# Piano Sonata



## beetzart

I wonder what people think of my piece, do you have any constructive criticisms at all.


----------



## StevenOBrien

*The audio:* I'm not sure if you really care, but you should consider looking into getting better piano samples. I'd recommend XLN's Addictive Keys or anything from Imperfect Samples or Acousticsamples. Take your pick . Also, the mix is extremely quiet. Compare the volume level to commercial recordings of piano sonatas and adjust accordingly.

*The title:* Generally, the standard for titles is "Piano Sonata No. 2 in D minor, Op. 6" if it's your second piano sonata, or "Piano Sonata No. Whatever in D minor, Op. 6 No. 2" if it's the second piano sonata in that opus. The formatting seems to be a little ambiguous in your case. Also, if you're interested, for movements, it's generally "Piano Sonata No. 2 in D minor, Op. 6: I. Allegro con whatever".

*The music:*

I'd be able to give some better criticism if I had a score to read while listening.

Purely from listening though, you have a lot of great ideas, and certainly a talent for composition! To me though, it feels quite repetitive (in the sense that it feels like you're copying and pasting a lot, without adding much variation to the pastes). This leads to a kind of static quality in the music. Repetition in music is fine, and good, but most of the time (unless you're going for a specific effect) you need to make it feel like it's not repeating.

Beethoven's 6th symphony is a great example of how to do repetition well. Take a look at this section: 



 On the surface they look like a bunch of "copy-pasted" repeats, but if you listen more closely, you'll notice that the dynamics are constantly changing throughout the entire section. He even adds a little bassoon part in the middle of it all, just to change things up a little and keep our interest.

The general rule is that you don't want to do a literal repeat of something any more than three times.

I'd also suggest you take a look at these 8 bars of Mozart: 



. He could have easily pretty much just used the first four quarter notes "copy-pasted" four times, with only the pitches being changed in the last four bars, but he goes the extra mile and adds quite a bit of variation to keep our interest, and to make what could have been a monotonous and routine section into something that's very fun to listen to. Study how he variates each repetition of that four note motif and try to apply it to your music.

The second movement is very nice! I think you are currently better at doing slow movements than the faster ones. I'm sure it would sound fantastic if it was actually played. There are still repetition issues, very much so in the section that starts at 0:45.

I look forward to hearing more!
-Steven


----------



## beetzart

Hi Steve,

Thanks for your post. Here is a link to my scores http://imslp.org/wiki/Category:Snuggs,_Colin_Peter

Yes, I do go for repetitiveness. I have always been beholden by music that in a sense repeats, and rises. I try to ape that and it finds its way into my pieces. I like moody music, dark, and forbidding, with a quick tempo.

Thanks again, your comments are taken on board. I only do this as a hobby but it is interesting to hear people's opinions.

Colin.


----------



## ricardo_jvc6

I would say get ahold of Vienna Imperial from VSL, best piano ever recorded in my opinion. I prefer Vienna Imperial or Galaxy Pianos, their sound is perfect.


----------



## beetzart

ricardo_jvc6 said:


> I would say get ahold of Vienna Imperial from VSL, best piano ever recorded in my opinion. I prefer Vienna Imperial or Galaxy Pianos, their sound is perfect.


Thanks, I'll look into that.


----------



## pluhagr

If you are going to go the route of repetitive gestures on the piano, save us all from boring patterns. So many of your meledies are boring and need some better harmonization in order to keep the listener engaged. While the melody is nice at times it sounds so empty...


----------



## beetzart

pluhagr said:


> If you are going to go the route of repetitive gestures on the piano, save us all from boring patterns. So many of your meledies are boring and need some better harmonization in order to keep the listener engaged. While the melody is nice at times it sounds so empty...


Thank you for taking time to listen and comment. This is the only way I know how to compose so I guess your comments won't really help this time.


----------



## Musician

I think you are trying too hard to be something that you're not, namely Beethoven.
It would be better to have a clear idea, that has a meaning to you personally, a deep meaning, something that speaks to you, and then translate it in a personal and unique manner into your composition. I know, when I was composing in my teens I thought that I was writing great music, because it sounded like Bach, or Chopin, but as I developed as a composer, I understood that the best composer that I can be is the music that I can compose in a natural manner without all other considerations. Then I was free to express myself freely, and develop a style, all you have to do is let yourself be, and believe that you too have something important to say through your music, and if that will be believed strongly by you, then it will reflect on your music, and the magic of quality will begin to appear, but it will never appear if you will let other composers dominate your abilities.



beetzart said:


> I wonder what people think of my piece, do you have any constructive criticisms at all.


----------



## beetzart

Could I listen to your music please, Musician? Thank you for your comments. I don't intend it be like anyone although it is hard not to be influenced by Beethoven. I'm sure when I hear your music I will recognise it as the most original uninfluenced catalogue ever. 

Look forward to hearing it.


----------



## beetzart

Musician said:


> I think you are trying too hard to be something that you're not, namely Beethoven.
> It would be better to have a clear idea, that has a meaning to you personally, a deep meaning, something that speaks to you, and then translate it in a personal and unique manner into your composition. I know, when I was composing in my teens I thought that I was writing great music, because it sounded like Bach, or Chopin, but as I developed as a composer, I understood that the best composer that I can be is the music that I can compose in a natural manner without all other considerations. Then I was free to express myself freely, and develop a style, all you have to do is let yourself be, and believe that you too have something important to say through your music, and if that will be believed strongly by you, then it will reflect on your music, and the magic of quality will begin to appear, but it will never appear if you will let other composers dominate your abilities.


Reading that again, you really do talk some cack, sorry. lol


----------



## Musician

beetzart said:


> Reading that again, you really do talk some cack, sorry. lol


Well I can get melodramatic sometimes...

Cheers


----------



## beetzart

Musician said:


> Well I can get melodramatic sometimes...
> 
> Cheers


The pleasure is all mine.


----------

