halp?

4 hours ago, rsn said:

Not sure how to submit Tortoise and the Hare piece. Can you halp?

 

I’m not sure why you asked on here, but the instructions should be on the tortoise and the hare page

Maybe the first theme's motives can be treated in inversion? I notice that both themes are continually uprising and creating climax. What about having an anticlimax in the development, just as Beetnoven did in his first movement of op. 130? Also, maybe elements from different themes can appear together, for example the dark semitonal transitional theme can appear with either of the 1st or 2nd theme.

Can the head motive of the first theme treated in different rhythm and texture in the developmemt? I notice that it always appear in dotted rhythm and chordal form. What if the motive appears in diminusion, or in fluid quaver/semiquaver?

I think the 2nd appears in minor theme will be a great suggestion. But will it act as the climax, or only as transitional area? These can be considered.

On 9/18/2022 at 9:38 AM, Henry Ng said:

Maybe the first theme's motives can be treated in inversion? I notice that both themes are continually uprising and creating climax. What about having an anticlimax in the development, just as Beetnoven did in his first movement of op. 130? Also, maybe elements from different themes can appear together, for example the dark semitonal transitional theme can appear with either of the 1st or 2nd theme.

Can the head motive of the first theme treated in different rhythm and texture in the developmemt? I notice that it always appear in dotted rhythm and chordal form. What if the motive appears in diminusion, or in fluid quaver/semiquaver?

 

I think the 2nd appears in minor theme will be a great suggestion. But will it act as the climax, or only as transitional area? These can be considered.

 

I've actually updated this piece a while ago. 

Thanks for feedback anyway.