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Hi all! This is the second movement of my Piano Sonata in C-sharp minor. It is set in the relative major E major to act as an (apparent) counterpart of the furious first movement. Pentatonics and Locrian scale are added in the movement, but the motive of fourth from the first movement is important here as well. Here is the Youtube video link: Here is the pdf and audio of the score: Final Draft Piano Sonata no.3 in C sharp Minor 2nd Mov.pdf Piano Sonata no.3 2nd Mov.mp3 The movement is set in a rondo form ABACA. Here is the structre of the movement: 0:00 Introduction & 1st Refrain: The Locrian scale is used capriciously at the beginning by a confused Henry right at thr start of composing the movement when he didn't know why he used it but still retained it to see what would happen. The main theme (00:23) begins in a quite beautiful pentatonic E major. I love the German Sixth used in 00:53 and I absolutely love the C-sharp minor contrasting theme, as it's beautiful but at the same time coherent by using the falling fourth motive from the beginning of the 1st movement! (Btw it is quoted in parody in my joking fugue) It then unoriginally modulates to dominant B major. 01:32 repeats the whole process apart from some embellishments. 2:34 1st Episode: The beautiful (I think) 1st episode is actually composed the second last one, only before the last refrain. It's Chopinistic here, but I think it's quite beautiful! The theme is roughly the inversion of the 1st theme. I had the inspiration of this beautiful theme when waiting in a queue in my ex-company's canteen LoL! I love the counterpoint in 03:43 as well, again using the falling fourth motive. The C-sharp minor is never solved and merely forced back to E major with a quite beautiful G sharp major transition to the 2nd Refrain. 4:29 2nd Refrain: The first theme is turned to a bell texture which I must have taken inspiration from Brahms's op.117 and Prokofiev's Sonata no.6. The serenity proves short-lived as the mood starts to become agitated and the falling fourth motive starts to attack. 5:12 2nd Episode: The Locrian scale starts to disturb and the keys start to moving all around, again in 05:30 the agitation proves itself it is not going to be covered at all, and with octatonic modulation it ends on G minor which sounds like the beginning of Chopin's 1st Ballade in 05:41. The first theme enters in 05:53 but is only a false recap as the stirring continues once again in a semitone higher in a Schubertian fashion. The first theme re-enters in 07:07, this time in C-sharp major, the global tonic major but with undercurrent underneath. F minor disturbs once again as in earlier as well as the development of the 1st movement, and the Locrian mode is finally forcefully purified to a pentatonic. I think the retransition here is slightly abrupt and forceful. 8:16 Last Refrain: First theme appears with the purified locrian scale turn to pentatonic crystal in the upper register of the piano. The contrasting theme is set in F-sharp minor this time for the E major confirmation. The C-sharp minor is not answered at all again in 09:17, and only forcefully shut up, and the piece ends in E pentatonic. At least a momentary serenity can be achieved before facing the disasterous 3rd movement. This movement starts in 2023 June right after the completion of the 1st movement, but was abandoned since I had to focus on composing the 2nd movement of my Sring Sextet. Then after a personal crisis in 2024 I had no energy at all to compose, and I hoped to use this movement to pick up my creative energy. It succeeded and the movement is quite beautiful in my opinion. I expanded the movement from a ternary one to a rondo with the addition of the 1st episode and completion of the last refrain. The movement may sound too Chopinistic and less original, but I definitely pour my heart here. I just maintain the “write-what-I-want approach” in the whole Sonata without much thinking, planning, or trying to be original. I just don’t want my emotion disturbed by the chasing of originality when expressing my feeling is my ultimate concern in the whole Sonata. The recording is played by myself. I buy a new microphone I hope the recording quality will be better and not to be roasted by @chopin anymore! Feel free to comment or critize this piece below! I will be more than happy to hear any opinion whether it's positive or negative! Hope you enjoy it! P.S. Here is the link for the YC post of the 1st movement from the same Sonata: Henry

My 3rd piece and, my first time writing a piece in sonata form (sonatina). Wrote this piece originally as a practice piece to gain some grip in the sonata form. Some constructive criticism would be appreciated. (I have been composing for 6 months)

So this christmas I've been working in this small piano sonata that is based on the theme from @Ivan1791 All movements are directly or partially conected to the theme. The first movement is in sonata form and has the theme as subject A. The second movement has the theme as a baseline (4 times slower). The third has little motifs from the theme in the scherzo, and in the trio there is a fugue wich subject is based on the theme. Finally the finale is in theme and variations based on the theme. I hope you all enjoy and any feedback is welcomed!🙂

I've been working on a piano sonata in the classical style (Mozart/early Beethoven inspired) and recently finished a draft of the third and final movement. It's intended to be in sonata-rondo form. I wonder if some of the transitions are little off and/or abrupt particularly at measures 93 and 195. Thanks for listening.

A relatively short and sedate second movement to my G minor piano sonata. Hope you enjoy it.

This is the first movement of my Piano Sonata No. 1, Op. 3, my earliest piano sonata. I first wrote it in 1993, aged 15 - but somehow lost track of the score for a long time. It eventually found its way back into my hands, so I decided to restore and polish it into a performance-ready version. I'm introducing here the first movement only (hopefully the link will work). As usual, comments and feedback are totally welcome!

I recently finished this movement for a piano sonata in the classical idiom though hopefully in my own personal style, though Mozart (particularly his own sonata in A minor) and early Beethoven are influences. I wonder in particular if the left hand maybe too repetitive at times and whether the fugato part in the development is actually playable in its current form. Thanks for taking the time to listen and any feedback is much appreciated.

Hi each, It's a long time since I posted a new piece, I've been working other things, but I have got this one to a stage I'm considering finished. However, there is always room for editing and polishing. It's a short Piano Sonata that was inspired by one of my cats "Lily". She's a bit skitty and at times quite timid. We have quite a zoo here with 4 cats, 2 dogs, 5 chickens and a duck, but Lily is always on her own, she prefers it that way. Anyway, as always I would welcome any constructive criticism and suggestions on what may or may not be working. I do value the comments I get from people and always try to act on them in some way. I know that my style is not to everyone's taste, being classical and tonal, but I do try quite hard to give it my own voice within these constraints and I hope that it shows. Thanks in advance for any comments, good or bad. Kind regards Mark

I wrote this a couple of years ago right after my son was born. Enjoy!

I wrote this massive piano sonata in about a week. I've been playing piano for 7 years and just recently am I taking formal composition lessons. I started to compose more prolifically last year though. I'd like to hear people's thoughts on this though. Thanks in advance :)