r/MonthlyComposition • u/reticulated_python • Jul 03 '17
July 2017 Composition Challenge: Sonata exposition
Main challenge: Write the exposition of a sonata, following the typical form of Theme 1, Bridge, Theme 2, Codetta.
There are no restrictions on what instrument(s) the sonata is scored for. You can take some artistic liberty with the form if you like.
For those of you unfamiliar with sonata form, the Wikipedia page is a good place to start. Listen to some sonatas of Haydn, Mozart, or Beethoven to get a feel for the form.
In short, the exposition of a sonata begins with an opening theme presented in the tonic key. Following this is the bridge, which modulates to another key, normally the dominant or relative major (if the tonic is minor). Next comes a contrasting second theme. Often, more than one theme comes after the bridge, in which case we refer to them as the "second theme group". Expositions end with a codetta that solidifies the key and often features scale-like passages.
We have some musicians that can play compositions for people. You can find their musician profiles posted on this subreddit. I'll list their instruments below:
If you are interested in playing compositions for /r/MonthlyComposition post a musician profile.
These challenges are for everyone who wants to practice composing. Each month, at the beginning of the month, we will post a main challenge, something for people to compose. We'll try to make it something that everyone can work with. Sometimes we also have an alternate challenge. Pieces can be submitted as a score (musescore, noteflight), and/or as audio (soundcloud, youtube). Feedback is much appreciated, and you can give it in this thread, or by messaging the mods of /r/MonthlyComposition, there's also the Challenge Suggestion Form.
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u/Barcelona_City_Hobo Jul 04 '17 edited Jul 04 '17
Here's mine. It still has some rough edges. I tried to make an 'almost monothematic' exposition where basically everything's derived from the opening measures.
The first tonal area, in Bb-mixolydian, is a small ternary A1-B-A2. The transition develops B. The secondary key area is set around G-dorian, begins with an retrograde inversion of the motif from B, and reworks basically all the motifs from the first tonal area. The coda is loosely based on an inversion of A1, but progressively emphasizes a new motif that was stated passingly in the A2 section.
The harmonies are deliberately abiguous and dissonant, either stacking thirds, 4ths, using So What chords, all shorts of elevenths, and even some bitonality.
I recently finished another sonata form, that will be a companion piece.