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Piano Sonata in G Major


Willibald

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After a long hiatus, I started writing a little piano sonata as a gift for a dear friend. The piece is partly modeled after some sonatas Haydn wrote in his early years, presumable for his students. I wanted to write something that I can play myself with my rather limited skills, so it's not too complicated. Still, the attached MP3s are computer-generated. Also, I have yet to add the dynamics I use to the score.

All three movements have a rising triad as characteristic motive, the slow second movement in a more drawn-out fort than the other ones. The Adagio features a strong walking bass line which is rather atypical for the overall style, but gives the movement a strong momentum. The Menuetto is rather simple to increase the contrast with the Trio that features suspensions etc., and should provide a joyous end.

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Dear @Willibald,

First movement: This is a good galant style sonata movement like those of Scarlatti! Nice use of ornaments. I think changing some of the quavers can be more non-legato though to reflect the style.

Secons movement: Good use of the three part in b.17-21! Just find a little bit weird in b.12 when F# is resolved in R.H. but reappears in L.H.. 

Third movement: A lovely dance movement! I think b.9-10 quite weird to have a D minor cadence even it's temporarily in C major, and then directly returns to G major. Nice use of bassline at the beginning of the Trio! It's also nice to end with a minuet to a light styled sonata.

Overall I enjoy this galant style Sonata! Great job!

Henry

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@Henry Ng Tsz Kiu Thank you very much! And thanks for pointing out the mistake in measure 9ff in my menuetto, as it should be either a F Major (with a touch of d minor) - G Major sequence , or through transposition a C Major - D Major sequence. Funnily enough, the f# in the slow movement was a difficult decision for me as, and I will revisit the other options to propel the music forwards.

@Luis Hernández Thanks for your comment! Do you mean by ritardo the passage in m.7 (Allegro)? It leads to a bifocal cadence, so it really is inherently unstable as afterwards the music could continue either in the key of the dominant or in the original key.

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Hi, first of all, you can write the music as you like, of course.

I was talking about the Adagio, m. 8.

It's a "rule" of the fourth-species counterpoint (which is what you are using here). It's in most books, not only Fux.., for example Salzer & Schachter.

I also write what you have done here.... But in this style, so cole to the baroque, and with only two voices, D agains C# is very dissonant. If you have three or four voices, surely this is less evident.

But as I said, it's your piece.

Captura de Pantalla 2022-12-30 a las 20.15.27.jpg

 

Edited by Luis Hernández
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Willibald.pdfI am trying to send you some suggestions, but I got some computer problems. I will be back again

 

I put the message in the pdf (the pictures did not appear on my original message)

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