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I am not very familiar with Schubert's specific style. But this musical moment does take me back to that pure romantic period without the later great development. I like the contrast between the almost choral part and the rest, which has a melody that has stayed with me. I also like the chromatic bass in some measures, as a cadenza (measure 2, 7, etc). Although the one in measure 13 sounds stranger to me, perhaps because the chord is left in suspense, and resolves into something more unexpected. Something that I think is frequent in these composers. A beautiful piece Greetings.

I love these little pieces you're writing. I think it shows an abundance of craftsmanship with how quickly you're writing AND performing these for us. This reminds me a little of Schubert, but done in your own way to call it your own. Well done Henry!

This Moment Musical in A-flat major is the second piece of the four pieces I intend to write for relaxation after finishing the very heavy String Sextet. As the title suggests, I only want to achieve Schubertian simplicity with some contemplation here. The result is somewhat a bit beautiful and contemplative for me. Here is the YT link and pdf for you: 5-4-2025 Moment Musical in A flat Major.pdf This piece is the opposite with the Intermezzo in A, the first piece of the set, as it uses the theme from the 1st movement of my First Piano Sonata and the key and texture of the 1st movement of my Second Piano Sonata. The recording and this video is again made in a rush so the quality may not be good. Hope you enjoy this little piece! Here is the previous Intermezzo from the same set: Henry

For more context visit: program notes: Dawn breaks, setting an uneasy tone Ross confides in Percival before fate leads him to Selene Orson’s cruelty surfaces, while Florence plays a dangerous game—flirting, deceiving, and lying Ross seeks comfort in Evangeline but Aldric pushes him toward a reckless confession. Searching for answers, Ross is left wandering alone Rejection looms as echoes of fate return. Selene turns him away. Humiliation follows—Malcolm mocks him and Orson delivers one final blow Defeated, Ross is left only with his Reflections of a Hollow Heart. Score and audio:

Thank you, Quinn. Actually, one Violist had demonstrated to me: when he released his finger off the stopped pitch at the same time the arco sprung off of it, the pitch that resonated alongside the stopped pitch was the open-string; not the stopped pitch. Therefore, I conlude from this demonstration that this technique is possible on nothing but open-string (on Strings). Unless someone would like to provide an alternative answer to this ^^, inquiry resolved. 😃

I think this is a case of something that should be very subtle being made obvious by the fact that all the instruments are doing it all at once. And I don't really consider my ears to be that much better than average on here. Perhaps I've been a bit sensitized to the effect because the new version of discord makes music being played or any sounds being made by your computer temporarily quieter in order to clearly play its notification sound. So for a second there I thought discord was going to play a notification when I heard that dip in volume at 3:28. Thanks for your reply!

Oh I didn't realize you were using notation software for all of this. I use Sibelius, and am unfamiliar with musescore, but can you use dynamic markers for different staves? A performer would know to bring out the RH, but in Sibelius you can write mf for the treble and p for the LH for example. Maybe something like that could work? You might have to make adjustments during the piece if that's the case, but what the score looks like for computer performance versus what it would like for a pianist might be different.

Thanks @Henry Ng Tsz Kiu. I'll redo some of the viola and cello parts. Or at least try to.

I hope we get good submissions, too! I lived in Anchorage for 20 years. Now I'm in Missouri. I miss Alaska every day.

Yes, I understand the intent of the strings. Perhaps, in a case like this, where they have a predominantly harmonic support role, I would have opted for fewer lines (here there are five in the strings if I'm not mistaken). But it's a choice, of course. I seem to recall Rautavaara doing something similar in the Piano Concerto No. 3, and it's fascinating. That musescore function is very handy, the program I use (which I'm very used to, doesn't do it and I have to put the videos together myself). I usually put here the two versions, the video-youtube version, and the pdf with mp3. If I don't upload the video, then only pdf + mp3. Everything is fine.

My Neighbour Totoro is Miyazaki’s Pastoral Symphony…. This one is freakingly good! And when I listened to this in the film with those pastoral scenes, I know immediately the English Horn is related to pastoral scenes like Berlioz!s usage in the Symphonies Fantastique! Henry

Hi @Atlantis_, Besides what Peter and Vince said, I think texturally the melodic line for each instruments can be distinguished more by setting them in different register! I think here the register is a bit overlapped and hence the sound is not clear enough. Adding a pdf score would definitely help our analysis. Thx for sharing! Henry

Thank you for the feedback @Thatguy v2.0 and @PeterthePapercomPoser. I was thinking of a flower collage when creating this. Notating the next segment (Correctly) is so important. Since my music theory is not up to par, I am concerned about making many mistakes.

Yes the intent was for the strings to be an accompanying role, while also having some small moments of independence, where the story being told is able to be heard through different voices, giving the imagery of multiple people uttering it. also, I agree with you on the instrument labeling. However, this video was rendered using MuseScore’s “Send to YouTube” function where their website creates the video for you and gives you a download link or the option to upload it directly to YouTube so unless I screen recorded it then edited and published it myself, that’s just the way it wants to be 😅 however at the time I didn’t have any spare time to sit and wait for it to play thru, only for my audio to do “the thing” that it likes to do at the end of the piece 🤦🏼‍♂️ so I just did it the easy way. if it’s easier for most other users as well, I’ll stick to the MP3 + pdf upload from now on lol

Okay now two people are saying it so I must be crazy 😂😂😂 also I’m glad that I was able to create something that worked both with a strings orchestra accompaniment and without that you were able to enjoy 🙂

You know, Peter mentioned that, and that is something I did in this update 😅 as it sits, listening to the playback, Personally I don’t see how much louder the right hand could be without it overpowering the left since I’m using musescore with VSTs, there isn’t any settings for velocity on each note like there would be if I were using SF3 or SF2 sound fonts. So what I did was copy/paste the piano part on a new grand staff, selected all left hand notes removed “pedal lines” from the selection filter, silenced them by unchecking “Play” in properties. Then I isolated Piano 1 and piano 2 to their own part tab, and adjusted the timbre / Reverb / Tightness in the Spitfire LABS windows, and added MuseFX EQ To the master track in muse mixer.

Thanks for your kind words, @PeterthePapercomPoser! Indeed the ostinato turning to its own "kind of melody" was one of the inspirational findings during the writing process. There was no meter changes, but ostinato does evolve as the track progresses. And this one was a very perceptive observation: While I actually can't hear it myself 😀, but it is there: I experimented with master volume in this particular moment in attempt to make the pause before the climactic hit even more dramatic. The idea was that it should not be noticeable though, so I thought I did it subtly enough to go without grabbing attention. I keep reminding myself there are people with much better ears than myself out there...

Hi @PCC! Haha yeah! But I don't think it would be rehearsed in the near future anyways haha! Yeah the beginning I am really lamenting myself with some touches of late romaniticism with those dissonance. Yeah maybe for b.30 I should. I should take note of this! And for b.170 hahaha! Look at b.569 too! I think all six players will hate me lol! I love the cello melodies myself, I always love cello and viola singing, they sing better than violin in their own respective high register! Thx for listening! Maybe you can finish the rest of the piece when you are very very very free hahahahaha! Henry

Hi @Ferrum! I love the combination of flute and bassoon plus the piano! Very nice writing for both the winds and the piano! All 3 instruments are given the chance to sing the melody and I like that! Very nice counterpoint in b.106 section! For me the modulation in b.129 is amazing! Very nice stylistic harmony and melody for me, even though I never play game hahahahaha! My fav.section is probably the Allegro Vivace in Eb major, so fresh and rhythmic there. I should have said much more but don't because like @Thatguy v2.0 I'm just listening without giving a shxt to analyze at all lol! Thx very much for sharing this unique piece! Henry

Hi @Frank R., Welcome to the forum! Just like @PeterthePapercomPoser a.k.a. PaperthePetercomPoser and @pateceramics said, this piece reminds me of Vaughn Williams, and for me also the works of our fellow member @Alex Weidmann! Also, just like Peter and Maggie said it would be great to invite some contrasts in the piece, but for a piece under 4 minutes I am satisfied enough with the contrast here personally! I also love this combination of instruments, so airy and light which fit the style of the music! I notice that it's always the flute on top of the oboe! I think sometimes the oboe can be on top of the flute as well! Thx for joining and sharing! Henry

Hey Kyle @UncleRed99, I agree with @Thatguy v2.0 for the right hand volume, it can be louder. Having listened to the orchestrated version, I love this version as well. Usually I don't like any piano transcription of orchestral pieces but this one is a piano piece in its own right. For me I think you can change the left accompaniment a bit as well for a 7 minute piece, but this one is nitpicky. Thx for your arrangement! Henry

Hi @Ben Callender, I'm not familiar with rock music at all but I like this. The glissando for the guitar is nice, as well as those jazz chords. The modulation to Eb minor in 2:40 sounds nice to me. 3:48 sounds very nice as well with the G#-A dissonance. I don't know why but the E major pentatonic ending reminds me of Vince's Orchestral Overture: Thx for sharing! Henry

I have perfect pitch and always sing la without using any solfege at all. Only until university I was forced (beneficially) to learn movable do. For me "La"ing all the notes is the best approach, using movable or fixed do disturbs me! Henry

For me, the 7th,