Henry Ng Tsz Kiu

Yeah I think writing with motives is probably the easiest way for me to write! You can just copy and paste and also have coherence haha! Yeah this one is fast, since I consider this Sonata an easy piece to work on! I seldom make sketches too!

haha thx! In this video the audio is generated by my bro @Thatguy v2.0, but it's playable for me haha. As long as I remember, I took 2 actually composing days for each of the first 3 movements of the Sonata, and took two weeks (around 7 days?) for the last movement. I usually work really slow on my writing, like I took 2.5 yrs for my String Sextet and 6 yrs for my Clarinet Quintet! Henry

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:

Nice! I really wanna try to write more accessible music and I think this one is a good try! Yeah an advertisement on what I’m writing!

Yeah that’s the same Arjuna motive throughout! And there will be the final movement which I post today!

Haha thx! Yeah I try to be playful here which sounds quite Haydnesque. It's not finished! There will be a fourth and final movement and stay tuned! Henry

Hi! This is the third movement of my Violin Sonata in B flat major, commissioned by and dedicated to Arjuna Clark @expert21. It's a Scherzo not only feature a lot of the ARJUNA motive, but also some references on Beethoven and my friend Peter's themes. I find this movement really funny! It's set in F major and have a modulatory end, as both suggested by Arjuna. The audio is again made by @Thatguy v2.0. Here is the score and YT video of the movement: Violin Sonata in B-flat major 3rd mov.pdf 0:00 Scherzo Proper. Use a lot of ARJUNA motive right from the start. First big change is a modulation to A flat major, then a random pause in 0:35, which is a technique I love to use ever since I was accused of having used it in my 3rd Piano Sonata lol. The music then modulates to E major, where I play with @PeterthePapercomPoser’s theme of his Postulde in Suite for Strings. This acts at some kinds of advertisement as I would be using this theme in my next composition. It ends firmly in F major, but then modulates unexpectedly in D-flat major. 1:22 Trio. As you can see from the tempo marking of "Largo molto very ultra religioso", you know it's a joke. I play with Beethoven's theme in his op.135 slow movement here, even though personally I worship this piece and his late quartets A LOT. I have it juxtaposed with the quick scherzo ARJUNA passages for funny montage effect. At the end I just quote the awakening call from Beethoven's op.110 Piano Sonata 3rd movement, again as a joke, as a wake up call for nothing here. 2:39 Repetition of Scherzo Proper. Though at the end it rather modulates to B-flat major, the global tonic major of the piece, to achieve an attaca to the final movement of the work. Here are the previous movements posted on YC forum: 1st movement: 2nd movement: Here are the references for the movement: Peter’s Theme: Beethoven’s op.135 slow movement theme: Hope you enjoy and leave some comments! Henry

I think it’s better when you mark the structure of your piece with bar numbers yourself than terms like “Climax number one”

Originally I wanna reply all at once but when I was replying my boss was coming so I stopped LoL… I’m shocked to know that you find this sonata better than my Sextet haha, but for sure I appreciate it! This one was composed in a happy time, and all those clever things I did it with zero thinking as I just wrote what I want then with no planning or attempt to use technique at all! Maybe only for the 4th mov did I finally try to use some techniques. But here I just wanna write simply by emphasising the beauty melody I thought of. Henry

Yo Peter! I think the microtone well fits with the lava setting, as I imagine the “normal” in tone notes are melted by the lava so they are turned to microtones lol. That electric guitar is cool enough and I imagine Vince playing it while shaking his hair LoL! Wait what I have the same imagination as you did lol. I type the things above BEFORE I read this. Thx for sharing! Henry

Hello @seo_composer! Welcome to the forum! I really enjoy this one, it’s very soothing to listen to. I love the modulation to Eb major in b.26 as it creates great effect using flat median major. However, even though it’s only a prologue, I would say it’s too short especially when you modulate wonderfully and then it stops suddenly. I would extend it longer so that the wonderful effect won’t be wasted here, even if it would recur in later movements. Thx for sharing and looking forward to later movements! Henry

Hello @lemon, Welcome to the forum! For me it’s because the quieter passage lasts a bit too long after the climax in b.45. Like you I love that cello melody near the end, but it’s contemplative, and it would be strange to contemplate when nothing happens before it. Before it there’s maybe f dynamics but they aren’t climax because of the motion and rhythm, they aren’t moving as much as the climax which ends in b.45 which I really like the texture. I think you really have the b.27 texture recurs again as the climax before the cello melody. Or another way: you can build from that cello melody and add intensity with semiquavers as you did in b.27, before entering the coda in b.116. Thx for joining and sharing your music! Henry

Hello @L.S Barros, First, nice lyrics with that tree image haha. I must say the voice sounds really weird, but it should fit the setting with the organ once it’s with a more normal sound. I like the intro though, it does sound English medieval. Thx for sharing. Henry

Hello @InterstellerApex, Welcome to the forum! I like the climax in b.50, it sounds really Chinese before the G# comes in. I rather think the ending climax in g Major a bit abrupt, maybe you can add some more bridges to it! In b.12 the D note can’t be played by a sul E? For the bartok pizz. Marking I think you can mark it with the proper marking? The piano in b.77 doesn’t need the octave sign. Thx for joining and sharing your music! Henry