Adagio for Flute in Eb Major

Here is an Adagio for Flute in Eb major that I composed. Right now I might use this as a third movement for a Flute Sonata in c minor!

Hi @Guardian25,

For me this is an enjoyable slow movement in Baroque style! I like this, and here are something I'm thinking of:

-I love that continuo bass but maybe you can have the figured bass notated as well?

-I feel like the augmented second in the flue in b.13 is a little bit off for me, and maybe you can progress to G minor a bar later after getting back to Bb major first, in my opinion.

-In b.19, there's a clash of A natural in the flute and A flat in the figured bass even it's not shown in the score. You're having a Ab first inversion chord there (Ab6) but I feel like it should be C-Eb-A natural diminished there for the continuo.

-There's a tritone move in b.22-23 bass though it's fine for me.

-For sure you can add slurs for the flute to indicate the breathing and for the cello for the bowing! Some terraced dynamics will be great as well!

2 hours ago, Guardian25 said:

Right now I might use this as a third movement for a Flute Sonata in c minor!

Will you have a chance to post the first two movements and the last movement here?

Thx for sharing!

Henry

20 hours ago, Henry Ng Tsz Kiu said:

Hi @Guardian25,

For me this is an enjoyable slow movement in Baroque style! I like this, and here are something I'm thinking of:

-I love that continuo bass but maybe you can have the figured bass notated as well?

-I feel like the augmented second in the flue in b.13 is a little bit off for me, and maybe you can progress to G minor a bar later after getting back to Bb major first, in my opinion.

-In b.19, there's a clash of A natural in the flute and A flat in the figured bass even it's not shown in the score. You're having a Ab first inversion chord there (Ab6) but I feel like it should be C-Eb-A natural diminished there for the continuo.

-There's a tritone move in b.22-23 bass though it's fine for me.

-For sure you can add slurs for the flute to indicate the breathing and for the cello for the bowing! Some terraced dynamics will be great as well!

Will you have a chance to post the first two movements and the last movement here?

Thx for sharing!

Henry

 

Here's an updated version! I was able to fix most of the mistakes that you pointed out! I also added figures to the continuo part! I already have the first and final movement of the suite, when I finish the second movement I will post it! Thanks for the feedback!

13 hours ago, Guardian25 said:

Here's an updated version! I was able to fix most of the mistakes that you pointed out! I also added figures to the continuo part!

Yeah I liie the updated version more! Just one thing: in b.18 that root position chord has an Ab on it which I feel like you can have an A natural there to form a iii/Bb, since it's already in Bb major there, just my opinion. 

13 hours ago, Guardian25 said:

I already have the first and final movement of the suite, when I finish the second movement I will post it!

Great!

Thx for your update!

Henry

It is a very nice movement. But for my taste the flute should have more rhythmic figuration, at least in some moments because it's a bit monotonous that 1 against 1 most of the time. The sound of the harpsichord has a filling effect that softens this situation.

19 hours ago, Luis Hernández said:

It is a very nice movement. But for my taste the flute should have more rhythmic figuration, at least in some moments because it's a bit monotonous that 1 against 1 most of the time. The sound of the harpsichord has a filling effect that softens this situation.

 

Thanks for the feedback! I can agree that I probably should have added more movement to the flute part. I was thinking of having the flute part more relaxed in comparison to faster movements in the suite. I will take this feedback in consideration for future slow movement pieces I work on! 

I understand the intention, and I think it is not wrong to give the flute a quieter role in this movement. The "problem", for me, is not that, but that in a large part the flute line is parallel (rhythmically) to the cello. And this gives a much older musical feel than the style it pursues.

1 hour ago, Luis Hernández said:

I understand the intention, and I think it is not wrong to give the flute a quieter role in this movement. The "problem", for me, is not that, but that in a large part the flute line is parallel (rhythmically) to the cello. And this gives a much older musical feel than the style it pursues.

 

That makes sense. I should have made the line more independent rhythmically than it is now! 

OK. On the other hand, the melodic combination is very very good. For example the parallel descent in measure 5 (when the cello goes up an octave), or the ascending cello in measures 7 and 8.)

1 hour ago, Luis Hernández said:

OK. On the other hand, the melodic combination is very very good. For example the parallel descent in measure 5 (when the cello goes up an octave), or the ascending cello in measures 7 and 8.)

 

Thanks! I really appreciate all of the feedback! 

Guardian25.pdfHello Guardian,

Very fine opening and very nice mood. I think ms 2 should be Eb5. As well there are some modulations that is a bit sudden. Might be because you miss the thirds when you end on tonic (like ms 8).  Ms 14 is tnot goot enough prepared.  Progression to 15 does not work to well (you have g minor that seems to resolve to c minor, but you miss the root note C on the first beat). If its Eb it dont work. 

Thorugh the piece there are things like this that would improve both modulations and haromic quality. Allwas look to the previous chord when moving to a new one.

I liked you opening so much that i made a lille adagio of it to demonstrate what i mean by mondulations, structure and missing thirds/root note.

(Dont mind the parallel passing octave in ms 15 - 18. Its because of the basslines melody.)

Love that you are doing baroque, good job.

1 hour ago, Simen-N said:

Guardian25.pdfHello Guardian,

Very fine opening and very nice mood. I think ms 2 should be Eb5. As well there are some modulations that is a bit sudden. Might be because you miss the thirds when you end on tonic (like ms 8).  Ms 14 is tnot goot enough prepared.  Progression to 15 does not work to well (you have g minor that seems to resolve to c minor, but you miss the root note C on the first beat). If its Eb it dont work. 

Thorugh the piece there are things like this that would improve both modulations and haromic quality. Allwas look to the previous chord when moving to a new one.

I liked you opening so much that i made a lille adagio of it to demonstrate what i mean by mondulations, structure and missing thirds/root note.

(Dont mind the parallel passing octave in ms 15 - 18. Its because of the basslines melody.)

Love that you are doing baroque, good job.

 

 

 

Hey, thanks for the feedback! I can see what you mean about my modulations not being a well done. And yeah the one you did is much better than mine! It shows I have a long way to go when it comes to writing! Do you have any advice and tips to get to the level that you are at?