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Hi Peter! I play it, but my piano is really bad with dynamic control and at such a quiet dynamic it's impossible to voice it properly with consistency :< So 8va means "Ottava" and can mean above or below depending on placement. It does not mean octave above. 8vb means "Ottava bassa" and is not a standard notation, though it's increasingly common in the United States. I think that's kind of unfortunate, because it's not supposed to be happy-go-lucky. I certainly don't hear it as such. I hear it as hopeful. I can see why it feels happy-go-lucky to you though: back and forth V-I, bouncy rhythm. Try not to think of it as bouncy though, more like the funeral march esque rhythm of the first theme. Maybe it'll make more sense that way. I actually like that idea. Thanks ❤️ Maybe. I thought the same but about the 3rd movement, which is kind of similar me too! Thanks for the review!!

i hope you can follow along with the audio, the staffs should be in a different horizontal align, but i think the notes are rendered correctly!

Hi @ComposaBoi! I know I've heard the 1st movement before but am not sure if I reviewed it. I don't hear the following chord in your performance: I just hear a Db both in the left and right hands. Also, didn't you mean to mark this as 8vb? 8vb means an octave lower while 8va means an octave higher: That aside, I find the main theme to be so happy-go-lucky in comparison to the bleak introduction! LoL I think the way you present the main theme in measure 78 is more appropriate to be the main theme proper, being darker and more suited to follow the bleak introduction. I know you said you won't be changing it but I'm going to give you my impressions nonetheless. The version of the main theme at 151 is also nice - not overly happy-go-lucky but rather, bittersweet. The version of the main theme at 220 where it is used as a modulating sequence is really good! I much prefer this treatment of the happy-go-lucky material as it sounds more developmental and suited for modulation. When you return to the material of the bleak introduction the 2nd time it sounds really empty and like the momentum of the piece just stops and falls dead (especially with the left hand staccato notes). The 2nd movement waltz sounds like it really flourishes perfectly out of the 1st movement! It really creates a lucid listening experience. The only thing that brings me out of it is the allegro furioso. I think it sounds way too fast and intense for the bittersweet mood you set with the beginning of the waltz. I like how you reference back to your 1st movement material with the molto meno mosso part. With how fast and furious this part gets it's amazing that you managed to perform it! I think bringing back the dreamy main waltz theme towards the end really releases some of the furious tension you build up with the fast tempo sections. Great job with these two movements! I'm looking forward to reviewing the last two at another time. Thanks for sharing!

Hello @Alant! To me the combination of instruments, especially the trombone and pitched percussion with the electric bass is especially reminiscent of the SimCity3000 soundtrack. It's very nostalgic to me! Great job and I was sorry to hear it end. I think the track could be continued for much longer just adding more and more instrumental forces like @Henry Ng Tsz Kiu mentioned! Thanks for sharing.

Completed piece:

Wow I did not expect this to be completed in such a short amount of time after I had posted the work in progress thread a week ago. That's a record. Though, I guess I did work on in beforehand. Still though, glad this one is not stuck in work-in-progress purgatory, just like the others... Anyways, since the latest progress, I've modified the return to the first theme, most notably, a flurry of ascending scale on b.105 followed by a trilled downward passage of the theme. This is done to kick start the momentum of the piano's spotlight on the proceeding bar instead of just the piano reciting the theme alone in the 2022 version. Another drastic change is that I've turned the passage from b.112 onwards to be a build-up for a proper, actual climax at b.118. Additionally, I've fixed the many of the pitch spelling errors and, of course, tidied up the score as well. There are other smaller changes on the piece as whole, but I'm not gonna list them here. I'm really really happy I did this revision 'cus, again, I just love the themes in this and it's worth putting it to my current musical knowledge. It feels satisfying and gratifying. Old version for comparison: Progress Thread (wow i posted only two progresses on there) Hope you all enjoyed this and lemme know what you think! Thank youuuu

Hello everyone, I've been working quietly behind the scenes away from Young Composers for the past couple of weeks, working on my compositions and even having occasional practice sessions on my violin and piano. One day, I improvised on my piano and recorded it. I played back the video to myself and found the result so touching that I decided to create a complete composition of it on my Finale software. I'm really happy with this work and dream it will be the next "Song from a Secret Garden," both pieces having origins as solo piano pieces and eventually becoming full-blown orchestral works (in my case, "will" become). Yeah, that's a bit too ambitious, but a guy could always dream, right?! 😄 Your feedback is welcome!(: ~Frank

If you were going for a movie score feel then you got it, because it sounds like the soundtrack for a Marvel movie (not meant as a slight). I do agree with what Peter is saying about the accompaniment overpowering the melodic lines. This is something I have struggled with as well, in sometimes layering too much, and ending up with a muddy mess. It sounds good, but it hinders the ability to focus. I would suggest going through, the softer moments especially, and seeing where you can edit out some of the underscoring, to let the melody shine through a little better.

In the Mood for Love is always my fxxking all time favourite film. I watched it several before but only at home’s small screen. Last week I watched the 4K restoration of director’s cut in cinema’s big screen, and fxxk! I got the music much more! I used to feel like this music boring and only functional, but when I got to the cinema, those pizzicatios are really powerful to reflect what the main characters were thinking! And this must be one of my all time fxxking favourite music. The music matches so well with the film itself (in the video it doesn’t correspond though), and I used to cry watching this scene, this time no exception. Also, freakingly beautiful Maggie Cheng and handsome Tony Leung!! As well as the cinematography and direction and art design and costume design!

Next is Porco Rossi. I have never heard of this until recently even though it’s a miyazaki film! My favourite must be this one, with the piano version arranged as the set piece for ABRSM grade 8 piece lol: To be honest I love this only after watching the film. I got the resigned and helpless feeling of the music only after watching the film, knowing what Porco Rosso had faced. It’s an insanely good film as well, very unexpected to what I expect in Miyazaki’s film!

I have watched quite a lot of films these few weeks and I will share the music one by one! First is Kiki the Delivery Service. Probably this is my favourite. It’s the agitated version of the main theme of the film music when there’s a disaster happening in the town. I love how the danger is depicted with some sort of funniness.

Hi Luis! Thank you! I just try my newly acquired style after the Sextet and I quite like the result here. Never listen to Cowell’s piece even though his name is the same as me lol, but honestly I don’t like his idea to hurt the piano strings! Henry

Hi my bro, As I have heard all of these before, I think they would be suitable for intermediate children pianist. I like you’re trying to vary your style which is always nice for a composer no matter the result is, and the result here is good. My favourite is poem no.1. No.2 and 3 are quickly funny and I like them too. Thx for sharing! Henry

I just threw up several times yesterday and actually don’t get well for two whole weeks so I am less active here lol…

Hi @user011235! I like this especially the piano interlude in b.18. Just one thing, are you sure you want the high Bb from the soprano? It’s quite a high note for the singer and I feel like the drama isn’t that high to have that high note! I don’t see the use of the high note frequently in a Lied. Thx for sharing your old piece! Henry

Hi @Alant, Actually I like it as it acts like a good ostinato! For me you can keep adding instruments as different layers with the increasing of layers and colours to increase the intensity of the piece, just like Ravel’s Bolero. Henry

Hi Pabio! I love the hunting character of the fugue! For me I would have the 2nd subject in a less hunting character, as to provide a contrast with the 1st subject as well as a easier counterpoint between the two subjects, because like Luis I would also love to have the two subjects coincide with each other. I love the stretto in b.84, even if it’s not a very strict one! I like the less polyphonic cadenza too, I love contrasting texture. Thx for sharing! Henry

3rd movement: Nice melody, and like the arppegiated octave theme. Nice playing in b.23! The theme in b.53 reminds me of the turbulent theme in Chopin’s Fantasies in F minor. Again b.66 should have a Meno Mosso marking I think. 4th movement: I like the reintroduction of the motive from 1st movement with tremolo under it like the coda of 1st movement. I think you can change the key signature earlier. I love the outburst in b.15! It’s kind of foreshadowed in mov.3. The modulation to E major is very unexpected and a nice change! Probably the warmest key ever especially as the tritone key, like how I use that in my Clarinet Quintet and Sextet LoL! I lie b.133 since it’s probably the first time you introduce imitations between hands! You should do more of that! The Rachmanioffian E minor theme is a nice change of the consolation theme! I have no comment towards the ending since I like it. I love the ending too! Who’s not alone in the world, especially for artists! You should be, especially given how difficult this is to perform! Well done Jonathon and thx for sharing! Henry

Hey Jonathon! @ComposaBoi Thx for your review on my Sextet, I am going to return the favour to your huge work lol! 1st movement: I like the beginning, though I feel like it can has less repetition and moves more quickly away to the 2nd theme. I like the D flat Major theme as it sounds like Liszt, but I find the exposition repetition too much personally, especially with the very slow first theme! I love the development, it’s much more dramatic especially when tremolo is introduced at the latter half. I also love your modulation to G major, a very distant key as consolation giving its refreshing quality. I love the retransition to B flat Major very much, as with all those diminished 7ths it sounds really Lisztian. I find the B flat Major theme as it bit short, so the return back to tonic minor a bit abrupt for me, but the 1st theme sounds much better with tremolo under it. The reintroduction of 2nd theme in coda is unexpected for me, but it’s lovely. 2nd movement: Like the waltz theme and your flat 6th to denote the dangerous tonic minor. Love the G minor theme, but I find the transition to the quicker variant of A minor in b.93 a bit abrupt for me. Maybe a longer dominant preparation before modulating to A minor? It helps both the transition of harmony and speed. I love your return to the open transition from the 1st movement before returning to the 2nd movement first theme! The quick part reminds me of the Scherzo of Chopin’s 2nd movement, though less crazy here haha. B.222 should add a further Meno Mosso for an even slower tempo!

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.

There were issues in the past: ---------------------------

Oh boy, I didn't realize there was an issue with the previously uploaded audio. Must've been something to do with the MS4 Studio Exporting. I apologize for that! I exported the audio from the MS.com website this time.

I do agree with you on the issue of balancing, and I can also see how the melodic choices I made didn't contribute much toward melodic development. As I said in my response to the initial feedback you gave, I went through with a new friend of mine who was willing to take his free time to instruct me on some of the Music Theory material that I was unfamiliarized with, that related to some of the things he noticed wrong with it, which were much in line with what your critique of it has been so far. So moving forward, I'll be looking to improve upon what you've mentioned, among other things as well. do always appreciate your feedback, and will be using this information to further progress my skill in dabbling with composition. And I do hope that you were able to enjoy this piece, despite the issues with it. I feel that with this one, I at least had some awesome chord modulations 😅 Especially there at the end, modulating back to the original key of F minor, just before the transition from strings harmonies to brass harmonies.

Hi Petr..... Let me one of the 1st to Congratulate you on a Fine-Performance Your compostion has a Professionalism equal to what one hears, on Mainstream-commercial Classical music Radio stations.

Hi everyone, I would like to share with you my first major composition: a string quartet. My compositional style is evident in it, which is quite unusual, but at the same time I think it is accessible to a wider audience. I'd appreciate it if you gave it a listen! Thank you! https://youtu.be/WPfU9OKB8Aw?si=EFZEiZDdlTbWXOnu