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The Image in G major is the third piece of the four piano pieces I wrote for relaxation after writing the very heavy String Sextet. I try to do something a bit different than the previous two pieces, as I actively use more quartal chords and pentatonics in the whole piece, and also invite a bit of impressionistic chords. This is my personal favourite of the set. Here is the score and YT video: (Final) Image in G major.pdf Like the previous pieces, this one also comes from recycled materials. It comes from an unfinished Piano Suite I composed in 2016 Jan, but only with fragments of it including the first few bars, b.35-38 LH melody and some parts of b.58-72. Don’t know why I went for pentatonics that long ago LoL! One thing to note: b.43-46 is probably inspired by @Fugax Contrapunctus Pabio’s mention of Joe Hisaishi in his review of my Sextet, plus my recent listening experience of his music while watching Miyazaki’s films. Hope you enjoy this small piece! Henry

You CAN do it....... 1 step at a time Imagine yourself playing this on the Grand-Piano, in a Massive Concert Hall Center stage with the Orchestra all Around you...........They would gently play softly, ACCORDINGLY to the notes you played. It may take time..........But you have the power to create.

Hello Great music! The impressionistic mood is very well noted. Some things lead to Debussy like setting a Tonic with pedal on low notes or the “la cathédrale engloutie” style chords. But also those continuous arpeggios remind me of some of Henry Cowell's techniques (although he did it inside the piano). It's a harp-like effect. The fourth harmonies here sometimes lead to unexpected harmonic cadences and I quite like that.

Nah not at all. Just make sure to credit the composer if you use someone's music for your own purposes. I noticed that your alterations maxed out the volume no matter what the dynamic levels were supposed to be. Maybe try just making the loud parts louder, but have the wisdom to give subtlety where it's needed.

Hey @Henry Ng Tsz Kiu! Nice image! It does also remind me of the very sweet-leaning Debussy piano pieces like the Arabasque's. Also Debussy's Petite Suite for orchestra is another early work of his with this same kind of sweetness. I've noticed some mistakes, either in the score or the performance. In bar 49 you play a low Eb - in the score it's an Ab. Also, in bar 54 your score shows a C bass note, but you play an Eb. That kinda confuses me as to your intent harmonically, especially in the latter case. I have to say my favorite parts of the piece are when you combine two ideas into a single figuration like at bar 19 - 20 where the right hand simultaneously plays the chords from the beginning while playing the pentatonic melody. Actually, there are many places throughout the piece where the right and left hand imitate each other and 8th note apart which is a very cool contrapuntal effect. Another cool spot is bars 55 - 58 where the left hand has the melody proper while the right hand plays canonic imitation a half note apart. Very cool idea there. Thanks for sharing this sweet, relaxing piano piece!

Hello, how are you? I hope you are well in this Easter period (wherever it is celebrated). In my country there are many holidays, so a little time to do things. Back to the music... After delving a few months into the compositional resources of Chopin, I have decided to go into a composer that I find more difficult, to see if I learn something: Brahms. Attending only to solo piano music, I have read, analyzed, and above all listened to, many pieces. I have tried to write something, much simpler, incorporating some of its characteristics as for example: -Melodies mainly by continuous degrees. -Several melodic planes (with internal melodies). -All conglomerated in counterpoint as a base. -Wide arpeggios -Harmonization in thirds / sixths. -Polyrhythm and use of hemiola. -Harmonic sequences based on conduction of voices (measures 11 - 16). -Omnibus progression (measures 25 - 29). Etc. I do not try to imitate Brahms, it would be impossible for me to reach 10% of his level. Only to include his resources in the music.

@FILMSCORE I don't know... When I've tried to orchestrate something I've done for the piano..., I almost never get to the end. I prefer, if it's for orchestra, to do it thinking about it from the beginning. But well, it can be a challenge...

@FILMSCORE Ah yes. Although everything is generated with a virtual instrument, I try to take care as much as I can of the dynamics, rubato, etc... Thank you.

Well yes ofcourse.........But it was all created by YOU, including the song too It wasn't a Re-Creation .......its an ORIGINAL.

Thanks, but it's not human execution, it's all with software.

Very Beautifully played..............with no mistakes.

Hello All three pieces are very good and beautiful. What I have no idea is if they are suitable for children? I guess it will depend on the age and level. There are big chords and a lot of chromaticism. I also think the expressive level required is quite high.

Oooh I like that pedal tone on bar 9 onwards with neopolitan chords above it, heck I think this whole piece has this really nice neopolitan feel to it. Y'know, the 1st theme and the 2nd theme being G and A-flat. And I love that really recycled romantic theme from bar 35 onwards (legit gave me feelings fr). It really does contrast well with the impressionistic and lush bars before it. Not to mention the freaking modulation in bar 33 and 34 from G to A-flat. I like to interpret the quartal E-flat as to mark the impressionistic part and the sliding to E flat dominant 7, which resolves in A-flat, suggesting a traditional V-I, as to mark a more romantic approach on the proceeding bars. I like the high register counter point on bar 55 to 58 too. A nice variation to contrast the previous bars. Additionally, I like that you reference the beginning part at end the piece and then just hangs the final chord on a dominant 7 with the tonic bass to really punch in the end. Overall, this piece feels really broad and wide, and I love ittt. Thanks for sharing!!!

A lot of juicy abrupt key changing here! And like @Luis Hernández said, this definitely reminds me of Debussy. And too bad you couldn't get this out when I did a short video on arpeggiated chords 🤪. But beautifully notated and great performance btw! Also, I didn't realize the pentatonic scale could be so beautiful and romantic. I suppose it has to do with how it's used.

For a Filmscore guy like him he would just know how to maximise everything in the stupidest way and think he's the best so it's a normal level of artistry for him 🤭

Hello... It's fine to write short things as ideas, but they can also be thoroughly worked out and result in something on their own. Here's what happens here. I don't value a work less or more for its length. In fact, I always prefer to dispense with exactly the same repetitions etc. This Poème has a polyrhythmic language very well embedded. Apart from making good use of the piano's latesitura in that little time. I also think it has a great sense of melody. It is very good.

Took the Liberty of Processing Part of your composition,starting @313.00..............into the Studio-pre-CD Master-Max™ to ascertain the final CD prosessed sound of your composition,which i found quite impressive. Re-Edit : Added..."60 Second Condensed Main-Theme" feel free to remove & delete,if you find it offensive. Start 313.00 Studio-pre-CD Master-Max.mp3 60 Second Condensed Main-Theme.mp3