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The final piece of my four Piano pieces set and just a lame joke. Can be developed into a postmodern minimalistic masterpiece by repeating the joke forever and forever...... Joke in A flat major.pdf Hope you enjoy this one! Henry

ello everybody, I've spent many months working on three short new piano pieces for beginning to intermediate students. These are originally intended for children to play, but could also be for beginning adults. In these pieces, I've also tried to discover my own voice and style, do let me know how I've done in those areas. Other feedback related to technique, harmony and playability would be much appreciated. Poem 1: "based on a theme by Beethoven", updated score Poem 2: "the quirky detective", updated score Poem 3: "the crazed capybara", score

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! 💋

Hey there Your posts are becoming a bit spammy. Maybe try going into greater (or just some) detail of the purpose of your posts. What are you doing to other people's music that makes it post worthy? If it's production technique, I'd mention the steps involved. I mean, we have youtube to listen to these tracks already. #composesomethingoriginal

Hi everyone, I composed this piece as part of my bachelor in music. I hope you enjoy it. Leave a like or a feedback if you want! 😊

@Henry Ng Tsz Kiu No problem I don't think it is careless at all haha! Yes I'm using Musescore 4! Might try some of the librairies they added on musehub in the future but for this project I sticked to the regular musesounds.

Hi @Jonathanm! I relisten the whole piece according to yout analysis. Now following your analysis the motives are quite apparent, sorry for my carelessness haha! Probably if you can leave the score here the thematic coherence can be more easily spotted on, as the image in the YT video is a bit blurred haha! Or you can provide the analysis under your video as well, it isn't boring at all, in the contrary it helps us to get more deeply into the music! Btw I want to ask, do you use Musescore 4 here for the audio? Feel free to review othet members' works here as well! Thx for sharing and joining us! Henry

@Henry Ng Tsz Kiu Thank you very much for your nice comment! I understand why many parts feel all new from a listener perspective and that is something I have to work on. From my perspective they are not and I can provide a very short analyse. The introduction motive at bar 1 with the strings is the same that start the first cellos solo which is then reused in the fanfare theme. It is reused in some other places but sometime transformed a little bit. At B you have the main theme that you can hear until the clarinet solo. The idea of the introduction is repeated in the begining of G, which then lead to a longer lyrical section at H, which is reminescent of the first cello solo of the piece, altough pretty different I concede! Then this lead to another fanfare section where the brass reuse the same motive from the initial fanfare and the strings have a mix of this motive and the main theme. This lead to the real return of the main theme at J, which is pretty similar to B. For the rest of the piece you can hear these two motives almost everywhere but again it is not striking I concede. F section, as well as the bass clarinet solo, are based on the melodic material from the transition b.38-43. (Sorry for this long message I hope you were not too bored by this analyse... 😅)! Thanks again and have a great day Jonathan

I've really struggled to get my head around music theory - the way it's currently presented - since I started composing last summer. So, I've been giving some thought as to alternative ways of presenting it that might make it more accessible to new untrained composers, especially those who use DAWs and samples rather than manuscript. This video is meant as an exploration only - not suggesting better or worse approaches, or taking a position - only considering alternatives that could work for some people. Hope it's helpful. https://youtu.be/O_SSqvaVKDA?si=QXuksfXovuawS3Tf

For me, I like taking breaks where I don't review for a while because I feel the same way most of the time (only @Henry Ng Tsz Kiu is a reviewing super-musician who reviewed 10's of works at a time without a rest! LoL!!) But after a while I do eventually find the energy as I feel like it accrues after long periods of not reviewing. Besides, you can review as deeply or as casually as you feel like at any given time so it's not always an incredible amount of effort necessary. Thanks for your response! I added that option to the poll (although I do have to say that comparing yourself to others this way is not very conducive to improving because regardless of how good you are, there's always likely to be a historical composer, or specific piece which you can consider "leagues ahead of" you and feel discouraged by. Nobody can be leagues ahead of you being you though. And your strengths and weaknesses are unique to you and that's what makes you a unique, individual human being and composer. Did you know that Beethoven considered himself bad at counterpoint in comparison to Bach and Mozart?

Haha you don't have to always provide critiques, sometimes you may just name out spots you like or dislike would be great to the composer! Unless you provide "reviews" like "X-C-Lent" without using any thinking, leaving comments will always be great! Henry

I'm late to this topic but i wanted to chime in anyway because the reason i'm late is the same reason i don't review more works. For me it's lack of energy, i feel like that part of my brain that would analyze and give feedback, or even engage with topics like this, is just too tired and i end up not doing it. I selected a few of the options but that's the main thing. Oh also, an equally big reason is that many (most) of the composers on here are leagues ahead of me so how am i gonna tell them how to improve, y'know?

It's actually quite funny how this person couldn't be bothered to read between the lines and as such your comments' whole point flew right over their head. Really amusing how they have essentially exposed themselves by trying to expose me, like calling them out in private for these immature tactics they're displaying at any point warranted any kind of convincing response. Moreover, playing the victim card by accusing me of "toxic masculinity" or whatever for defending myself and pointing out what they're doing is pretty low, specially coming from someone repeatedly showing this kind of behaviour. Anyway, not much else to be said about this person, by their actions it should be fairly evident by now that they are clearly ill-intentioned and ostensibly incapable of taking criticism or self-reflection. Thank you for your help nontheless, Henry, as I would have otherwise lost my temper and wasted my time and energy all by my own on someone who plainly does not deserve either of those.

I have actually seen that post you have made and I actually thought it was really interesting since it came out from you.

There's indeed no need, Pabio was trying to save your face but you just openly disclosed the inbox message yourself by posting. That's really X-C-LENT!

I did play around with your suggestion, changing the triplets to the 16th notes, and yeah, it is so much more smoother now. However, I wanted variation on the second repetition, so I substituted the rhythmical change for harmonic and dynamic. I changed a bit of the notes from the ostinato, and the passage now crescendos a bit to forte then diminuendos to the unchanged pianissimo, just to add contrast. I've also properly modified the repetition at the end of the piece to match the change. Thanks for the suggestion and feedback! Glad you like the piece!

Here is a real performance of the revised version

Hello my dear friends, I wish you all the best! After the exhausting composition of the string quartet, I decided to take a little rest and create five short pieces for violin and piano. Each one has a slightly different character, so hopefully you will like at least one of them 😅 I am attaching a link to the playlist: https://youtube.com/playlist?list=PLkdhDBNsadAFcrUSvZ0IJecryMQIa8iF8&si=jkL63F2p1dLcfglt

Hey there, Petr First of all, you're a wonderfully skilled composer. Your dissonant language has a lot of beauty in it to me, I'd be very curious to peek at the score! Could you post, or maybe for future youtube videos you have score videos? Regardless, I'm fascinated by the language you write with, as it's very different from mine (I'd love to learn 😄). Each of the five pieces in my opinion shows a skilled writer capable of writing for both instruments well. Perhaps you could have explored more technique, especially with the violin? With a more modern language, I expected more extended technique. Maybe I'm just used to that context? Even some pizzicato sections or slides would suffice to my ears. I enjoyed the music, I'm just thinking out loud after listening. Your samples sound good, but maybe the piano is a bit too wet sounding? Dunno, I'm not the best with all that. I guess maybe lower the reverb, or if using a DAW, make the reverb more dry. Again, that's probably subjective. As beautiful and intricate your writing is, you mentioned this: Yeah, perhaps, but I think you could have explored more. To me, this sounds like you wrote these fairly quickly one after another, and in turn they have a sameness of quality to them. For instance, aside from maybe the third piece (which is my favorite), you for the most part have the violin and piano constantly playing without rest. Also, to me, they don't always play harmoniously together. It's almost like a mismatch, where each one is playing something separate but they don't necessarily align with each other. They "fit", but without phrasing, it sounds like two people talking at the same time without each one listening to each other. With five pieces in the set, maybe one could of had the violin mostly pizz and light, or one could have the piano be mostly jaunty and choppy in the upper register. Know what I mean? For me, having different character implies different approaches to what the instruments are saying. Characteristic rhythms, or recognizable motifs, or more drastic differences in tempo, form, length, or range could be really beneficial. I'm not sure your overall purpose, as it sounds like you wanted something lighter on the noggin to write after a large piece, but if they're published as a set I would really plan more in advance as to how each of their characters differ. Keep in mind, we probably listen to vastly different types of music, and this is only from my point of view. I'm not sure about a lot of modern concert music pieces, I don't listen to them that much. Maybe what and how you're writing is in tandem with the trends of today, I wouldn't know. But from what I've learned, there are some techniques and theories of composition that transcend language. Wonderful phrasing and an array of textures go a long way in keeping your music engaging and interesting, and hopefully some of my thoughts help for the future. Love the music, thanks for sharing!

Hey these are great! It's a bit dissonant and difficult for children imo, but like mentioned, intermediate kids or adults could benefit. I've always thought that if I were ever a composition teacher, this would be something that I would have people write. It's cool to tone your style and writing down to it's more bare bones, and I think it's wonderful to explore. You should write more of these! Nice job at making them all different. The third was my favorite, but I enjoyed them all. Well done!

Just finish watching Princess Mononoke, another fuxxing great film from Miyazaki. The soundtrack again by Joe Hisaishi, is again fuxxing great… Maybe this one sounds like FF soundtrack, idk!

Hey there I really like this! It reminds me of Mario 3 for some reason 😄 I like the catchy ideas with rhythm and melody, but it sounds like this is the start to something rather than being a completed piece. You have cool ideas over the static 5/4, but I think the music was ready to move on harmonically. I would explore your rhythm on the V chord (A) or somewhere else and see where that leads your melody writing. You've also set yourself up with some motivic elements, as your theme could be expanded and tweaked. Great start, I'd love to see where this piece goes if you decide to elaborate your ideas. Well done!

Are you a percussionist? Great percussion effects! A very interesting work ... although the motifs are recurrent - I didn't find it repetitive at all. The work's driving nature swept me along. You mentioned program notes ... I didn't see any on the link. I feel a narrative of the struggle in this "revolt" should accompany the composition ... as it is a programmatic work. Did you imagine different sections reflecting different actions? Mark

I found a mash-up of jazz standard "Take Five" and the Chocobo theme from Final Fantasy games! This is actually in FFVII:

The ending is pretty weird; but it definitely made me laugh! (So lived up to the title.) Hope you're fully recovered from your recent illness Henry. Sending good wishes, Alex

Hello Aw Ke, Thank you so much for your sub, brotha. Happy you are supporting my new channel. I definitely agree with both of your points, there are quite a few unmanageable chords in the third piece, especially for children. I'll try to simplify it more when I get it performed by other ppl, though, to me, it seems a little strange to have the Ossia be a simplified version of the original. Should I correct the original and have the Ossia be the harder version?

Hello Alex, Thank you truly, I am so glad you enjoyed the pieces. Ravel is definitely one of my favourite composers so it isn't surprising his harmonic language influenced me. stay tuned for more works.

Thanks so much for the comments! It's almost been one year... haven't had much time to compose but I did work on a few more piano works and one orchestral one actually - will take note of this as I compose!

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

Nocturne written by me, any and all feedback is appreciated

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.

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.

Hi!!! This a different post from the usual, I trieed making collage art and I kinda liked so I decided to translate it to music! Its my first time writing incidental music but I believe I achieved the mood I wanted to express!!! https://drive.google.com/file/d/1NKk3dLrDa8q4Rh_rVZ-36o9bmbVITTU3/view?usp=drive_link

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

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 😛

Hey @Mooravioli, I relisten to your waltz and man there's so many bittersweet moment here. The opening LH figure reminds me of the 2nd mov of Chopin's 2nd Piano Sonata. Very nice change of register in b.83! Like the improvisation at the end too! Thx for your update! Henry

Hey Pabio, Out of the meaingless drama, let's move on to the music itself: I enjoy this one thoroughly Pabio! I feel like you are really allowing yourself to express yourself fully here. The most lovely thing is that you still maintain your control of counterpoint and you are really using those counterpoint for great emotional effect here. All the dissonances are so well handled and I love all those Mahlerian dissonances, and to be honest your prelude here really reminds me some of the first movement of Beethoven's mop.131 with the sadness and tragedy you portray here, It also reminds me Ivan's great prelude posted not long ago: Thx for sharing this great expression! Henry

Hello @Jonathanm! Welcome to the forum! I really really love your modulation in b.8, so beautiful!!! I love b.9-15 too, and also the A section itself, however I think the transition from the serene passage before it can be longer and more well-prepared. Again I love your modulation to Ab major in 1:53! I love your transition to section D, very well done, and the bass clarinet is greatly used there! I love your cor anglais in section E too, and also when the flute join and after that the strings!! The all strings passage after feel so warm to me. B.90 passage is wonderful with the harp and the texture is very rich. The cello melody plus flute countermelody in section H sounds fascinating as well, and I absolutely love the b.133 passage after it! The climax to J section is really well prepared here! And a lovely peaceful ending! Your ochestral and harmonic colour is really really well done, congrats on that!! I really love how you allocate melodies to different instruments for their own timbre. Maybe for me the only shortcoming would be the coherence, since I feel like the whole piece is beautiful but the ideas are all new in each section for me. Nonetheless, this piece is very well done and enjoyable, congrats on that! Henry

Hi @user011235! I like the classical style sonatina, very Mozartean. I love the energy in it. For it I would probably stay long in a single key in the development section like you did here, as the music lingers in Bb minor b.21-47, almost the same length as the repeated exposition! I would probably keep modulating for more harmonic moving forward. The 12th interval in the LH of b.31 would be too big for pianist to be played together. I would also prevent the augmented seconds such as in b.35, since it sounds a bit weird under a classical style sonantina personally haha. The retransition in b.54 is quite short for me as well for a dominant preparation back to Eb major tonic! Despite being nitpicky I like this. Thx for sharing! Henry

That's what would make it fun for teachers to inflict it on their students. 🙂

Yeah Thinking functions are the weakest for INFP so it would be really to build up theories for you guys, unless your mind tell you you must learn those theories or you love them, then you would really learn them well! Given the secondary Extraverted intuition keep exploring new music and getting insights by brainstorming would really help you find your fav. theory learning method! Btw. I guess there are a lots of INFPs on the forum as well! Henry

Really nice! I would just suggest more dynamic markings but otherwise if someone told me this was a lost piece by Mozart found in some dusty music library in Vienna, I'd believe them.

Thank you very much! This is a very gratifying discovery. Thank you for the time you have given to the composition. I wish you all the best.

Very tender piece and performance, well done. My only suggestion would be to add a little more variety. A ton of variety isn't necessary in a short piece like this, where the whole thing feels like a single thought. But i would have liked to hear a little change from the pattern of simply one melody note every half measure. And I would've liked to hear those sixteenth notes last more than one measure. I felt like they had more to say.

(Sorry for the viola clef mistake...) Hello again. After 2-3 months with a considerable mental block I managed to start doing some progress and last night I composed a piece with this newly found creativity. This piece is a reflection of some of the feelings I haven't been unable to express in the past weeks. I wasn't expecting to create it, I just sat down and started playing with some harmonies. But luckily it turned out to be one of my most expressive pieces in my opinion, even if it is just a miniature. I hope you enjoy it!

It depends entirely on the people participating and their willingness to separate themselves from their own ideas, so that attacking an idea isn't attacking THEM, as an individual. This also helps to just admit when you got something wrong, or more importantly, when you misunderstood someone's position, which is a lot more common. The thing is, there's also the type of people who think that the discussion forum is their personal blog, which makes things really hard since they have no interest in, well, discussing. It's parroting a position, or being highly combative. This kind of zero-sum mentality ends poorly for both the thread and the community in general. There's a reason why in the guidelines I wrote 12 years ago there's this bit: This is a reference to an actual dude who showed up once and that was his main argument. He'd basically invade miscellaneous threads and post about how it's all garbage except for music written before 1740 (or some other highly specific date, I don't remember exactly.) He got banned shortly after for being disruptive. We've had this, and we've had all sorts of stuff over the years. But in the end, like I said before, if we're civil and nice to each other, we can get over all that stuff and have a good community that values and respects its members, even if people disagree on things. Back then we had quite a variety of different people holding different view points, and besides some banter, we were all still there. And for the few of us who remain, I really wish we can get something like that going again.