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Found 1 result

  1. AlbertPensive
    Is it so important to avoid any reference to the 1st key in the 2nd theme of the exposition? I think it's no big deal, but if I ever post the sonata form I'm writing, I guess everybody will point it out and bash the piece. The piece starts in G min and modulates to Eb maj for the 2nd theme group. However, I made a feminine P.A.C. in G min at the end of a phrase of the 2nd theme, even though that key is not "confirmed". Eb maj is still the prevailing key: Start 2nd theme--> Eb [...] Fmi Ab/C D7 Gmi Fmi7 Eb/G [...] Eb/Bb Bb7 Eb <-- End I've tried workarounds (deceptive or inverted cadences...) without success. The melody seems to "call" for that cadence What do you think? Thanks
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