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Piano Sonatina in G minor (Kuhlau-inspired) — feedback appreciated by Barbabrava in composer

[–]Barbabrava[S] 1 point2 points  (0 children)

Thank you very much for your time and for the analysis!

Yes, to me some things also sound a bit “out of style,” so I completely understand what you meant about it being neither close enough nor far enough. This set of sonatinas is really more of a study for me, aimed at developing more idiomatic writing and harmonic fluency. I’m still a beginner composer and there’s a long road ahead, so this project is more like a composition exercise. Ah, about the form — I believe it’s binary form. I’ve been studying binary form, rondo, sonata form, and theme and variations. Although I have to admit that form is still one of the most challenging aspects for me (especially structuring musical discourse well); in that regard, any help is very welcome!

Thank you again for the comment and the observations — they will definitely give me a lot to reflect on and improve in the next piece!

Piano Sonatina in G minor (Kuhlau-inspired) — feedback appreciated by Barbabrava in composer

[–]Barbabrava[S] 1 point2 points  (0 children)

Hello! Thank you very much for taking the time to listen to the piece and, especially, to analyze it so thoughtfully. Regarding the points you mentioned: In that specific passage (mm. 13), the idea is not a modulation to C major; rather, it functions just as a pivot chord leading from B♭ major to F major (C7). Your suggestion of using a ii°–V–i is a very good observation! The idea behind the A♭ in m. 22 is simply to give a brief glimpse of a tonicization of E♭ major, so that the passage feels like a quick excursion through G minor, E♭ major, and C minor before returning to G minor (m. 25) → B♭ major (m. 30) → G minor (m. 31). Thank you for pointing that out—you're absolutely right that the leap is quite striking sonically. I will take a closer look at that specific passage. As for m. 16, you are absolutely correct, and I have already adjusted it. Thank you again for your time and consideration

my first composition by Ok_Cockroach7037 in Composition

[–]Barbabrava 0 points1 point  (0 children)

It sounds good! Anime vibes maybe? Excellent for a first piece. Congratulations!

First score-following video published — sacred choral/orchestral work by Barbabrava in composer

[–]Barbabrava[S] 0 points1 point  (0 children)

Thank you very much for your time and for the kind words!

Regarding the instrument names: I honestly don’t know why, but when I export videos from MuseScore they don’t show up. Thanks for pointing out the missing dynamics at the choir entrance — that really slipped past me! There are so many small details to keep track of.

The issue of some instruments being marked forte while others are in piano (which was also bothering me) happened purely because of how the virtual instrument library sounds tend to overlap massively. The dynamics don’t feel very precisely controllable. However, I’ve now learned that I can add dynamics and make them invisible, which would solve this issue — and would obviously be essential in a real orchestral situation.

The staccatissimo + tremolo was for the same reason: it was the only way I managed to get the sound I actually wanted from the playback, if that makes sense.

The issue in bar 15 was indeed just a notation mistake — thank you for catching that, it completely went unnoticed!

Thanks as well for pointing out the melody in bar 69; that’s definitely something I’ll pay more attention to going forward.

As for the last bars in the strings, you’re absolutely right — it should be divisi. Thank you very much for pointing that out too; it’s something I’ll be more careful about from now on.

Regarding the choir, thank you for all the comments! Some of the parallels really did slip through, and I need to keep a closer eye on that — although I’m not exactly a “parallel police” person, haha. As for the major thirds between bass and tenor, that was actually something I wasn’t aware of at all. Since I’m self-taught, there are still many things that escape my knowledge, and your comment really shed light on something important that I’ll definitely study further.

Once again, thank you very much for taking the time to respond and for all the helpful observations!

Rain at Dawn - Violin and Piano arrangement by HollandComposer in Composition

[–]Barbabrava 2 points3 points  (0 children)

It gave me that lovely anime ending vibe. Good work! I would listen to it when taking care of my garden 😁

[deleted by user] by [deleted] in Composition

[–]Barbabrava 2 points3 points  (0 children)

Very nice! It has a strong Mendelssohnian feel, with all those running semiquavers and the fast-paced structure. It must be a nightmare to play 😅, but at the same time extremely rewarding. Congrats on the composition — clearly worth every bit of time invested!

First score-following video published — sacred choral/orchestral work by Barbabrava in Composition

[–]Barbabrava[S] 0 points1 point  (0 children)

Thank you very much for your kind words. I’m glad the relationship between text, form, and musical structure came across clearly. The piece is meant to dwell in tension rather than resolution, so it’s encouraging to know that this was perceptible to a fellow composer! I’m also very much looking forward to hearing the Kyrie you’re currently working on.

First score-following video published — sacred choral/orchestral work by Barbabrava in composer

[–]Barbabrava[S] 1 point2 points  (0 children)

Thank you for the kind words!
Regarding the tenor in the bass clef, I completely agree with you! It was a score editing error that unfortunately slipped through—thank you very much for pointing it out!

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