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also playing technically a sonata no.4 aka the cello sonata as the piano part is harder than the cello part

My Repertoire Solo Piano: Wanderer Fantasy Op.15 by Franz Schubert Ondine from Gaspard de la Nuit M.55 by Maurice Ravel Sonata No.3 in B Minor Op.58 by Frederyk Chopin Concertos: Piano Concerto in E minor Op.11 by Frederyk Chopin

Thx bro! I don't know why I wrote like this then but I did. The fugato is quite an unsuccessful attempt; I was not that good at counterpoint then! If this piece is written by me now, I would defintitely cut the whole fugato section out since it is totally unnecessary to retain it. For the harmonies, when I wrote those neapolitan harmonies I didn't even know the term "Neapolitan Sixrh" lol! Henry

Thanks, mate! I tried to use timbral textures and harmonies juxtaposed with the percussion in a uniform manner, creating a landscape where constant tension and relaxation create a climate of uncertainty and nervousness. I added coloring with extended techniques in the executions of the instruments. There is also a well-marked appearance of the cat when the clarinet is left alone, to then immerse itself in the dreamlike chaos, drunkenness and madness of the story. At the end there is a coda with a twelve-tone series, which continues to generate tension but to a lesser degree due to the change in tempo and dynamics.😃👋👋

Yes 😃

Very Good Job On This Piece! You Even Played It! Congrats!

Hey thank you Peter! As you well heard, I like to adopt the sinuosity of the poem to follow its harmonic trace. This is the intention of my Laforgue cycle, staying on the edge of the tonal while losing the listener in the meanders of an impossible love. In French, Jules Laforgue's poetry constantly oscillates between poles of irony/Tenderness, or refinement/popular. This is also why I always look for a kind of balance between a song appearance in prosody and a reference to the melody more written in the tradition of French music. Thank you very much for your attentive listening!

Hey @Henry Ng Tsz Kiu! Glad to hear you managed to finish one of your juvenilia! There are many features of this composition that I really like. Many have already mentioned the Neapolitan 6th which you apparently didn't even know about at the time of writing this. I don't know if it's common to prepare the N6 with it's own dominant 7th like you have here (A7), which I really like. Also - very cool and foreshadowing use of different divisions of the beat - freely transitioning from triplets to 16th notes. Also - there's some really cool variations of the main melody in the left hand (the Meno Mosso at m. 134). The crossing of the hands to bring the melody into the bass register is also really creative. It just shows that even as a really young Henry, your musical instincts were innovative and refined. I'm surprised that upon revising this work you didn't expand the fugato section into something more substantial. It's something I keep thinking of doing for my 10 Variations on a Gypsy Theme. The fugue variation there is really stunted and incomplete too. Nice ending in C# major and with a plagal cadence. Overall, a really great piece - thanks for sharing!

Thanks a lot man, I appreciate it! I'm actually quite busy with music at the moment. I'm presently in the middle of writing music for a new horror film that will be doing the festival rounds next year, a couple short pieces for a local documentary and actually just finishing up the next album: A Gothic/Dark Orchestral album for which I actually managed to recruit some grammy-nominated string players for.

Hi again @Tunndy! I've watched all your "orchasrations" so far and I have to ask: are you learning anything from this process? It seems like all you're doing is importing midi's of the piano pieces into an orchestra template and copying and pasting the different parts into various instruments, essentially just doubling the parts, mostly in the same register as the original. But there's so much more to orchestration. In your orchestrations, you always include the piano part in the final finished orchestration, but I think a real test of whether you can effectively turn piano pieces into orchestra pieces would be if you excluded the piano from the orchestration. Let's see if the orchestration can stand on its own, without the piano! There were plenty of opportunities in this piece to use the string orchestra really dynamically, to create something that is quite different from the original piano piece. Like when Debussy stacks the F and Ab dyads in various registers, each an octave higher than the previous: I think you could have used the string orchestra really dynamically here by using the Violas, 2nd Violins, and 1st Violins to sustain those dyads and create a rich chord. That's just one example. But I don't think you're learning any of these techniques with the way you're orchestrating these pieces. And, honestly, I find your "orchastration" videos kinda cringe. 😕 Thanks for sharing though and if you do learn something from doing this then by all means, keep going!

i'll join i guess.

Hello again @Krisp! I really love the lyrical melody of this one! And the constant unpredictable modulations and free tonality is really great and always keeping the listener on their toes! Thanks for sharing this thoroughly enjoyable song! P.S.: I also liked the very impressionistic introduction!

Don't know how I missed this Sounds great! Always love your work And keep us updated if you get hired for anything really cool 😄