Henry Ng Tsz Kiu

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

YO MY BRO! Yeah these past few months were probably one of my happiest months in my life ever. I was able to finish the Sextet as I always dream of finishing, keep composing, enjoying music by having the time to listen music for many hours straight, enjoying food. films and wandering everywhere. This whole Sonata is the product of this free life so I am happy I am able to transfer my energy into it! Henry

Thank you! I do hope to achieve the simple beauty here, which is lack in my past music when I was chasing too big topics and complexity (though rightly) sometimes. Henry

Thx! I love the bird humming haha, and the pentatonic actually still a reminiscence of the G flat Major Sextet!

Hello @Fausto Manuel Orieta, Welcome to the forum! I think this one is enjoyable to listen to, even though it’s more in Baroque style’s counterpoint than Fux’s species counterpoint. Like that you try imitation in b.53. Although I find it a bit deliberate with the do re mi / mi re do moves throughout the movement. Also I think you can add some slur markings even this means to be a Baroque piece. I would personally prevent those augmented second movement of the violin (F-G#) near the end since it sounds a bit out of style. Thx for joining and sharing! Henry

Hi @Churchcantor, Welcome to the forum! I only listen to the first movement and I quite like the modulation you have in the movement. For me maybe you can add more moments when the piano carry the melody and the violin can sometimes play the accompaniment. Also, slurs for the violin would be essential! Dynamic details and phrasings are also crucial in both parts! Thx for joining and sharing. Henry

Hello @90110n, Welcome to the forum! I don’t listen to the original at all. Lemme just respond point by point: The key signature is perfectly fine here with just some F sharps for the Dorian mode. I do find the key change in b.127 unnecessary since you are modulating to G/E minor anyway later. I don’t think ninths are unplayable by vast majority of pianists at all. From what I see from your score an intermediate level pianist will be able to play your score so it’s perfectly playable. What is the bar number of the bridges? For me the dissonance here is absolutely fine. I would keep it as it is, and it’s nice you have the sense to avoid repetition for the choruses! For me some of the bars with bare chords like b.65 or 165 too bare. Probably you can add more harmonic notes for fuller chords there. Thx for sharing and joining! Henry