Mr. McKay, Is this a composition played entirely by improvisation; i.e., no prior preparation? Regardless, it's a lovely piece and I for one would love to get a score. Also, thank you for beautifully played ornaments.
Well, I memorized a formula for improvising a sonata, and then used it to improvise 12 sonata movements. I also came up with most of the themes ahead of time, at least the opening theme of each sonata. In some cases I improvised the second theme. And there was a process of practicing various kinds of material that is suitable for specific places in a sonata. So, to cut a long story short, these are improvised, but based on quite a bit of preliminary work. Here’s the description from my sonata playlist: Practicing Sonata Improvisation. These are examples I recorded for my students. Recorded June 17-22 2024 Basic plan for improvising a sonata in a Major key: Exposition: Theme 1 (4 or more measures). Bright, energetic character. Extension of Theme 1, possibly with Prinner or multiple Prinners. Possible varied repetition of Theme 1. Sequence modulating to the dominant. Energetic and boisterous passage based on a pedal point on V/V (or half cadence in the dominant). Possible use of modal mixture during the pedal point(or diminished 7th chord). Medial cesura (music comes to a complete stop) Theme 2. Gentler in character, lighter texture. Harmonization avoids root position chords, (possible emphasis on alto cadences). Leads into a sequence. Energy starts to build. Indugio or a rising sequence. cadential 6/4 with energetic trill in a high register. An extended series of cadences in the dominant. Possibly a cadence theme based on a turnaround. Repeat exposition (optional). Development: Begin in the dominant minor. Modulate to at least one other minor key. Use some material from the exposition. Use longer sequences. Arrive on dominant pedal point to prepare the recapitulation, or use German 6th. Recapitulation: In tonic, or beginning in subdominant. Restate At least one of the 2 themes from the exposition. Then an extended series of cadences in the tonic. Recapitulation may be considerably shorter than the exposition.
Sounds amazing!
Mr. McKay, Is this a composition played entirely by improvisation; i.e., no prior preparation? Regardless, it's a lovely piece and I for one would love to get a score. Also, thank you for beautifully played ornaments.
Well, I memorized a formula for improvising a sonata, and then used it to improvise 12 sonata movements. I also came up with most of the themes ahead of time, at least the opening theme of each sonata. In some cases I improvised the second theme. And there was a process of practicing various kinds of material that is suitable for specific places in a sonata. So, to cut a long story short, these are improvised, but based on quite a bit of preliminary work.
Here’s the description from my sonata playlist:
Practicing Sonata Improvisation. These are examples I recorded for my students. Recorded June 17-22 2024
Basic plan for improvising a sonata in a Major key:
Exposition: Theme 1 (4 or more measures). Bright, energetic character.
Extension of Theme 1, possibly with Prinner or multiple Prinners. Possible varied repetition of Theme 1.
Sequence modulating to the dominant.
Energetic and boisterous passage based on a pedal point on V/V (or half cadence in the dominant). Possible use of modal mixture during the pedal point(or diminished 7th chord). Medial cesura (music comes to a complete stop)
Theme 2. Gentler in character, lighter texture. Harmonization avoids root position chords, (possible emphasis on alto cadences). Leads into a sequence.
Energy starts to build.
Indugio or a rising sequence. cadential 6/4 with energetic trill in a high register.
An extended series of cadences in the dominant. Possibly a cadence theme based on a turnaround.
Repeat exposition (optional).
Development: Begin in the dominant minor. Modulate to at least one other minor key. Use some material from the exposition. Use longer sequences. Arrive on dominant pedal point to prepare the recapitulation, or use German 6th.
Recapitulation: In tonic, or beginning in subdominant. Restate At least one of the 2 themes from the exposition. Then an extended series of cadences in the tonic. Recapitulation may be considerably shorter than the exposition.