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I've made the time signatures a bit more sensible for this now, and tidied up the score generally. Still not quite sure what to do with Bar 53, as I'd have to use 9/8 there, in order to get rid of my short fermata in the left hand. I don't know if I can justify changing to a compound time signature, just to make that dotted rhythm with one note? Chills #47.pdf

I wish you the best of luck getting this performed! If you don't mind me asking, I wondered how you added the preview copy watermark? I didn't know you could do that in MuseScore.

Oh, so I have made the score worse during my revision by removing rests if one instrument plays and the other pauses. By the way, I have found an interesting guideline for score preparation from another composing competition (not the one I intend to participate) which I find useful: https://youngcomposerschallenge.org/preparing_scores.php The respective section is copied in the image. With this example staff line I hopefully have found the correct notation and rest placement for the different situations on a shared staff (in the full orchestral score). In the parts for the individual instruments, that questions do not arise, since there are no shared staves. And, I understood „divisi“ is only for the strings if, for example, the cellos shall play more than one voice in a certain situation. Ok, to avoid those questions, I’ll furthermore use my „beautiful colored scores“ only in my YouTube videos, or perhaps, when presenting a piece here on the YCF for analysis.

There're a lot of great post here in the past and I'm sure they can fill up your belly! Henry

Dear Henry, I’m a bit shy to post the entire piano fugue now here in public. I intend to participate in an external composition competition where the rules say that the work must be „never performed in public and unpublished (even at the author’s own expenses)“ and that „arrangement, transcriptions will not be accepted“ (whatever the latter means). So I consider the original piano work as a „sketch“ for that purpose, from which I’ll take material for the orchestral composition in that competition. I very appreciate, that I have made you curious, so I will use the „send message“ functionality of the YCF to give you access to the original fugue in a „non publishing“ matter.

I’m starving. Really, starving. Starving for new music. Starving for new composers. He, the Algorithm, he is always offering similar menus. But I want to eat a wider range of music. Any kind of music is fine, totally, fine. Ethnic, Avant-Garde, Pop, Classical, Jazz, WHATEVER. Yes I promise, I promise to react to your post in this topic whenever I log in. So please… please… let… me… know… I’m Starving...

Hi @Henry Ng Tsz Kiu!! This is an energetic piece that keeps the listener engaged from start to finish. The dynamics are well crafted, and the other instruments really complement the clarinet. I was surprised by the sudden shift at the 3:15 markーit’s inventive. I also like the section around 5:27. The ending is really nice too. The clarinet melody around 1:53 is catchy, too; I imagine its qualities would shine in a live performance. Just picturing a musician bringing out those nuanced dynamics... it would be so wonderful! You’ve created a fantastic piece, well done! Best, Lithl.

An Amazing Lady...........Came to the planet to complete a Mission...............Then left at 33 years old Have you found your Mission in Life ? Eva Perón Eva Peron Midnight tribute rendition by Mavell.pdf EVA PERON.MIDNIGHT.mid EVA PERON - MIDNIGHT - TRIBUTE rendition.mp3

Some interesting key changes throughout the piece with fun and playful motives. My favorite part by far is around the 4:20 section. Beautiful melody here shared between the clarinet and the cello with some nice key changing here as well. The fast pace of the scherzo is fun but not overwhelming, especially since you break up the pace a bit especially at around 5:30. BTW, the part at around 5:30 to 5:40 reminds me of Chopin followed by Tchaikovsky! Oh, and 7:30 is a great part as well! I feel like you intertwine your melodies in this section which is definitely more Beethoven-esque. But this is a fantastic movement, I definitely hear influences of your other works in this piece.

Viola and Piano Heres this duo I wrote for the international contemporary ensemble, during my first year at UCR. Its not 12 tone i just kinda let my ear guide me. I liked the piece tho hated the process of composing it.

Here is the song that I take it to be the first of the project to be transcribed

Hi Guyz....................The 𝗔𝗹𝗹𝗼𝗰𝗮𝘁𝗲𝗱 𝗗𝘂𝗿𝗮𝘁𝗶𝗼𝗻 for "Main Title Themes".................Current trends appear to be getting shorter.

Here is a progress report on the piece Still working on transitions, dynamics, harmony, etc, but I do think the piece is coming together. Any feedback would be very much welcomed. String Quintet No.2.pdf String Quintet No.2.mp3 The cello has the melody in the last A section, so I wanted to change the chord progression and experiment with some different voicings that will allow the cello to really sing and emphasize the melody, while still having some nice full harmonies. A2.pdf A2.mp3 👆🏾 Some material I wrote thinking I could use to add to the piece (this would pick up where the first pdf ends). I'm not quite settled on it, so I wanted to get some feedback first. The title of the piece will be, "Metamorphosis", so even though it's a rondo, I would like each time the A melody is presented, that there is a slight adjustment made. A - melody + accompaniment A1 - I'm thinking slight changes to the harmony and adding some more arpeggiated accompaniment A2 - cello & viola melody and different voicings + melodic material to finish the piece I'd like a heightened moment and then landing on a big chord, I'm thinking F#m, but A major could also work.

This has to be one of my favorite pieces you've written my friend...it's so delicate and tender and perfectly suited to the occasion. Your string voicings work really well to get that full, yet soft sound. Nicely done, my only critique would be the length, I felt the piece could've been longer, but works at the current length, especially for the occasion for which it will be used.

Sadly, I have strong feeling that piece might land well with competition. :(

Hi! I am continuing my revision on my old work. This is the 2nd movement of my Clarinet Quintet in C minor, which is completed 4 years ago and I'm revising it. Thx to my friend @Thatguy v2.0 for making the audio! To me this is probably the worst movement in the piece, but only because it's the most one dimensional one: After the discovery of despair in the 1st movement, I started to fall into confusion and craziness of despair. Ironically this movement is written in a neat Sonata form with the structure presented below: 0:00 First subject, exposition. Start right from the despair Eb-D-C-B motive in quick Scherzo time to represent the fury and confusion of despair. Clarinet joins in 0:31, still playing at the despair motive, and in 0:33 the whirling figure using despair motive signifying the confusion is introduced. 1:27 Transition, exposition. I like this pizz. theme myself for how sarcastic it is. 2:34 Second subject, exposition. In F minor. A more "reasonable" theme finally with major keys visited, although finally succumbed to the confusing despair. I always go to F minor instead of G minor for the secondary key of a C minor movement for its darkness. 3:46 Development. Continue with the confusion by quickly modulating to different keys. I really love the 3:59 passage with a Brahmsian turn to a German sixth chord in 4:09! The fury ends with a "transcended" sadness in Neapolitan C# minor in 5:20 with a clarinet solo, but sarcastically laughed off by pizzicato strings in another Brahmsian German sixth. 5:49 First subject, recapitulation. Excitement reduced after a suffocating development. In 6:02 obviously I learn from Beethoven's 5th for that famous solo oboe passage. I love how fierce it is in 6:38. 6:47 Transition, recapitulation. Shorter than exposition's transition. I hate exact repetitions. 7:25 Second subject, recapitulation. Same as the one in exposition except in tonic key. Notice how relative major Eb major is finally used with some emphasis for the very first time in the piece, as the confrontation of B flat carried by E flat major and B natural by C minor of the despair motive would be the main battlefield later on. 8:38 Coda. One last cry and I am exhausted by the despair, thus ends the movement in tired pizzicato chords. Only with this exhaustion do I have the motivation to excavate the true reason behind the despair, which would be the main theme for the 3rd movement. Here is the score and youtube video of the movement : (For YT)Clarinet Quintet in C minor 2nd mov Final Version 20260707.pdf Harmonically I deliberately play with chord progression of augmented triad keys to reinforce that particular chord both horizontally and vertically, as well as resonating with the despair motive. Hope you enjoy this one and offer some critique to the movement! P.S. This is the 1st movement of the remastered version of the work: Henry Clarinet Quintet in C minor 2nd mov Final.mp3

Thank you so much!! I’ll revise the rendition with the dynamics in mind!!

Hi @Cafebabe ! I really like this piece! It reminds me so much of Schubert with the main theme! Devilish, a bit dark humor just like his F minor Moment Musical and the figuration is really similar. The rhythm there is so funny. The piece is idiomatic on piano with all those quick notes. I have perfect pitch and I agree this piece works so well with the dark F minor. Really enjoy this one and thx for sharing! Henry

Hi @UncleRed99 ! I forget either lol! I really like this one. It sounds so solemn and very proper for the theme. Thx for sharing! Henry

Hi @Kvothe ! I agree with the alto clef suggestion by @Fruit hunter and the register issue by @Luis Hernández . To me it sounds like Chinese music featuring mostly pentatonic melodies. I think you can feature more solo moments by each of the three instrumentalists in their unique color: The high unique register of piccolo and the C string area of viola are never explored in this piece, while the harp is almost monotonously playing broken chords except the glissando near the end. To me chamber music should have the players fully enjoying their own parts with some challenging passages, while playing together there should be 1+1>2 effect, rather than weaking all players' uniqueness. Thx for sharing. Henry

Hi @Scriabinian ! I feel like the dynamic level of the rendition is unvaried at all! The ff passage sounds the same as mp passages. I have to admit I don't listen to the full piece because of the dynamic level, will you update the post with a more accurate rendition? Looking from the score I think it should be a really beautiful piece featuring rich counterpoint in a Sextet setting! Henry

Hi @Oak ! I agree with @Lithl that the alarm sound doesn't need the percussion. I will go further, I think only the vibraphone will be needed to wake your friends up in a peaceful manner! Henry

Hi! Will you post the original piano work separately first? I feel like I will have to go through the original full work before commenting on this one since I want to get to know how the four subjects are introduced before getting into this one! Henry

You should have posted this when I composed my Sextet, so I can steal your technique of interchanging between tritones of C major and F# major!! I spent too much time then to find a solution linking those two key areas lol! On the music itself it's a really jazzy waltz with very nice voice leading throughout. Thx for sharing! Henry