# Cello Sonata



## beetzart (Dec 30, 2009)

Hi, I wrote this piece last year after finding some rudimentary sketches from when I was at school (mid 90s). I added a solo movement because as far as I know no another composer hasn't done that, could be wrong though.


----------



## dzc4627 (Apr 23, 2015)

I like the style you have written in, and I generally encourage more music to be written in similar idioms. 

However, I've got to say, the writing, especially for the poor cellist, seems to scattered when it comes to voice leading. Particularly in the last movement, the melodies just seem to jump around the register, somethings without direction. You have this tendency to work the melody up to a higher note and then bring the cello back down to below the ledge line, which is really jarring in a way that happens too much to be justified, and would also result in some ugly mess-ups for the performer. What I have mentioned about the cello can also be applied to the piano part. I personally find the 3rd movement extraneous and unnecessary. 

There is a nasty case of consecutive parallel fourths on the treble piano part at about 8:31, which sounds totally out of place. The cello ends on a bizarre and unresolved note at the end of the 2nd movement. The reason I point out these formal issues is that you seem to be wanting to write in a particular way that aligns itself with Western tonality pre 20th century, which I adore, and yet the music has jarring flaws and errors that can be avoided by following very simple and justifiable rules from the common practice period. I apologize for the generally negative tone of this response, but the errors of the piece often seem to cloud out the goodness of it.


----------



## beetzart (Dec 30, 2009)

dzc4627 said:


> I like the style you have written in, and I generally encourage more music to be written in similar idioms.
> 
> However, I've got to say, the writing, especially for the poor cellist, seems to scattered when it comes to voice leading. Particularly in the last movement, the melodies just seem to jump around the register, somethings without direction. You have this tendency to work the melody up to a higher note and then bring the cello back down to below the ledge line, which is really jarring in a way that happens too much to be justified, and would also result in some ugly mess-ups for the performer. What I have mentioned about the cello can also be applied to the piano part. I personally find the 3rd movement extraneous and unnecessary.
> 
> There is a nasty case of consecutive parallel fourths on the treble piano part at about 8:31, which sounds totally out of place. The cello ends on a bizarre and unresolved note at the end of the 2nd movement. The reason I point out these formal issues is that you seem to be wanting to write in a particular way that aligns itself with Western tonality pre 20th century, which I adore, and yet the music has jarring flaws and errors that can be avoided by following very simple and justifiable rules from the common practice period. I apologize for the generally negative tone of this response, but the errors of the piece often seem to cloud out the goodness of it.


Thank you for your feedback, very helpful!


----------

