Try the interactive tutorial, or download the Sheet music here: musescore.com/... I hope you enjoy listening to my first Sonata. It requires a lot of piano technique.
@@raizel3786 1- it's a piece, not a song. 2- you simply can't copy passages from different pieces and call them your own, inspired or not 3- why call this a sonata if it's not in sonata form? if you wish to compose music like chopin, you should at least study repertoire of his period, to gain a more cultural capital and therefore grow as a composer yourself.
@@laether7945 Ok there's a problem with your second point though you're first point is definitely correct and the third point I can't really argue with that because i'm not a professional composer. Sure, he does have some motifs inspired by Chopin's third sonata. So are you going to accuse John Williams for plagiarism too since his Star Wars theme literally copy and pastes Korngold's Kings row?
@@laether7945 In addition, @Raizel does admit he was inspired by the piece. So are you going to sue John Williams for plagiarism without crediting Korngold?
dude, this is amazing. I understand the critiques that have been made in a few other comments, but in my opinion you deserve much more credit for this. I actually really like that you used the same chord progression almost the whole time. sure, maybe that makes the piece technically not a sonata, but who cares really, this is awesome.
@@legendarylightning676 phh, if it's a pop song, there would need lyrics in it. And it would make absolutely imbecile. But I agree with Noah Simcox. This piece is very nice
Great piece. It sounds more like a series of variations on the same theme than a sonata which is not a bad thing. There is a huge Chopin Scherzo from 3:00
I agree, it's more like theme and variations instead of a sonata. And yes that part indubitably has similarities with Chopin's Scherzo no 2 and sonata no 3.
As a fellow composer this is very good! Not a sonata. Strikes me as more of an Impromptu. I love those pentatonic scale runs. Definitely looks impossible in some areas. Definitely very difficult. The chord progression can be a little repetitive. I would of like to see more contrasting themes. I really like the march part. I also really the part that keeps accelerating. Nice job!
Is ere necessarily a difference between a sonanta and an impromptu..? If there is I'd like to k ow I'm a composer too bit don't know what the difference might be.
@@ethanbrowncomposer is that the only difference..I was thinking an impromptu might me an improvised piece because the title yea..but many impromptu like by Chopin or Liszt seem too complex to be purely improvised..so are you sure that's always true..or impromptu can be partly improvised but not completely..whereas sonatas are never improvised..is that it?
I know when I write impromptus the initial idea (the melody and some other parts) are completely improvised. But I think like many composers, they work on that idea after to make it sound complete and coherent. Chopin and Liszt were such geniuses that maybe everything was thought out in time. Still, they probably went back and fixed somethings in the sheet music.
@@leif1075an impromptu is written with the intention of giving an illusion of spontaneous improvisation when playing/hearing it, which is why it doesn't really have a definitive form. It's similar to a fantasia, perhaps? A sonata on the other hand, has a stricter structure.
Pretty great honestly, certainly a strong composition. I question how playable it is in some areas, and personally I find the chord progression a little repetitive for this length of a piece. I also don't think I'd call it a sonata if it were me, doesn't strike me as such.
wonderful for your first sonata! i do have some tips though. first of all, i recommend you study theory a bit, it really helps map out and understand more complex themes that this piece needs, the repeating left hand theme isn't boring, but some variation will certainly help. there are some impossible parts too (if the tempo was slower it might be possible), like at 1:48, and certainly at 1:55. also from measures 21-28 the notation is a bit weird. instead of the confusing rests, i would just notate it normally and write rubato. or you could just fill the rests in. great piece though!
i especially agree with the impossibility and the notaion part, there is a lot of virtuosity needed for some bits that really don't need that, it's just plain hard, no reason at all, as for the notaion, try to refine it, not publishing company level notation, but just keep it in mind (obviously i'd recommend consulting and getting some tips from elaine gould's behind bars)
I don't exactly agree on the "impossible parts", like they are playable, and there are definitely harder passages, like the codas of any of the chopin ballades
I don't play the piano but I'm skeptical of some of the passages being playable. The sixteenth note runs and arpeggios with two note chords and the sequence of 9ths around 1:48. Everybody who has started composing always writes things that may or may not be playable...but if you are going to write a lot for the piano, it would be a good idea to get with a good pianist and get suggestions for how to get the sound you want that is still playable. There seems to be enough going on here for two instruments at times. That and look more closely at Rachmaninov and Chopin scores to see how they handled passages like this. If you can imitate gestures and rhythms, why not some of the notation technique? I was able to predict how it would end a couple of score pages previous, as the repeating chord sequence was sort of giving away the final cadence.
First of all, congratulations for writing such an imaginative work! I'd like to make some suggestions that might improve this piece as well as future piano works. 1. having read many of the previous comments, I noticed that several mentioned that it was harmonically static. I thought the same thing. A piece this long definitely needs to move through different keys. 2. I sometimes sensed that there were many spots that were virtuosic for the sake of being virtuosic. As composer we have to make sure that we develop our theme(s) and not engage in "show-offy" passages that don't really add to the meaning of the work. 3. As mentioned by others, there are several passages that even by a concert pianist would be nearly (if not completely) impossible to play, especially at that tempo. If you would ever want this performed live, I would certainly simplify those areas. 4. Lastly, I think you could eliminate a lot of the material without sacrificing the integrity of the piece. Keep it to about 4 minutes, and take out a lot of the repetitive sections. Now having said all that, I did enjoy listening to it-the beginning sounded very Beethovenian to me! Keep writing-you have a lot of good pieces in your future!
There are some very interesting ideas here, but I do think you get stuck in a rut with the left-hand chord progression. Despite your many variations in figuration in the right hand, monotony does 'kick in' in the left hand after a while, as you are essentially relying on a 4-chord sequence for much of the piece. To break this monotony, it needs some modulation to some other keys and more breaks from your 4-chord sequence. I agree with others that there are parts that border on being unplayable. I also agree that 'sonata' is probably the wrong title here. A sonata typically consists of two to four movements, or sections, each in a related key, but with a unique musical character. If this were the first movement of a sonata, I would expect some broad outline of the use of sonata form, so an exposition, development and recapitulation with two contrasting themes. I see another commentator mentions the term 'impromptu' - this, indeed, might be a better suggestion for its title or even Fantasy-Impromptu. However, as a first attempt a commend your efforts.
Interesting thing. Variety of melodic and garmonic constructions is large. But i'd like to offer you another version of notation: at moments 4:26 (G-clef, end of 214) , 4:53 (G-clef, 241), 5:44 (G-clef, end of 329) you may use Alto C-clef, and notation will be readable.
Very cool piece! Variations of the same theme over and over again, but I heard many Chopin references in it. I won't mention the ones I've already seen mentioned in the comments but there was a part in there I felt strong 3rd Ballade vibes on, and I love me some Chopin 3rd Ballade. Don't give up the passion for music my man! 👍
the main theme is very epic, i find that very catchy. however maybe you should think about having someone peforming your own works. the broken chord part in "mvt 1" seems almost impossible to peform in tempo. also dont mind the critics, indeed the descending notes are like chopin's, but the theme sounds original. keep up the good work friend!
As a composer myself, the exposition should have been a little longer, and the codetta was also pretty short compared to the development and recap. But pretty good composition, loved it.
This is pretty good. Allow me to do some small critique here however: I think while the textures on the sonata help giving it a fresh taste at most turns, it doesn't help that the same chord sequence is repeat a bit too much, and the variations of the theme i think sometimes feel not as inventive as they could. You could try probably doing harmonic variations on some sections, probably tone down the repetitions. As it is as someone already pointed, feels more like a set of variations than a real sonata. Good job regardless!
I created a music that is not a jazz neither melodic, a string quintet that is identical to Shostakovich’s string quartet no.8 and melody from Death and the maiden
It’s hard to support a piece that directly takes from another composer - I would feel differently if the piece was titled variations or rhapsody on a theme by Chopin, but calling it a sonata is wrong both in the fact that it isn’t your material and the piece isn’t even sonata form.
Some of the materials are good, but the structure is not clear. For example I didn't hear a Major part, literally what the second theme usually be in. We are not easy to figure out where the development start and what materials you use to compute. Some parts are not playable. At 5:08 the time is likely to be in 3/4 first, due to the left hand part. I like the melody line from 6:01 to 6:10 and the quintuplets motive (first appearing at 0:48 ). I think you are a creative composer but need more practice and you can write a good piece (we usually say piece instead of song when the music don't have a voice). Keep it up!
