Piano

Sonata no.1

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         
        
   
 
                    
   


   
          

6

           



       
  
9

                
        



 
            

   
       
   
12

  
      
 
       
  


          
          
              
 
17

     
               
 

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          
    
                       
   
     
22

      
          

            
2

      
27

 
      
  
   



   
                     
    
30

      
          



          
           
   
      

33

   
          
 
 


 
  
                     

     
37

         
            
           
    
 


             

        
  
43


  
                        
 
 
 

  



  



       

               
 
50

  
                 
    
 

           
3

     
56

                         


 
         

      
59

        
    
    



       
      
                     
62

         
            
 


          
               
   
67

 
         
              


 
                         
        
72

  
       
     
 
 


 
  
  
    
77


         
  


     
             
    
80


             
    


                  
4

            

83

 
           

   
Work began on the 11th of January, 2023. Inspiration was taken during MYO week, for no reason at all.
- Had an idea for an exposition, around six bars of composition. Ties in the chords should be treated as a
separate voice to the melody.

Work was forgotten for around a month, picked up again during a music theory lesson on the 4th of February.
- Extended the theme of the exposition, by adding alberti base. Started to look at development.

Feb.5
- Continued to write development, from bar 15. Arpeggios from bar 27, were supposedly naturally coming from
the repeated A in bar 26 left hand. These arpeggios had no thinking involved when writing, just flowed out of
the brain. Should be played in a similar manner too. Had a minor version of theme in plan.

Feb.6
- Finished development.
- Decided that the dissonance in bar 8 exposition was not nice. Changed G in the bass note to F sharp.
- Began work on the recapitulation, G major in bar 59 marks the difference to the D major in bar 10.
- Added octaves in order to strengthen the sound.

Feb. 7
- Finished piece.
- Arpeggios were a nice way to end the piece, ending was abrupt, so a few chords and tremolo between the two
G notes were added.