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hello user011235(Darachmiad I believe), Thank you for your kind words, glad you found a few things unique about it. These are actually conceived as a set, but maintain distinct personalities from each other. I was planning on unifying the work a bit more, but am also happy with the final product.

Do not lose hope, ever. You're too young and talented, and there may be days where hope is the only thing you have to cling onto. Your music is inspirational, and thank you for sharing here where others can learn from your depth of knowledge and prowess as a composer. I truly hope the best for you, as all I can do for you is to hope too. Good luck my friend, I hope to hear more from you at some point. -Vince

After a short Hiatus : Presenting ... hahahahhahahaa alright dude this legit made me belly laugh out loud. I can't figure you out, I don't know your intentions, don't know if you're a troll, don't know if you're just trying to fit in, don't know if there's a cultural barrier, but that was funny. Well done sir Cool music, but maybe give us a little on what the motive or inspiration is, or some specifics with the compositional process. We'd love to hear, and many here are eager to learn from others.

After a short Hiatus : Presenting an | Easter Sunday Matinee | Dramatic Performance.

Nice work, which I forgot to listen to. For this type of work I like the harpsichord sound better. The initial theme or subject is quite “catchy”. I think the second theme comes in at measure 32? I was pleasantly surprised by the “cadenza arpeggiata”, I think it also has a role of a more rested section. And it sounds chromatic. When talking about Double Fugue, I understand that there are two subjects. I suppose you can work by exposing them separately, or sequentially. Is it also possible to then overlay one on top of the other? Best regards.

Hello Luis, Thank you for your reply, as always. You are right, there are a lot of strange techniques and chord spacings in a few of the pieces. Perhaps, the pieces are more appropriate to intermediate learners. I am also glad you mentioned the idea of musicality; since I don't specify too many articulation and dynamic markings, that will be up to the pianists to decipher.

I think everything's already been here regarding their suitability for children, but these still make up a nice little trio of pieces and i think they definitely represent a unique voice for yourself! Do you see them as a suite of sorts or are they separate as far as you're concerned?

Kia Ora Henry, This is unbelievably beautiful! As I mentioned to you on discord, parts of this piece remind me heavily of the second movement of your 3rd Sonata (Y'know, the one that sounds like "random music"). The section from bar 35 is probably the part that to me is the most reminiscent of that piece. Definitely my favourite of this set so far, though maybe my mind will be changed after laughing hysterically at the 'Joke' whenever you post it. Ngā mihi, Arjuna

Nice work as always, this motif especially gets me

Hey @Henry Ng Tsz Kiu! Nice image! It does also remind me of the very sweet-leaning Debussy piano pieces like the Arabasque's. Also Debussy's Petite Suite for orchestra is another early work of his with this same kind of sweetness. I've noticed some mistakes, either in the score or the performance. In bar 49 you play a low Eb - in the score it's an Ab. Also, in bar 54 your score shows a C bass note, but you play an Eb. That kinda confuses me as to your intent harmonically, especially in the latter case. I have to say my favorite parts of the piece are when you combine two ideas into a single figuration like at bar 19 - 20 where the right hand simultaneously plays the chords from the beginning while playing the pentatonic melody. Actually, there are many places throughout the piece where the right and left hand imitate each other and 8th note apart which is a very cool contrapuntal effect. Another cool spot is bars 55 - 58 where the left hand has the melody proper while the right hand plays canonic imitation a half note apart. Very cool idea there. Thanks for sharing this sweet, relaxing piano piece!

You CAN do it....... 1 step at a time Imagine yourself playing this on the Grand-Piano, in a Massive Concert Hall Center stage with the Orchestra all Around you...........They would gently play softly, ACCORDINGLY to the notes you played. It may take time..........But you have the power to create.

@FILMSCORE I don't know... When I've tried to orchestrate something I've done for the piano..., I almost never get to the end. I prefer, if it's for orchestra, to do it thinking about it from the beginning. But well, it can be a challenge...

You could take this one step further, by orchestrating strings,and soft-horns,and cello bass, BEHIND the Piano solo.............. to create a Beautifull Ensemble.

@FILMSCORE Ah yes. Although everything is generated with a virtual instrument, I try to take care as much as I can of the dynamics, rubato, etc... Thank you.

Well yes ofcourse.........But it was all created by YOU, including the song too It wasn't a Re-Creation .......its an ORIGINAL.

Thanks, but it's not human execution, it's all with software.

Very Beautifully played..............with no mistakes.

Hello, how are you? I hope you are well in this Easter period (wherever it is celebrated). In my country there are many holidays, so a little time to do things. Back to the music... After delving a few months into the compositional resources of Chopin, I have decided to go into a composer that I find more difficult, to see if I learn something: Brahms. Attending only to solo piano music, I have read, analyzed, and above all listened to, many pieces. I have tried to write something, much simpler, incorporating some of its characteristics as for example: -Melodies mainly by continuous degrees. -Several melodic planes (with internal melodies). -All conglomerated in counterpoint as a base. -Wide arpeggios -Harmonization in thirds / sixths. -Polyrhythm and use of hemiola. -Harmonic sequences based on conduction of voices (measures 11 - 16). -Omnibus progression (measures 25 - 29). Etc. I do not try to imitate Brahms, it would be impossible for me to reach 10% of his level. Only to include his resources in the music.

Hello All three pieces are very good and beautiful. What I have no idea is if they are suitable for children? I guess it will depend on the age and level. There are big chords and a lot of chromaticism. I also think the expressive level required is quite high.

Oooh I like that pedal tone on bar 9 onwards with neopolitan chords above it, heck I think this whole piece has this really nice neopolitan feel to it. Y'know, the 1st theme and the 2nd theme being G and A-flat. And I love that really recycled romantic theme from bar 35 onwards (legit gave me feelings fr). It really does contrast well with the impressionistic and lush bars before it. Not to mention the freaking modulation in bar 33 and 34 from G to A-flat. I like to interpret the quartal E-flat as to mark the impressionistic part and the sliding to E flat dominant 7, which resolves in A-flat, suggesting a traditional V-I, as to mark a more romantic approach on the proceeding bars. I like the high register counter point on bar 55 to 58 too. A nice variation to contrast the previous bars. Additionally, I like that you reference the beginning part at end the piece and then just hangs the final chord on a dominant 7 with the tonic bass to really punch in the end. Overall, this piece feels really broad and wide, and I love ittt. Thanks for sharing!!!

A lot of juicy abrupt key changing here! And like @Luis Hernández said, this definitely reminds me of Debussy. And too bad you couldn't get this out when I did a short video on arpeggiated chords 🤪. But beautifully notated and great performance btw! Also, I didn't realize the pentatonic scale could be so beautiful and romantic. I suppose it has to do with how it's used.

Hello Great music! The impressionistic mood is very well noted. Some things lead to Debussy like setting a Tonic with pedal on low notes or the “la cathédrale engloutie” style chords. But also those continuous arpeggios remind me of some of Henry Cowell's techniques (although he did it inside the piano). It's a harp-like effect. The fourth harmonies here sometimes lead to unexpected harmonic cadences and I quite like that.

The Image in G major is the third piece of the four piano pieces I wrote for relaxation after writing the very heavy String Sextet. I try to do something a bit different than the previous two pieces, as I actively use more quartal chords and pentatonics in the whole piece, and also invite a bit of impressionistic chords. This is my personal favourite of the set. Here is the score and YT video: (Final) Image in G major.pdf Like the previous pieces, this one also comes from recycled materials. It comes from an unfinished Piano Suite I composed in 2016 Jan, but only with fragments of it including the first few bars, b.35-38 LH melody and some parts of b.58-72. Don’t know why I went for pentatonics that long ago LoL! One thing to note: b.43-46 is probably inspired by @Fugax Contrapunctus Pabio’s mention of Joe Hisaishi in his review of my Sextet, plus my recent listening experience of his music while watching Miyazaki’s films. Hope you enjoy this small piece! Henry

made the cadenza part just now

This software is used for Radio-Broadcasts, where High & Low levels are more Even, with less "Drop-Out" It seems to be the standard these days, regardless of the original composers intention. https://bswusa.com/orban-optimod-5950-hd2/ A Visual Representation comparison.