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Thanks a lot For so many good vibes from you!

Back from Hong Kong, a jetlag in sight, I discover your message! Thank you Henry, for your always so fine and enthusiastic comments. It's a great pleasure to read. Schubert is indeed always somewhere in my ulterior motives, without necessarily realizing it (it can however be voluntary as in a previous piece where I quote Der Lindenbaum, in "Jeux", in the coda). Here, I admit that I didn't have a Lied in mind in particular, but you're right, as soon as we try to sing a little love and sadness, Schubert is not far away. It is also quite possible that the author of the poem Jules Laforgue, heard Lieder, when he was a French reader for a German empress, in his Berlin castle. We even know that he meets a very renowned young Belgian pianist, with whom he befriends. There is no doubt that Schubert was heard by him in these circumstances. You are also right about the look let's say hopeful during strings. It is also to go with the idea present in the poem of a bitterness, but of the contemplation always amazed before "these beings there" who remain despite these defects and this superficiality (according to the poet of course), which remain in his eyes, despite everything, despite his doubts, his smallness, so adorable... (And as I understand what he means... But it's a very very subjective opinion)...

The One-Night Stand Tango Man - Short Movie main theme. Now on Fetchflix Bob is single but also a sex addict. He learned that women are generally overrepresented in dance classes and therefore it would be an opportunity to meet women. He started with ballet because there are 10 women for every man in these classes, but dancing on pointe didn't suit his slightly overweight body very well. Frankly, it was a disaster. Then he started dancing tango where there are 3 women for every man and then his one-night stand rate started to climb. His hide a bed sofa was always busy with all kind of partners until he met Mistress Noir. A superbly bold tango dancer but also a BDSM fan. Well, there are some risk running for one-night stand constantly. “This story is a work of fiction. Any similarity to actual persons, living or dead, or actual events, is purely coincidental. And for those who did not get it, Fetchflix TV is also fictitious.” Music: Syrel Photography: Syrel, Magazine article about bedding (1989) Musical notes: Catch me if you can by John Williams may be a bit obvious at the begining but after I believe I get more genuine to my style. What do you think?

Piano piece I wrote, any and all feedback is appreciated

Hi all, This is a short solo for alto/tenor. Also Bb or C clarinet can play it. Duration 1 minute. It is played in mp3 file with dulcimer and piano 8vb.

So calm and serene...

As stated in the title of this post, today, March 31st 2025, marks exactly 340 years since Johann Sebastian Bach's date of birth (at least, according to the Gregorian Calendar, that is). Thus, in commemoration of his insurmountable heritage and the immortal spirit abundantly residing in the plentiful boughs of his art and soul, reverberating through the ages of Western musical tradition centuries after he blessed the Earth with his industrious talent, unflinching devotion and heavenly music, I have decided to remember this special occasion by uploading a revised version of another fugue of mine dedicated to him as well: my Fugue in G minor No. 16, which I first dubbed "Bach's Legacy Fugue" on account of the repeated usage of his musical signature throughout the piece. Hopefully, in about 10 years' time, I will have composed yet another, more ambitious fugue to mark his 350th birthday, though sooner than that (this summer, in fact), I should probably dedicate a different composition to the 275th anniversary of his passing. Enjoy! YouTube video link:

This is old thread but i answer. Its because the first instrument selection for was elecric instruments. This version of the first part is played with synth bass 1 - soundfont. Recently I think that it Works better than elecric guitar. Duration 2 minutes.

Hey dude, really appreciate that you like the style on my music and glad you enjoyed the piece itself. Thanks for the comment!

This is Super-Ultra-Hyper-Mega-Meta LoL

for all the brass players who think they have a range to bluff about

It definitely could be. Depending on the amount of time you have for rehearsal prior to performance. Most of the time I was on a time constraint with the ensembles I performed with, resulting in 4-5 hour sessions, with 1 hour break, then back to it, twice a day for 3-4 days. It can definitely be hectic lol

Hey @Ivan1791! Wonderful writing! The harmonies are quite neo-romantic and reflect well in the bleak but yet contemplative soundscape that is perfect for the string orchestra. Great job and I am hoping that these short pieces of yours are but warm-ups for longer and more developed works! Thanks for sharing.

Hey @Henry Ng Tsz Kiu! I'll review the whole movement as a unit even though I think I already reviewed the beginning of it once - I don't even remember what I said. The beginning is quite foreboding and starts with quite a bleak theme! And there is some very logical and crunchy dissonant chromaticism in it which quite naturally leads to some distant key modulations in a short time. In the beginning, the whole is very contrapuntal and the themes are very lucid and lead the movement towards the logical fugue where the piece becomes hyper-motivic. After that it sort of transcends its own themes/motifs. The Tranquillo in measure 123 kind of foreshadows the later religioso. The Mesto section in measure 148 gives a sense of lightness still tainted by the chromaticism of the lamentoso and its mourning. The fugues subject sounds even darker with the seemingly constant dissonances between the natural and sharp 4th degrees which the subject necessitates. Writing a 6-voice fugue must really have been a mind warping experience. Perhaps you wrote it in a trance much like Wagner claimed to have been in while writing the Prelude to Tristan & Isolde? LoL It's very good and never dull or overbearing in its contrapuntal complexity. There is plenty of space and harmonic variety to keep musical interest. I like how the end of the fugue gradually introduces the relatively happy sounding pentatonic figures. There's also a subtle metric modulation that brings you from the fugue to the Misterioso in measure 439. The Chant - Adagio Religioso section very naturally emerges out of all the previous material like the Tranquillo in measure 123. There is a real sense of piety or worship and spirituality and respect for your friends passing in this part. In measure 565 I perceive the on-beats and off-beats to switch places. For some reason I naturally hear the lower notes as being the strong beat in an oom-pah pattern. The pizzicato glissando from the major 6th degree to the tonic further foreshadow the transcendence you achieve later with the pentatonic figures. Measure 601 almost sounds like the beginning of a Western! LoL .. or should I say "Eastern"? This part is so ebullient and overflowing with positive energy and celebration! The very last section is especially transcendent where the celebration of his life is mixed with a bittersweet reflection. The pizzicato glissando at the end really sounds very Eastern and rounds out the movement quite nicely! Very well done, Henry. I 2nd that this is thus far your biggest masterpiece. Question is, where will you go from here? Thanks for sharing and I'm looking forward to your next piece!

Thanks so much for the feedback! Always looking to improve.

Very beautiful Ivan, this has so much emotional depth wrapped up in it for such a short piece. Well done!

Hello, YC community, Is this ^^^ irregular extended technique possible? I understand that Laissez Vibrer (LV) on a string instrument is done on open-string. If the LH finger was released off the stopped-pitch exactly at synchronized time with the arco springing off the string, would that be able to produce the resonation of an open-string LV? Thanks greatly for your help!

Hello @Mikayla and welcome to the forum! This is a very creative idea and concept for a 4-hand piano piece! I like the main theme as well. In measure 18 you're using a D half-diminished chord which to me would sound better as a Bb9 6/3. The voicing in my opinion would also sound better if the right hand of the bass clef piano player was playing Bb-F-Bb as the open 5th would really nicely accompany the D in the bass. Overall, too, I think you're using too many triads in the low range of the piano which makes it sound a bit muddy. Thanks for sharing and I hope to see more of your contributions to the forum!

Quite an emotional piece. Despite its brevity it sounds “progressive”, a bit in the Wagnerian idea of pulling forward all the time.

I’m so happy and grateful you love that passage Vince. It’s definitely one of my best passages, it took me 11 months to grow before I could write it out in one take. I was just too shocked to my friend in his deathbed for his last day of life, but it took me 7 months after that day to finally write my thoughts out. It all worths it however! Btw, where is the “Henry Ng is cool” signature lol! Henry

Hey Chris @AngelCityOutlaw Don’t scare me off! I’m going to compose orchestral music haha! Henry

Hey Ivan! @Ivan1791 I really really really enjoy this. I love how you travel to different keys and harmonies before confriming the tonic of my fav. C sharp minor. The first chord, even it’s a C sharp minor chord with a D#, doesn’t feel like a tonic at all, and it moves further and further away with beautiful harmonic progression: a beautiful G minor seventh in b.2, D major plus minor seventh in b.3, augmented seventh in b.4, then a half/full diminished C# chord in b.5 in a local climax. After that C sharp minor starts becoming more and more apparent. The voice leading is so smooth, and when it gets unsmooth as in b.5 a tritone it’s so goddamn expressive like the Mahler 10th. If before b.10 the sadness is somewhat prevented by dissonant chords, after b.10 it’s profoundly expressed in the most direct, beautiful and tragic way. You’re so talented to write this out that I somewhat hope you can be less talented so you would be less painful, because for me I hear tremendous pain in it. I wanna congrats on the musical genius in the piece but I wanna cry with you instead Ivan. You act like Christ who crucified himself in order to bless us with this beautiful music. Thank you Ivan. Henry

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I appreciate the insight. I felt the exact same way about it. I'm still more or less just throwing sounds onto the paper for purpose of a road-map. Just wanting to get the gist of what I want it to sound like after finalization. I restored the video link, as I deleted the old one due to having made a new one for current progress. Feel free to listen and commentate on it as it sits currently. Of course, while we both keep in mind what's already been mentioned. 😅