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Thank you! This is superuseful! It's the climax of the development in the revised first movement, so I would like to keep up both the volume and the dissonances, and the piano is already "busy". But I'll look into it and see if I can organize the passage differently and without double stops. "It does not sound as connected" as in I shouldn't put slurs on the double stops because they can't really be played legato?

Oh darn, sorry about that, brotha, I actually gave a second thought about your question and guessed that you might have been asking about the score animation. This isn't actually a playback but you'll have to go into an editing software to edit the notes frame by frame. It works differently depending on your style, I believe Wolo Wolo Wolo gives you a very good tutorial on how he creates his animations in this video:

Henry, many many good things in these two movements. I can hear a lot of pain, and remorse but also rebirth and transcendance which is a rather unique emotion to explore. There are so many extended techniques here, but they all serve the narrative of your story. I regret to say that I am not a big fan of fugues, and couldn’t get to reviewing the fugal bits of your work since it was so dense and harder to understand, but it definitely fits the story well. I tend to prefer fugues with greater rhythmic vitality and interest since it gives the textures and lines more clarity. The transition into the giocoso is wonderful, and the climax is so energetic and blissful. The transitional material into the coda is also done well, representing the final transcendance of your character, almost akin to swan lake. I have to say there is a real depth of expression there.

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That passage is possible with thumb position on C (D string) G (A string) But it doesn't sound as connected as if I play the top note melody all on the A string. Does the context really demand double stops?

oh no, I got that the sounds were muse, but the animated score video is what I was looking to know more about lol

Thank you PCC! I try and avoid double stops because I don't know if they are doable... but sometimes I fall into temptation! Is it obnoxious to ask whether you can check this passage from the first mov? Is there any rule of thumb I could use - besides "no double stops!" 🙂 - to make sure I don't demand too much of the cellist?

Dr Jekyll.mp3 A Re-Creation, Arrangement-Variation, of The Monty Norman Main Title Melody From the 1960's Film "The two faces of Dr Jekyll" Monty Norman is best known for writing the "James Bond" signature Theme, of the James Bond franchise

like I said, huge practice and rehearsal skill issue anyway again like I said, I only listened to the piece very fragmented, so i don't have an overall opinion. however the score looks like it gives great pathos like schubert, and complex perhaps like the peak of late romanticism bar 30. the tremolo quaver. I think it feels weird on the bow. just take out the tremolo on this last note of the bar? bar 170. I hate you. jk. moving on... I love the melodies on the cello, I'm sure if it's played irl it will sound very attractive

Very possible at this tempo, but perhaps not any faster. what is not advisable is the random double stops at places like bar 35. You can't expect an immediate large finger position shift up to double stops and expect the sound to come out good. I would advise you to tone down your excess fondness with double stops on cello especially at the higher registers unless you are featuring a super virtuostic cello solo line. Actually the notes in bar 31-42 are pretty uncomfortably hard on the cello as well though supposedly very doable with advanced bowing and fingering (more advanced than what I can do, I am only at g8).

Hmmm. I don't think this is a problem. It does seem like the best solution. (In the collaborative program that I'm composing for, I am working with a fix-minded, opinionated director, who gives preferential treatment to 'attractive' favorites; and otherwise finds any reason to dogmatically 'scold' others for "not adhering to the instructions". I would sorely fall into the latter category: it seems for petty reasons, I get onto his bad side easily.), and he wouldn't be happy that I submitted two scores; even if it really is just one score with two different versions. The instructions stated "one compositional score only". The director is looking for more instruments and highly recommends us composers to write for larger ensembles (than just string and piano); only so that he can scold me for writing for optional Vibraphone and Wind chimes, when he stated these instruments may be available but isn't confirmed. He would then scold me if I wrote two different score versions that include and exclude it. (Despite the fact that he completely laughed along in obvious support of his "top-notch" composers for writing for two Vibraphone lines, while not knowing at the time if it would or wouldn't be available. He can't have it all three ways.) The reason I'm staying in this summer program and not opting out is because I won't let one irritating faculty member spoil it for me; and my much sought-after time in a prestigious and meaningful compositional opportunity that would bring about a new piece, and its premiere and recording, to be added to my portfolio. In short, I'm "handing it like a grownup would".) I'm sorry, my parenthetical note ran longer than I originally intended, as a became it bit of a rant against this son born of a female canine. And, really. As my high-school choral director always advised: kindly do not complain, unless you have a better, more productive answer.

Just give two versions then, just like Mozart's Symphony no. 40 with and wthout clarinet version.

Hello, YoungComposers community, So, I ran into a bit of a hard spot, where I foresee two options (so far), and both have their very ugly drawbacks. I am writing a piece for Violin, Viola, Piano, and percussion: Vibraphone doubling Wind Chimes doubling Cymbals (by 1 percussionist, who will very rarely play these instruments at the same time; and, those 2 or 3 times they do, it is for bit a brief passage and completely coordination-friendly). I plan on having the percussion section as optional. My dilemma: 1 - If in the sheet music I list it as "optional", that would be a slap-in-face insult to the well-learned, highly-talented percussionist who may happen across my piece. It will injure my chances of getting my piece performed, because I'm discouraging players to feel like their instrument is insignificant. 2 - If in the sheet music I didn't list it as "optional", I'm making the piece a whole lot less accessible to performers: I'm requiring many more instruments, some of which are notably less common and not as readily available than just Violin-Viola-Piano (not to mention that a Vibraphone is costly and a bit of a granuloma in the behind to lug around!!). No matter which of these two options I take, a bite in the behind will always be ready for me. So, what do you think would be a good solution for me to alternatively take instead? Thanks and cheers!!

The dark atmosphere at the beginning is well achieved with the background of the “tremolando”. The change to a much more contrapuntal part from about 2:10 is very opportune, and I emphasize here the transition from one to the other, which is something that we often neglect, but in this case is perceived without abruptness. There are super rich and very different textures, as for example from measure 95. An unexpected and pleasantly new evolution from measure 147, with some very interesting harmonies at 153..... (I had to stop to see what was really going on there!). Nice surprise with some “advanced” techniques like those beats and portamento. The truth is that the passage from one theme to another is very fluid. Good climax up to measure 197. I find the fugue very beautiful. I am always surprised by fugues based on subjects of short duration. It reminds me of those very contrapuntal pieces that I like so much (Metamorphosen by Strauss and Verklärte Nacht by Schönberg). The part from measure 754 is amazing, it sounds like an organ. Congratulations for such a huge and beautiful work.

I listened to the whole thing in a beautiful spring day taking a walk through the city and ending up listening to the newest part sitting on a bench in a park. The setting was lovely and it allowed me to fully appreciate the powerful music. I don't have an articulate review, but only a few impressions. I hope I'll have time to deepen analysis and listening. I did not remember how pulsating with life and intensity the first movement is. There is a moment when the pulsating, breathing vibration crystallizes in the imitative section. Strangely, it is like a oasis of silence and holding of breath, before the pulse comes back, running over everything else. It is joy, but also somewhat sinister, as if it is *too much* joy. At the beginning of the second movement, joy leaves room to tension, breaking, almost cruelty. And then the grosse Fuge begins. Pentatonic melodies disappear, pulsating joy disappears, even the breaking sighs of the initial part of the movement disappear, all swallowed by counterpunctal order. The cosmic clash seems to be between the pulsating, dancing hymn to life (Beethoven 7th...) and the regimented emotions of the fugue: the emotions are there but we look at them as if through the glass of a cabinet. But the glass cracks when pentatonal passages start appearing in the fugue again. In fact, to me this whole composition seems to be a wonderful attempt to join east and west, pentatonic and counterpoint, sonata and trenody, the past and the present, now easing unearthed contradictions, now acknowledging and espousing them. The pulse comes back at the end, closing a circle that invites many listens because has many facets, reflections, sparkles, and dark corners despite the luminous ascending ending. Thank you Henry!

A Double Melody-Line used in an "Enter-Exit" Rebrand.

Even though this is a second movement, I feel like it can represent an entire 3 part movement in itself. So I will try to address all 3 parts best I can (for now). Part 1 - The Intro This very neo classical / early romantic style intro is very strong, and quite dramatic. It reminds me of a Tchaikovsky intro but in a somewhat different style (your style!). 1:50 to 2+ is tremendously well done, with lots of forward progression with your harmony. This is a clear example of how to use harmony to your advantage, for the sake of the piece's progression. Sometimes composers get crazy with harmony but the harmony doesn't necessarily serve the right purpose. Tell me something, at 4:15, are you trying to show us your fugue subject from movement 1? I think I hear hints of it... Part 2 - The fugue The key changing in this piece is both sharp at times, and as smooth as butter at other times. And the many different styles that I've heard displays the turbulence of emotions here. The first major mood change after the intro is when you segue into your fugue subject starting out with the pentatonic scale. I feel like you slowly bring us back to movement 1, then BAM, you hit us hard with the motif from the first movement. I had to rewind a few times so that I could understand how you achieved this smooth transition (around the 9-10 minute mark). The fugue itself is a very complex work, and the recapitulation can be used as a study on how to modulate from key to key. BTW, I love this fugue so much, from both your first movement, and especially in this movement! There's just so much content here, that this piece can't be listened to just once! Part 3 - The chant, and metamorphosis (as I call it!) At the 20 minute mark, the last section where your chant begins, it brings me a sense of sorrow, with a hint of peace and finding oneself. And at the 26 minute mark, this is the part of reckoning, or the "return" as you say. This section is like a metamorphosis, transitioning from deep sadness, to a rebirth. It's a grand movement within a movement, but most importantly, it evokes a sense of realization and completion. And Henry, this is what your music is about. It's not just "music". It's a very well crafted and beautiful story. This one is particularly a sad and emotional one. The ending was joyful, but at the same time, I still felt sadness. I know this is a very long work, but I encourage people to listen through the full piece. Maybe others will have different interpretations, but listening to longer works like this will help you learn how to listen to the story, not just to the tones of the music.

IT DROPPED !?!?!?!

So this is the final draft of the entire 2nd movement of my String Sextet. I can confidently say this is my best movement of music ever written up to date. The movement is divided into three parts: Lamentoso, Fugue a6 and the Return. The first two parts of the movements have been posted before in below links: Lamentoso: Fugue a6: If you want to skip to the newest content I compose, you may skip to 20:16. The musical analysis of the Lamentoso and Fugue have already been done in the link posted above so I won’t repeat it here. Here is the YT link and score of the movement: (Final Draft) String Sextet 2nd mov with last page.pdf Here is the YC post to the first mov of the same Sextet: Here is the structure of the movement: 00:00 Lamentoso The Eden in the 1st mov is great but man, come on and live in the real world. All sorts of tragedies happening and what ground do you have to claim the transcendence? I especially love the outburst in 4:59 and the passage starts from 8:53. 11:47 Fugue a6. This part is totally inspired by Vince’s @Thatguy v2.0 comment on my first movement “to write a dense fugue”, also to further explore the fugato in the 1st mov. Like @Giacomo925 said, this part summarises the sadness of the first 20 minutes of the movement. It always leaves me in awe that my favorite C minor passage, the absolute climax of the whole piece, lies in minute 30 exactly. The fugue aims to end on desperate terms but I won’t allow it. I try to give it a fight by recalling the pentatonic ideal even though in the wrong key of the tritone C major as hinted in the pentatonic section of the fugue, but the power is diminished. I need some purification for the paradise regained. Thx to @Luis Hernándezfor introducing me to tritone substitution in this part. The chant (22:01) begins with self murmuring of viola, occasionally inviting mysticism recalling 7:55 in Lamentoso and sadness of the 1st subject of the fugue. Two violas play together with the texture of a parallel organum. After a sad cry some more primitive power comes in to recall the passion and good of human beings, the theme is from b.27 of 1st mov. It gets agitated and experiences an epiphany in the form of Bartok Pizz. Both the chant and the folk melody is built around the 025 set! And the 025 set is the essence of the pentatonic scale! Furthermore a quartal chord is the further essence of 025 set, and hence the core of the whole pentatonic scale! Discovering this, the fury cannot be stopped. It leaves me in wonder how on earth can I write this thing out. After returning to the tonic key in 27:00, I decided to conceive it as a one off climax with build up. The idea is inspired by my playing of Beethoven’s op.110 when he did the same thing in the last movement as well. There is no “development” but only realisation of Tao in this imperfect world. There are appetizers to the ultra climax, first introducing the two most important themes sparingly, then in 27:16 theme in b.35 of 1st mov which is in fact inspired by my own Clarinet Quintet in C minor, and then an appetizer fugato responding to the lament in b.148 of the Lamentoso which is based on the opening theme. The entrée of Ultra Climax appears in 28:38, first is the first theme in tonic by first violin, viola, and cello, then second theme in C major by second violin, viola and cello. The playing of tritone is to prove Tao‘s omnipotence, also respond to the first mov and the fugue with the F# and C minor relationship. Using all 3 instruments for me is the resonance of Heaven, Earth and Human when they finally sing together the Tao they shared. I think I really feel the Chinese philosopher Tang Chun-i’s Realm of Heavenly Morality here. The modulation to Ab major, responding to b. 294 and 644 of 1st mov, complete what’s left undone there and finally Gb major is in triumph. A pedal point on a tritone is funny for me. The cello overlapping the violin is signifying earth and heaven interaction which is considered auspicious in Chinese classics I-ching. I am always in awe of the power exhibited here and wonder who’s actually the composer of this passage. The next passage in 30:07 is the heterophonic version of the 1st theme, which is where I was inspired miraculously by a Chinese music group. Next is the in extremis passage in 30:57. It’s the immanent version of the 1st theme. I was imagining what my friend’s thinking on his last day of life. The texture is probably inspired by the film music in Kurosawa’s Ikiru when the main character was swinging on the park’s swing to await his death. I quote Bach’s St. John Passion here for my friend’s name, and I find out that the lyrics fit too. I wish him to rest in peace and return to Tao. The final ending is probably inspired by the ending of Chopin’s Fantasie in F minor. I can never believe I would end the whole thing this positive in an absolute way. The whole passage always leaves me in tears. After writing the Lamentoso in May 2024 I had no power and inspiration at all to write anything in the Sextet since I was suffering in my full time job. I started picking up by working on the C# minor Piano Sonata first. After finishing that in Jan 2025 I felt like my negative power was expressed out, leaving the goods for this Sextet. I then went for a walk on 10 Feb 2025 and had a miracle, inspired by a Chinese music group, which turned on my creative power and I fervently completed the entire thing in just 18 days, when I had zero notes written in the past 9 months. It’s such a miracle I could have finished this piece this quick and good. My dedicatee Mr. Johnson Ho had already passed away last year. It's a shame that this piece couldn’t be completed when he’s alive, but I would be forever thankful for his inspiration. Special thanks must have been granted to my great friend Mr. Vince Meyer @Thatguy v2.0 for making this perfect audio and many ideas, and being a great friend, but I will leave it to the final version of the whole Sextet. Also a very special thanks must be given to my ex-boss. Thanks to her mistreatment, I have the pain to reflect on my own, the drive to finish the whole Sextet in a fury and the time to complete it when I was forced to resign for my own mental health. Foremost of course I must thank my dearest mum. But lol, the whole acknowledgement will be left to the post of the final version of the whole Sextet, including the first movement and this movement. This is a very long movement and commentary and I don’t expect anyone to listen and read till the end. But if you do so, here is my deepest gratitude to you. Feel free to comment as well, I would be very thankful to have received them. Thank you!!!!! Henry

Does anyone know of medium length narrative poems IN ENGLISH that would adapt well to music? Something in the style of Bach’s cantata/comic opera Schweigt stille, plaudert nicht, BWV 211 that is suited for dialogue with 5 or less characters that would go well in a recitative and aria format like the Bach cantata above.

Re-creation of Famous film-scores | short..............Any ideas in how to create an Original ?

To be honest, @Henry Ng Tsz Kiu, I have listened to the second movement of the piano sonata like a week or so ago, but only once and it requires more listens and attention for me to say something remotely meaningful about it. I found it wonderful but I'd like to try and say something more articulate and I can't yet 🙂 Can't wait for the sextet to be published and saved on my phone! These days the weather is nice and I walk to work and I'm looking forward to listening to the whole thing (might need to leave home early and take some detours to make it fit, but it'll be so worth it!).

Schumann and Brahms were mentioned, but to me this piece brings to mind Schubert. The melody of the theme is simple and elegant and sings like springtime in your ears, the harmony joins so nicely that - I hear this in Schubert a lot - it's not immediately clear if the melody guides the vertical writing or vice versa. That said, I'm not a fan of the sudden chords in b. 24 and 63-4 (esp 63-4). And maybe at b. 46-7 I would have liked to hear the cute descending inciso with the repeated note from b 42-3 and 44-5, but what do I know! But I love love love the c# minor section especially 50-57 with the sixths in b. 54 just very beautiful. Thank you Henry!

Haha yeah the little Intermezzo was posted here and YT: The bigger Sonata movement I would love you to have a listen on haha! Also I would post the finished Sextet 2nf mov tomorrow, stat tuned! (A great self advertising reply muahaha!) Henry

OK, I did that and it sounds better already 🙂 Thanks! We're all waiting for the big drop!! Meanwhile... is the "little" piano piece the Intermezzo I just listed to on youtube? (Can't find it here, I need to sharpen my forum tech competencies!) I think Schubert would be proud of you! I can see him smiling! I love the elegant and expressive simplicity of the melody, and how it seamlessly supports rather distant harmonic gyrations. And thanks for these kind words too! I had no idea that a polyrhythm (you mean the triplets at the violin with the 16th arpeggios at the piano?) A friend of mine is insisting to try and find students to play this. I would love that but I think it'd require lots of fine tuning of individual parts for playability? I never write at the piano and every time I try to play the piano part I'm horrified by how unnatural it is to my hands! Let alone strings, which I don't even play. GPT says a cellist can play pizz. 8th notes comfortably at 120-150 bpm. So that passage at b. 75 should be playable, but I guess it also depends on *which* notes are being played lol. I decided to go in d minor, with is a bummer because previous to this trio I already wrote a d minor quartet. What can you do! Meanwhile, here's the third movement, revised in light of @PeterthePapercomPoser and @Henry Ng Tsz Kiu suggestions, among others. I don't think the main concerns were fully addressed but I hope it sounds better now...