Short single track Violin Sonata

Hello! I finally started on my violin sonata after some extensive research although there is no violin in this yet I can already see some potential concerns and I wanted yall's thoughts on the piano aspect. Turns out this formula ABAX (x=coda) will still be used but now theres an added Introduction section. This is just the piano and let me know if i should continue this or try again differently.

More up to date version with some added violin.

I think having that silent intro is still apt in setting up the tone for the Largo part. It and can even be an inspiration for the coda ( if you want and/or don't have an idea for it ), making the end and intro tie into, and echo, one other. There's definitely a lot of potential and you should continue developing it!

Hi @Gabriel Carlisle,

I agree with @Aw Ke Shen that a lot can be developed! Like the Largo theme can be more developed before going into Allegro. What is the intention of leaving those slurs for the violin melody in the Largo part? The Cb should be B natural in b.9 and b.25 for piano. For b.20 I feel like the violin cadenza is more like a pianistic passage but maybe I am wrong since I am not quite familiar with violin writing.  Thx for sharing!

Henry

The slurs are for more virtuoso playing but I do need to add more to make it actually more virtuoso. I would love to add more to the beginning but I’m just afraid that I won’t have enough time since this piece must be under 4 minutes in length and it’s form is (introduction)ABAX. This is just a rough on the violin. I do see your point with that cadenza due to its tritone shapes. I should probably change it to a scale to fit it better for a violin. Perhaps the natural harmonic minor scale would prove well. Those flats do need to be naturals so thanks for pointing that out. I’m still learning how to know what is flat what should be sharped and what should be natural. Thanks so much for your feedback!

Also im curious that the 2/4 section should be in 6/8?

I listened to the most updated version and the thing that jumped out at me is that you seem to be composing the piano part and the violin part independently of each other.  I personally never write this way.  Once you have the tempo change - how do you know what harmonies you might need the piano to play without composing the violin part first?  The piano accompaniment is going to depend on what the violin melody is going to do.  But I do get that hearing the piano play some chords as a kind of vamp before the violin comes in can inspire the creation of the melody.  But I personally wouldn't write too many bars without the violin part set because depending on what the violin will do later I would just be creating extra work for myself when it turns out that I need to change the accompaniment.  Although I don't know your work ethic and what has worked for you of course - by all means, keep doing what works.

As for the music - so far it sounds very dramatic with the constant foreboding of the long dominant chords.  The emphasis on the dominant creates a certain expectation.  Thanks for sharing!

Peter

Dude its a nice start !! really love that signature change and the dynamism going on after.

Saint saëns vibe mon ami ^^

Sometimes i do plan an harmonic plan and structures then write the melodies in the chords if it can help you.

I just can imagine the melody its so cool 🙂

I agree with @Louis dB that you’re off to a great start and that there is lots of great potential for melody, @Gabriel Carlisle! How have you been tracking with it since? One thing I would probably be asking myself if I were in your position (that is, if you haven't already) is since you’ve called this composition “The Wolf and the Rabbit,” is each instrument on its own going to represent one of the animals (i.e. the piano is the wolf and the violin is the rabbit)?

On that note, if I could offer you one piece of constructive feedback, maybe I would consider making the piano more of a complementary to the violin rather than a mere background accompaniment? You excel in this aspect at the moment of the tempo change, but maybe if it plays more of a prominent role throughout? Just an idea, anyway. Keep it up! 🙂

On 1/28/2024 at 5:33 AM, Henry Ng Tsz Kiu said:

Hi @Gabriel Carlisle,

I agree with @Aw Ke Shen that a lot can be developed! Like the Largo theme can be more developed before going into Allegro. What is the intention of leaving those slurs for the violin melody in the Largo part? The Cb should be B natural in b.9 and b.25 for piano. For b.20 I feel like the violin cadenza is more like a pianistic passage but maybe I am wrong since I am not quite familiar with violin writing.  Thx for sharing!

Henry

 

Gosh, you really are an expert musician Henry.