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Sinfonía.pdf

Thank you! I definitely agree with you on the repetition. I often times do that and its a bad habit. The song itself is actually around 3:50 however i looped it twice with a fade at the end. I will definitely make it less repetitive. Again thank you!

Hi all, Well this was a good week - my muse has spoken to me. I present here a work I just wrote this week for Oboe and Piano. As always suggestions - comments - welcome. This is the first completed version. I hope you enjoy the work which gave me great pleasure to compose. Mark

this is an album includes 8 microtonal piano pieces I composed previously, sound effects have been adjusted to be more pleasant to the ear, hope you like it! the video: 【微分音专辑】作品5 八首微分音钢琴音乐的开山之作_哔哩哔哩_bilibili

This is one of a collection of folklorical spanish song, originally composed by Garcia Lorca for singer and piano. A very short piece which is meant to be repeated with different lyrics. I will later upload the rest of the pieces.

The piece is very enjoyable indeed, and not only because of that. I do get much enjoyment when I listen to such clear examples of typical Spanish harmonic progressions. Thank you for sharing, Samuel. Kind regards, Daniel–Ømicrón.

Wow I absolutely love that Brahms Scherzo particularly the ending of the scherzo section with that passionate C minor section before resolving to a ferocious C major using phrygian cadence! Looking forward to your Brahmsian passage! Henry

Well, i thought of heading Eb major (using #III7 chord [A#7] in Fa#minor as the equivalent for Bb7) and then going to a section like brahms pianot quintet scherzo. I should take some motivs from that part too as it is sounds 'separate' from the whole piece, i'll try combining theme B and that part! Thank you for your suggestions 🙂 .

Hi @Samuel_vangogh, So you are heading to F# minor again in the development! For me I won't linger there for a long time since it's already developed in the exposition. I love the C minor portion very much. You really should instead feature the B minor, like I may change the last bar to a V7/Bm with a sequence having A#. You can also have voice exchange here. The duplet section in b.20 and the viola+cello section in b.26 can be featured here with different instrumental combination, or have them combined together as counterpoint. Also I feel like the energy is comparatively low in the movement since it's very dolce and lyrical in character. Maybe having some climactic drama here will be good as well. These suggestion are personal and hope they may work! This is a promising movement though as your lyrical style is featured here as usual! Henry

@Henry Ng Tsz Kiu I'm going to be featuring this piece in my next longform video, where I will be talking about "nuancing your works". I will keep you informed when the video is produced and uploaded. I love this piece and your playing.

Hey buddy! I think your style of composition and orchestral writing is very cinematic. Others have mentioned how episodic it is ... I think it's also very good at portraying different sorts of movie characters. I think there are portions of it that lack direction and purpose (like the part with copious piano arpeggios) and even though that part is meant as a transition it feels like it's not really going anywhere nor expositing any kind of important musical material. I am also not too crazy about the liberal use of choir - in the end it sort of fits with the "Pirates of the Caribbean" vibe that I get from that ending portion, but in many places before that I thought that the only function that the choir was serving was to give the kind of shallow impression of epicness that laymen listeners ascribe to those kinds of film tracks. You don't automatically need choir if you want your track to sound epic or sublime imo. If you wanted to expand on this piece (since I mentioned to you that it doesn't sound done and you agreed), you could go back to the very beginning material and vary it in some way (or if you already varied it - pick some of the other material in the track and vary that). The piece definitely sounds like it's jumping from one idea to another, which is fitting for a cinematic track, but not so fitting for a concert piece (so it's up to you what your goal is ofc). Thanks for sharing!

G'day, It is very hard to judge a piece without an MP3 but I'll try my best to go off the score your provided. First things first, as Henry has pointed out, the Dynamics are quite weirdly placed. The Fortississimo's above the declerendo could quite easily confuse a performer, and at times seem contradictory to what you seem to be intending. Also the dims over crescendos are very contradictory, and must be removed. Secondly, the weird zig-zag lines and pedal marks? underneath the line are NOT symbols that appear in Violin music, unless you've got a specific technique in mind that you have chosen to depict. I'm also going to ask about the second time repeat on the first page which is very out of place with not a repeat bar line or first time repeat in sight. Lastly, a lot of what you written seems impossible or insanely difficult to play based on what I can see. There are some massive intervalic leaps and falls in quick succession which would require constant shifting up and down the neck and string crossing, which combined with your dynamic markings, would be a massive challenge to play. This piece needs a lot of work, but I hope my feedback can help you improve it. Nga Mihi, Arjuna

It looks interesting and modern but as Henry says there are problems with the score. He's mentioned a couple. At the outset you have a diminuendo against a crescendo hairpin; the very first note (double stop) is a 1/32 (demisemiquaver) note with a pause above it. How long is the pause supposed to last? Why is the tempo not given above bar 1? You put in 80 over bar 2 which is confusing as bar 1 is marked allegro moderato Is every note to be played detaché? What are those zigzag lines beneath the staff in bar 12? (I've never come across that.) What do the horizontal brackets beneath the staves mean? If these are signs uniquely for how to play your piece it's best to devote some space to explain them in text. Lastly, some of the tie-ing needs looking at to make it easier to read. Like Henry, I'd welcome an audio file.