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You can see from the above posts in this same topic haha!

Do you mean adding something with the slow style of the beginning to the other two segments of the piece?

Thanks for the reference. What did happen here though? 😶

Hello This is an interesting question. I think that whenever a piece is tonal, or has those roots, you have to specify tonalities in the armature. Whether they are all put in every time you modulate may be a matter of style. In baroque they didn't use to change the key signature with modulations. In romanticism it seems to be the norm. I think that leaving the score without any key signature is for atonal works, where all accidentals must be indicated. In your work, which by the way is very good, there are moments that can be expressed in another way. For example here. That mix of measures with sharps and flats is a bit strange and I also think that for a pianist it can be confusing. I would have continued with flats in bar 35, writing this bar, and bar 37 as Cb (which, yes, exists too). And in measure 39 place a key signature for Ab. What sounds there is an Ab6, or a G#6 (although in this case the F natural should be written as an E#). Anyway, you can see everything... I've always been amazed at what Schubert wrote in this piece. He already uses a strange time signature. The whole piece is in Gb except for a bar and a half towards the end where he breaks the whole key signature and puts there chords like D, D7/C, Gm/Bb... and resets the original key signature...

Where you have a key change that only lasts one or two bars, I think the usual practice is not to change key signature. When the harmony is free roaming, it's quite common these days to have the whole piece in a neutral key (i.e. no key signature). That would also apply to atonal works, or those with no clear tonal centre. When there's a recognisable chord for a particular key, then you should use the enharmonic spelling for that key. (But you seem to have done this already in your work.)

Beyond simple general use of sharps flats and double sharps and flats, how do we decide which direction to go ( like go more sharps or flats on the circle or fifths) or is there a more underlying principal to this. I currently have the below score, would like to know how should I notate the score for parts: - that are not in a clearly stated key - are mor more less in a key but they only last one/two bar(s), should I put key signature or just all the necessary accidentals? - to make it consistent with the above options, for parts that are more or less in a certain key for over 4 bars, do I take away the key signature, maintaining the exact notes via accidentals? https://musescore.com/user/62605720/scores/25131706?from=notification#comment-9314725 I'm asking cos a simple google and Ai search doesn't quite address my concerns above, and have not converted it into a vid to be posted elsewhere. ( ofc the scherzo thing is another thing but not my main concern here, maybe ill ask abt that later on in another post) Thanks very much!

Hi @Alant! I like your revised version more than the original, with more variation making it more interesting and unleashing more potential, sharing @user011235's thoughts. I thought it might be better if this version (which can sound a little more harsh than the original) can have the tenderness from the first combined/weaved into here - wld there be a gd way for this you might consider?

Hi @Mooravioli, I think these are good pieces for learning and practicing children and young adults. especially for younger children/early beginners, maybe there can be an even easier version: - physically (and maybe even in terms of sight reading), by simplifying the ornaments, chords and thickness of chords - or have the optional parts/notes marked out, so that players who cant reach some notes still can play with ease without them or with more reachable alternatives. Liked the pieces and subbed to your channel in YT!

Hi Mooravioli, I really enjoy your harmonic language in these works. It sounds quite jazzy and reminds me of Ravel at times.

oh wow! I'll definitely listen to this later when I have time... Thx for joining the forum! Henry

Just as a heads-up, do not contact me through my YouTube channel; comments there or on this forum are appreciated, but for business and other such matters, contact me at musicianofthecosmos@gmail.com. Thank you.

Hello everyone, I'll give this forum a try - discovered it after watching Henry Ng's video on the 2nd movement of his 2nd piano sonata. Here are the first three movements of my first symphony (and my first piece of decent quality, hence C. 1). If anyone is interested, one can follow my channel to see when the fourth movement will be up. Comments and feedback are always appreciated.

This sounds like minecraft music, and i mean that in the best way possible. Very pretty, and so is your collage art!

@Henry Ng Tsz Kiu Thank you for the review! Ugh i knowwww i just love it so much. I'll have to find a way to get a similar sound but playable... I'm afraid i don't hear what you mean - which one is the augmented second in that bar? I just see minor thirds I know i really wrote myself into a corner in those places haha Thanks again for the feedback, i'll keep all this in mind for future pieces!

Just thought I'd post an earlier version of this piece, performed by me on my electric piano. Sorry the sound quality's so awful! You can hear the piano keys clattering throughout. Think the rubato is better though? This version is mostly Uematsu's original, with some of my own added material.

I think not more than you, he can’t give likes to all the pieces as you do haha.

His majestic late quartets are regarded as indecipherable, uncorrected horrors too. Idiotic critics. Sometimes you really don’t have to care what others said towards your music. My C sharp minor Piano Sonata was called random not only once but so what, they don’t Kurt it and I quite don’t care to be honest hahahaha.

Most people here are students, and it's the end of the semester. They're busy, but luckily, we have decades-old-posts to keep you entertained. Cheers, friend! 💋

YOUR DOING IT AGAIN....................LEAVE ME ALONE............................Your the one Spamming ME. Its obvious why theres been a dramatic decrease in forum activity, and people resorting to answer Decade -Old-Posts. As a Moderator your Judgments are Flawed.

Ah, sorry, didn't mean to hurt your feelings. If I thought you should be banned, I would have done it already. Also, I'm not sure you know what spam is 🙂

From day 1 , you have been following me around like a Puppy.................I dont Mind , he he.............. Tributes & Recreations to Composers living or Dead, are posted Thoughout This Forum since it was Launched, & mine are no different. If your intention is to get me Banned...........................then ask The ADMINS, i think there the only ones qualified to make that Decision. But regarding my posts being Spammy ?....................

what?

You appear to have to much time on your hands ?

laziness

I lol'd at the ending 😄 Congrats, this is now begrudgingly stuck in my head. How dare you craft such an invasive little earworm 😛