August 10, 20232 yr G'day Aaron, Once again, a very lovely piece you've written, I can totally imagine this being performed in the home of a rich 18th Century nobleman. A few comments: You have a great grasp of binary form, though I believe the contrast between the two sections could be much greater. As I have said before, its time to add dynamics to your works. They will make them a whole lot better, a whole looooooooot better. Also allows you to provide contrast within your works. Other than a couple criticisms, good job. Keep composing and improving! Nga Mihi, Arjuna
August 10, 20232 yr Hey Aaron, I indeed enjoy this short work! I really love the clavichord like sound of your work since it really fits with the thin texture! I love in b.3 and 19 you introduce a hemiola there! This for sure add some rhythmic diversity in it. Even though you are still going for dominant A major in the middle section, I think it's more reasonable here since you end the first section in tonic D major rather than dominant A major, thus there will be no redundancy of keys here. I really love that chord in b.15! It really adds surprise here. However that chord should rather be spell C#, F#, A# and C#, since it's the dominant of B minor there! You can also develop on the B minor since it's the relative minor of D major and will provide a good modal contrast to the piece! The chord next to it will be better a ii6 chord (B minor chord with D in bass, instead of the E major chord here) I agree with Arjuna that you should add more dynamic contrast in it! Thx for sharing! Henry
August 10, 20232 yr Hello I agree. Perhaps one of the things that contributes to the weak contrast between parts is the persistence of the triplet motif.
August 24, 20232 yr Small engraving suggestion: when there are lots of triplets, you can usually omit all the number 3s in the score except for the first one (or at important places).
October 9, 20232 yr Wow - you use super irregular rhythms and phrases in this piece! The main theme actually fits into 8 measures, but because of the offset-by-an-8th-note hemiola in bar 3 (a trick that Brahms loved to use) and the feminine cadences in bars 4 and 8 it makes it sound really unusual. Then you have that strange 2/4 measure in bar ... 9? It's not counted as a bar because it has a dotted barline? Without that measure your next phrase also adds up to 8 bars before returning to the main theme to round off your rounded binary form of this piece. Overall I think it sounds like you resolve to the tonic a bit too often making it overly tonic-chord heavy imo. Overall though, I really enjoyed this piece! Thanks for sharing.
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