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Good day, It has been a fair bit since I last posted something of my own creation on the forum. I've been working on all sorts of different things, discarding most of them, and keeping others, but this is the most recent work I've been working on, a Trio for Flute, Violin and Cello. It is my first attempt at something in sonata form, and my first dive into the world of chamber music. I would like some feedback, and some suggestions on what ive done so far. Yours, Arjuna

obvi this was written a long time ago also not completed, but, I haven't uploaded in a long time, so, henceforth, upload 4 yall.

It sounds good and very sweet. However I think that from measure 21 onwards, when I think the intention is for the violin to take over the melody, it sounds very muffled among the other instruments. The higher pitch of the flute really turns off the violin. Maybe raising the latter an octave... or adjusting the dynamics. But if you like it that way... OK.

Db Bach Style Piece.pdf Db Bach Style Piece.mp3 Hi everyone, This piece came to me after listening to Bach and certain sections of the piece are inspired by him, but not all. The title is just a place holder because I can't think of anything at the moment. I don't make many scores, so any comments on it (and the piece of course) would be greatly appreciated. Thank you!

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Yes the title is parenthesis. It intends to present something unspeakable and speechless. I had other intentions at first but do not dare to speak it out. The piece is composed 10 years ago when I was a naive teen. The structure is simpler in a ternary structure. The recording is also recorded 2012 by myself in my school’s music room. You can hear the school alarm sound at the near end!! It’s also full of slips and wrong notes. But I cannot find or produce a better recording. This recording is so honest and pure. Even now I can play it much better in terms of technique, I can never produce that honesty anymore, so I will just retain it here. Without @Omicronrg9’s encouragement, I would not post the piece, thank you Daniel! Hope you enjoy the piece, and I welcome commentaries and comments on it. Thank you and have a nice day! P.S. I have provided the YT link here in case some one loves to visit my channel!

I find the middle section where the Clarinet solo comes in at 2:52 both familiar and new somehow. I am also surprised at how often you use an "oom-pah" accompaniment. I don't remember the last time that I've personally used "oom-pah's". Maybe explore some variations on that pattern such as the paeonic "oom-pah-pah-pah" which I think you did include somewhere in there or the dactylic "oom-pah-rest-pah" which I think you also used. I am so disappointed by the cut-off ending of the mp3! At least if submitting an unfinished work, let the last chord speak and release! I think this piece has lots of potential. Thanks for sharing!

Soothing, lyrical at the outset, gorgeous harmonic progressions and melody. Nice contrasting episode at 2'52". It's all good, the scoring, the balance. I liked the brief clarinet solo around 4'10" reintroducing the calm. Altogether a pleasant piece to listen to except you missing off a final chord when it cried out for resolving.. Otherwise the closing bars were magical. Great. So please add that final chord!

Hi Henry, I just wanted to say that I loved your piano solo and you play it beautifully (even with the odd bum note)! I was reminded of Schubert quite a bit, not necessarily harmonically as some of your harmonic choices are not of that idiom but the piece as a whole gave me quite romantic impressions and it is certainly an emotional piece of writing. Your developments are very organic and natural, there is nothing forced about any of the work. I really enjoyed it.

I've never worked on a piece of music for as long as i've worked on this. I hope it shows, and I appreciate any and all feedback. The score in the video is still unedited, so apologies for any difficulty reading. https://youtu.be/e0yjHNenglU

Hey Aaron, Won't the bus shakes your pen off? 😝 I do sometimes have idea on bus too! Maybe it shakes my brain out for inspiration. For the Allegretto one I love your modulation to F# minor. For b.19 maybe I will go for F#-G#-F#-E#-D#-E# for the fluency of the melody. For the Andante it's nice of you to try the supertonic minor in b.9, and the sequence is nice. The Allegro one is my favourite of the three. I like the spirit in it. And you are trying a three part structure for a tonic minor contrasting section which is for me a good improvement! I may go for F# in b.13 RH. Thx for sharing and it's nice to see you keep improving and developing! Henry

Hey Luis, Thanks for your review! You would be correct in thinking that my intention in b.21 onwards was for the violin to takeover the melody. I have taken your advice, as I concur that the violin sounds muffled, and have fiddled with the dynamics. Yours, Arjuna

Dear Vince, I'm so glad you enjoy the piece as well as the recording! It's an old piece of me and it definitely shows some immaturity, but I think I have given the best as a teen then! I have the same feeling. I can record it much better now, but find that the recording itself is so precious that I cannot give it up. It presents the mind "at that moment", instead of a reinterpertation from now. You really have a good catch! Beethoven was then my sole idol (now there's many more but Beethoven is still my favourite), and I definitely use his motivic approach to compose. I myself find bar 19-23 quite a cliche now, but it has some emotion in it. I myself agree that the materials have to be developed more especially theme A, but that shows my immaturity then, and also since the piece has to fulfill the time requiremenet of the public exam, so I had to stay with it then. Yeah I love that too! Maybe then I was learning Chopin's Nocturne in B major, op. 62 no.1 so I incorporated his technique to the piece. That transition is quite a good touch, and I still prefer it in half note=176 now, but that's just my personal preference. I really love that part and enjoy its technique even now. But composing then I just followed my instinct and had no planning at all. I did have an impulse at that time. I don't like it now except that use in bar 150 since it's quite poetic. But other place I am not satisfied. It seems work because there is emotion pushing it forward, but it is not smooth enough. I may not use the figure from bar 213 but I will just let it retain now. I agree that's quite an abrupt change of style. I was thinking then I wanted to present the beauty of that pure dream, but it's quite a sudden change. I would probably retain it but add some preparations to it if I composed it now, but these kind of imaturity are so precious for me so I will retain it. Currently I am composing a string sextet working on my views on religion and culture. I am also practicing my old piano works and hope to record it and post it here and on Youtube! Thank you so much for your detailed commentary! Henry

Hi Henry First of all, I love this recording. If you were to someday release your music professionally, yes I would re-record it. But I love how you captured a moment in time that'll never be forgotten. I love the imperfections, the mistakes don't mean a thing. It's like when someone is giving a great speech, and they stutter a little; does it really matter? Or when actors purposely stutter and fumble their words a bit. They do it on purpose because it's more real, and that's how your recording felt to me. I love the bell at the end too, it was perfect timing haha. You do a really good job at developing your material. All of it makes sense since it stems from previously introduced themes. And speaking of themes, they're fantastic. I especially like the end of the A theme (bars 19-23). Sometimes I hear certain parts of a theme or a piece in general and wish the composer did more with it, but I think you gave us listeners just enough of it. Your piece made me think of Beethoven, sort of in texture, but also the way he treated material and saved moments of the theme to savor until the end (I'm thinking Appassionata mvt.1). The B theme is very well done too. Your music is drenched with emotion, something not everyone can achieve. I really like the parts where you added the trills in it too; you're quite the player, and this was 10 years ago! I really like the transition into bar 56, but I wouldn't have written that section that way. Half note = 176? I would have used quarter = 176 and halved all the note values, but that may just be a preference. Bringing back the B theme was nice with the triplets underneath, and then the dramatic section at bar 84 was very cool too. Very "symphonic" use of the piano there. All the development leading back to the introduction at bar 151 was great too, I like all your compositional technique. There were a few moments where you use low whole or half notes to transition to something, I'm not quite sure I'm a huge fan of it. It definitely works, but something just felt missing. For instance at bar 212, I would have done a slow rising figure with an accelerando or perhaps feathered beaming to mimic the left hand in bar 213 to get to that spot. I just think it would have been smoother, but like I said, what you did works (I'm just being nitpicky :P). My only real gripe with the piece is the coda section at bar 221. Yes I know you developed the chordal section you had previously, but to me it just came out of left field. I will say that this was my FAVORITE section though. Your melody is extraordinarily beautiful here, but to me we had several minutes of a Beethoven style, then all of a sudden we were getting Chopin. I loved the musicality of it, but I felt like it was tacked on instead of making sense as to where you were taking us. The ending is quite nice as well, and you should be proud of this one! Overall, very well done, Henry! You've got great composing chops, as well as piano skill. I'm glad you posted a live recording, even with it's faults. I'd rather hear you play it with a few minor mistakes then listen to a robotic midi rendition, we just don't get enough of that around here. I've posted a few older pieces here as well, but I'm very interested in what you're working on currently! It was nice to hear this, and it would be great when you post something recent so I can hear how you've developed as a composer. Wonderful job, and thanks so much for sharing!