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I like your "Holy Spirit" but I think the explanatory note at the beginning is a bit too much. You ask about professional looking scores? To look professional, assume professionalism on the part of your musicians. You might write easy parts that can be put together without a lot of rehearsal time, but any choir should understand a simple "stagger breaths throughout" without further explanation on your part. The conductor/director can explain what that means if any choir members are very new to singing. I'm not sure about the direction to take this piece out of time like Gregorian chant. The accompaniment is very metrical, except for the first few bars, and as such will impose a strict rhythm on the singers. Did you just mean for that instruction to apply to the first few bars? If so, then indicate where strict tempo resumes. If you meant for the whole piece to be a bit loose-y goose-y then a direction for "rubato" here and there may better achieve what you are looking for while keeping accompanist, conductor, and choir together. Cheers! Sounds nice!

This is the fourth and final movement of my Violin Sonata in B flat major, commissioned by and dedicated to Arjuna Clark (lately Archie) @expert21. This movement is in Variation form which is my first attempt on the form in a movement, though I already use quite some variations techniques in my old pieces. I choose the form because rather than another narrative sonata form movement, a variation movement exploring the possiblities of the ARJUNA motive is much more appropriate for me. Again, thx to @Thatguy v2.0 for making the audio. I try for some strict procedure in each of the variation, as I use Prime and Inversion form of the ARJUNA motive for the 1st half of a variation, then Retrograde, Retrograde-Inversion and Prime form of the ARJUNA motive for the 2nd half of a variation. Even though the motive itself is short and easy enough to achieve this kind of treatment, still I wanna use them for coherence. Because of this, this one is probably the hardest movement in this Sonata to write with. Here is the YT video and pdf scores of the movement: Violin Sonata in B-flat major 4th mov.pdf Here is the structure of the movement: 0:00 Thema: Allegretto Commodo. A rather simple and easy-going theme for later variations. 1:16 Variation I: Allegretto con moto: A funny variation. Introduces G-flat major for the 1st time in the movement. In the second half, each two bar phrase is the retrograde of the two bar phrase corresonding to the first half, e.g. b.26-27 correspond to b.17-18. 2:13 Variation II: Allegro con energico. A variation heavily inspired by the 2nd movement of Beethoven's Razumovsky Quartet no.1, which is also in the same key. End of the 1st part and begins 2nd part with variations begins in different keys. 3:03 Variation III: Andante Comtemplativo. A variation begins in D major and makes chordal usage of the ARJUNA motive. Briefly reintroduces the 2nd movement theme in 4:04. Ends with a dark transition to C sharp minor. 5:08 Variation IV: Adagio Doloroso. A variation begins in C sharp minor. I make use of the Beethoven op.135 theme again as in the 3rd movement, but this time in minor mode and all sorts of dissonances, since it reflects the dark mood I was having then. The use of ARJUNA motive is saturated here; I even use all four forms of the motive together in b.110. Ends in Picardy third and modulates to the next variation. 6:44 Variation V: Andantino con moto e tranquillo. A variation begins in G-flat major and modulates through D major before returning to tonic B-flat major. I quote a lot of pentatonics and quartals here to show the influence of my String Sextet. 8:10 Variation VI: Fugato e Coda: Allegro Vivace, con brio e energico. Even though it 's a cliche to end a variation in a fugato, I still use it here nonetheless. The fugue subject makes use of the prime and inversion form of ARJUNA motive, while the countersubject the retrograde and inversion of the motive. The episodes also make use of the motives too. I even quoted my Clarinet Quintet main theme in 8:47. Waltz rhythm gradually returns and polyphonic texture changed to a homophonic one, just like the ending of Beethoven's op.110 Sonata. More affirmations of the ARJUNA motive comes and ends the music in a high energetic way. I quite enjoy the ending not to lie. Thx for listening and hopefully you will leave some comments here! Henry P.S. Here are the previous movements posted on YC forum: 1st Mov: 2nd Mov: 3rd Mov:

My word… It begins with a pathetique-esque anguish, falls into nihilism—“nihilistically scherzando” (loving brilliant!)—the adagio-like contemplation tries to tame the nihilism—Honestly? I absolutely love the emotional direction in this. Some people may say that the jazzy section sounds a bit off in a neoclassical sounding sonata, but for me—it has enough juice and meaning to stand as something intentional and felt—even if not “idiomatic” in the general sense. What stood out for me is the development section. It was gorgeous and well directed. Also, incredible job playing this yourself! That deserves a round of applause for its own sake.

The 1080 resolution is still not enough for me to be able to see your score clearly with my middle aged eyeballs. I'd recommend making your videos with fewer bars visible at once so the notes and text are bigger for people viewing on a laptop screen instead of a large desktop monitor if you want them to use the videos as a promotional tool to encourage purchase of your sheet music. Certainly sounds nice, but I'm too blind to see it to give more detailed feedback! You can also post a pdf of the score and a sound file for people to use here to review your work. 🙂

Got around to listening to this, and not much to say that seems to have not been said already, and in a way, I am still trying to scrape my brains off the ceiling! You have Jazz, Gershwin, even a measure of Liszt's B Minor! If I write a piano sonata, it will be lyrical and contemplative, certainly not so virtuosic, but damn...

So you wrote your sonata pretty fast too? I took 4 months on my symphony-concerto for electric guitar and orchestra, but that's a symphony! I still didn't make a gazillion sketches like Herr Beethoven.

You know, quite a bit of difference in us as composers, and in our respective violin sonatas. I am in Virginia, you are in Hong Kong. You are an excellent pianist, I can hardly play the thing and have only mastered fretless bass guitar! Both your Bb sonata and my C major sonata have a lot of Beethoven in them, and I don't know how much time you took on your sonata, but I dashed my C major off in 13 days, not a sketch, not a correction, right onto paper (not into Noteflight), and I sure didn't work every day or every hour of every day! Parts of yours, anyway, seem like you took a bit more care...

I've concocted yet another short microtonal experiment, this time inspired by @Henry Ng Tsz Kiu's Violin Sonata he wrote recently for his friend @expert21. I wanted to continue this with a B section in another key/meter before returning to the A material, but it ended up sounding pretty conclusive to me at the end. But let me know what you think! Maybe I'll make another movement? I would appreciate any comments, suggestions, critiques or just observations you may have! This is entirely in 24 tet. Thanks for listening!

hello peter, long time no see, I can see you are really delving into your experimental side. You’ve also managed to incorporate artificial harmonics and sul ponticello into your short piece, which comes across quite well. My only gripe is the main theme itself, while memorable I think there should be a lead in into the second phrase, as to maintain its momentum. great job making full use of the resources musescore has to offer. I am excited to hear how you develop your individual voice, as you dig deeper into complicated musical techniques.

I absolutely love this! Very charming, and you bring out the instruments really well. The dynamics, rhythm + microtones make this a fun and eerie melody to listen to.

Ah fair enough. I'm nowhere close to a historical composer such as yourself, so it's always interesting to hear the finer points of the styles, of which I'm usually unfamiliar with. I noticed you have more music here, I can't remember if I've checked any of it out but I'll dig around 🙂