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Hey look, another sonata ^^. Interesting story with this one. I actually wrote the second movement first, and I loved it so much that I decided to build a sonata around it. I hope you all like it! Now then, this is in sonata form, which means there's an introduction, then an exposition which is repeated, then the development, then the recap. If you want a more detailed explanation of the form, go check the first movement of either of my other sonatas. Too lazy to type it all out again xD. Also, toward the end, I use a mode that I invented. It's...complicated, but is based off Phrygian.
Oh and for those who don't know, I like to throw a little easter egg in my sonatas: each of my piano sonatas contain cameo appearances from the sonatas previous. There's one in this movement, and you'd make my day if you could spot it :3
Enjoy!
Second movement - Lament
Third movement - Vivace
For a complete directory of my classical music pieces, click here.
Oh and for those who don't know, I like to throw a little easter egg in my sonatas: each of my piano sonatas contain cameo appearances from the sonatas previous. There's one in this movement, and you'd make my day if you could spot it :3
Enjoy!
Second movement - Lament
Third movement - Vivace
For a complete directory of my classical music pieces, click here.
Category Music / Classical
Species Unspecified / Any
Size 120 x 120px
File Size 9.42 MB
at around :20 there's a really familiar progression!
That last mode sounds a little Arabic, I do feel I've heard it in some jazz pieces, you always have to be very careful about saying what you invent, you might have re-discovered it or discovered it on your own, but even that chromayic scale motif you used in your earlier pieces (which you said was never done before, was actually the basis of almost all "chromatic" madrigals, motets and fantasies of the renaissance and baroque eras). But enough with stupid technicalities like that.
This is a wonderful piece, full of great variations and evolution of themes and all that, truly masterful! I enjoyed every minute of it. T'was'nt dull for even a minute.
That last mode sounds a little Arabic, I do feel I've heard it in some jazz pieces, you always have to be very careful about saying what you invent, you might have re-discovered it or discovered it on your own, but even that chromayic scale motif you used in your earlier pieces (which you said was never done before, was actually the basis of almost all "chromatic" madrigals, motets and fantasies of the renaissance and baroque eras). But enough with stupid technicalities like that.
This is a wonderful piece, full of great variations and evolution of themes and all that, truly masterful! I enjoyed every minute of it. T'was'nt dull for even a minute.
I enjoyed this for the most part, though the ending bar made me wretch xD. What are the details of the mode you used? It's nice to hear something from you with regular time.
I think your right hand writing needs to develop a little. The passage at 2:10 is a good example of good writing - the left hand is given its own distinct role to compliment the right, but it soon sinks into generic arpeggios and scales. There is a lot of this generic stuff for the left hand, in the form of the driving quavers and the numerous scale work. Sometimes it feels as if the left hand is there to merely fill in bits from the right. This is what I find difficult about piano music, is you need to say something meanwhile with both - like at 4:20 it's done quite well. The use of triplets to grant some identity is a welcome shift.
Overall I didn't really get the mode at the end - it feels tacked on and generally out of place. The theme was closing of nicely before you introduce it (rather forcefully). For some reason, I want to follow that first movement by listening to the second movement of the Pathetique, the dissonance and sharpness of the ending is so wonderfully soothed by that soft, dreamlike piece. I hope your second movement does this also - for I certainly expect a harmonious and gentle piece to follow.
I think your right hand writing needs to develop a little. The passage at 2:10 is a good example of good writing - the left hand is given its own distinct role to compliment the right, but it soon sinks into generic arpeggios and scales. There is a lot of this generic stuff for the left hand, in the form of the driving quavers and the numerous scale work. Sometimes it feels as if the left hand is there to merely fill in bits from the right. This is what I find difficult about piano music, is you need to say something meanwhile with both - like at 4:20 it's done quite well. The use of triplets to grant some identity is a welcome shift.
Overall I didn't really get the mode at the end - it feels tacked on and generally out of place. The theme was closing of nicely before you introduce it (rather forcefully). For some reason, I want to follow that first movement by listening to the second movement of the Pathetique, the dissonance and sharpness of the ending is so wonderfully soothed by that soft, dreamlike piece. I hope your second movement does this also - for I certainly expect a harmonious and gentle piece to follow.
Regular time? That major section is in 13/8 xD. So to form that mode, I basically looked at the harmonic minor scale and went "wait, I could create six more modes out of this scale, since it changes the orders of the steps". Calling then harmonic minor basically harmonic aeolian mode, I was then able to look at other modes such as the harmonic major (ionian) mode in which the fifth note of the scale is raised by a half step. For this piece in particular, that mode is harmonic phrygian mode, where the third note is raised, creating an interesting scale of a minor scale with a flattened second, but with a major third. I used both normal and harmonic phrygian, then altered the mode further by osometimes raising the seventh as well.
Now then, yes you need to say something meaningful with both hands, but that does not mean each hand must constantly be its own independent moving melody. There is something to be said for the power feeling of bass playing octaves. You can hear it in Beethoven's moonlight sonata and his pathetique, first mvts, and you'll find plenty of arpeggios in the third of his pathetique. I like to use a mix of independent movement in the left and simple octaves/arpeggios.
It is standard in sonata form to play the major theme group in minor mode. The interesting thing here is that the major theme group was in mixolydian mode, which means its relative minor is phrygian. I then alter the phrygian just as one alters minor to the harmonic to give it the sound I'm looking for. I know you're really not a fan of dissonance, so I'm sorry about the ending, but that dissonance is exactly how I wanted this piece to end.
Also I'm pretty sure you're not going to like the second movement much either xD.
Now then, yes you need to say something meaningful with both hands, but that does not mean each hand must constantly be its own independent moving melody. There is something to be said for the power feeling of bass playing octaves. You can hear it in Beethoven's moonlight sonata and his pathetique, first mvts, and you'll find plenty of arpeggios in the third of his pathetique. I like to use a mix of independent movement in the left and simple octaves/arpeggios.
It is standard in sonata form to play the major theme group in minor mode. The interesting thing here is that the major theme group was in mixolydian mode, which means its relative minor is phrygian. I then alter the phrygian just as one alters minor to the harmonic to give it the sound I'm looking for. I know you're really not a fan of dissonance, so I'm sorry about the ending, but that dissonance is exactly how I wanted this piece to end.
Also I'm pretty sure you're not going to like the second movement much either xD.
In the 3rd mvt, I think the easter egg is at about 2:16, a slice of the theme from your 2nd sonata 3rd mvt. I'd say this one is a bit harder to spot, doesn't stand out as much as the one in the 1st mvt. This one is a little distorted in pitch (major to minor? or something of that sort) and seems to be taken from the middle of the theme. Or I haven't really found it.
Amazing music! Makes me want to start playing piano again!
Amazing music! Makes me want to start playing piano again!
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