FA+
Shop
1002
Views
Views
17
Favorites
Favorites
Category
Music / Classical
Species Unspecified / Any
Size 120 x 120
File Size 9.08 MB
Report this content
More from Spud Dastardly
Listed in Folders
Sonata No. 6 in f sharp minor, mvt. 1 - Prelude and Allegro
You may recall the opening prelude from here. I have been saving it all this time for when I was ready to write a sonata in f sharp minor. I updated a bit, correcting for some counterpoint errors I didn't know about when I had composed it.
From there we move into a Sonata-Allegro. For those not classically trained, that's a specific form of a piece which is divided into sections: The prelude ends at 2:12, after which begins the intro to the sonata allegro. This builds into what's called the Exposition at 2:44, which is the section in which the main themes are introduced. The Exposition is divided into two theme groups: one in f sharp, and one in b (at 3:38). The entire Exposition is repeated.
After that at 5:52 we have the Development section. In this section, we have much more free improvisation on the themes in the piece, and some key modulation. In this case, I also play the main theme of the opening prelude again with some neat variations. After all of this new material goes on for a bit, we finally build to the Recapitulation at 7:44. The Recap. is a variation of the exposition. In this case we have the first theme group transposed to b minor, and the second transposed to f sharp minor, in which the piece ends.
It's a very long and complex piece, and it requires multiple listens to get everything that's going on. I hope you enjoy it. Also, for those unaware, in my sonatas I like to put a cameo appearance from the previous three sonatas somewhere in there. In this movement you may spot a brief theme from sonata 4.
Second movement
Third movement
For a complete directory of my classical music pieces, click here.
From there we move into a Sonata-Allegro. For those not classically trained, that's a specific form of a piece which is divided into sections: The prelude ends at 2:12, after which begins the intro to the sonata allegro. This builds into what's called the Exposition at 2:44, which is the section in which the main themes are introduced. The Exposition is divided into two theme groups: one in f sharp, and one in b (at 3:38). The entire Exposition is repeated.
After that at 5:52 we have the Development section. In this section, we have much more free improvisation on the themes in the piece, and some key modulation. In this case, I also play the main theme of the opening prelude again with some neat variations. After all of this new material goes on for a bit, we finally build to the Recapitulation at 7:44. The Recap. is a variation of the exposition. In this case we have the first theme group transposed to b minor, and the second transposed to f sharp minor, in which the piece ends.
It's a very long and complex piece, and it requires multiple listens to get everything that's going on. I hope you enjoy it. Also, for those unaware, in my sonatas I like to put a cameo appearance from the previous three sonatas somewhere in there. In this movement you may spot a brief theme from sonata 4.
Second movement
Third movement
For a complete directory of my classical music pieces, click here.
Category Music / Classical
Species Unspecified / Any
Size 120 x 120px
File Size 9.08 MB
Longer pieces of music are common in the classical repertoire. Unlike shorter pieces which are typically centered around expressing a single idea, longer pieces are about the evolution of the themes and musical structures. For an example of this, see the last movement of Beethoven's 9th symphony. It is about 25 minutes long, and not one minute is wasted; there's a reason the main theme of the movement is so well known.
This isn't completely uncommon in popular music either. Tool for example has written some stuff that is upwards of 10 minutes (see Third Eye from Aenima).
This isn't completely uncommon in popular music either. Tool for example has written some stuff that is upwards of 10 minutes (see Third Eye from Aenima).
Haven't heard from you in a bit. I believe this to be fully playable, and I did my best to compose it to be so. It's supposed to be easier than it sounds. When I return to school in the fall, I will be consulting with the piano teacher in the music department to verify this and to make any necessary changes.
You know even though I use a lot of harmonic material that didn't come about until the late romantic period or even sometimes the 20th century, I still tend to follow a basic Tonic-Predominant-Dominant-Tonic structure most of the time. Thanks for listening and for your comments.
You know even though I use a lot of harmonic material that didn't come about until the late romantic period or even sometimes the 20th century, I still tend to follow a basic Tonic-Predominant-Dominant-Tonic structure most of the time. Thanks for listening and for your comments.
Comments