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Hi everyone! I've decided to post another old work here. The Piano Sonata no.2 in A-flat major (2015) is composed right after the completion of the first Piano Sonata in A major, Pastoral. It's a work in five movements and I will say it's the quickest composition ever for me since I finish the 1st draft of the first three movements within a week and the whole piece within three weeks. For me this is a free flowing one after the strictly cohesive first Piano Sonata, and honestly I love this one more since it displays more real emotions here. The style overall is still very Beethovanian and I am sorry Vince! I choose to post the 2nd movement first because I am really happy to make a fairly good recording in 18th February and I really want to post this even without having a good recording for the 1st movement first. For me this Sonata is not that motivically cohesive as my other pieces is, so the order is not really too crucial here. The 2nd movement itself acts as a counterpart to the serene and motivational first movement with its fiery denial power to the beauty of the previous movement (you will get it when I post the first movement!). I take the inspiration from the finale of Chopin's 2nd Piano Sonata since I am always fascinated by how Chopin wrote with two unison lines and produced such excitement and fury. I also use Sonata form for this diminutive movement as I want to experiment using it within a small time span as in Chopin's movement: 00:00 (b.1) 1st Subject, Exposition, in c minor 00:16 (b. 21) 2nd Subject, Exposition, in f minor 00:27 (b.35) Development 00:47 (b.61) 1st Subject, Recapitulation, in c minor 00:54 (b.70) 2nd Subject, Recapitulation, in c minor 01:11 (b.93): Coda, based on the motive in the first movement (yet to be posted). That D flat minor surprise, muahaha, is to prepare the Fourth movement which is in C sharp minor, my favourite movement of the piece. I also take much inspiration from the first movement of Beethoven's op.111 since it's one of my favourite Beethoven Piano Sonata. I even quote exactly in b.85! (From b.25 of that movement) The overall planning of the movements will be disclosed after the completion of this post, and I will keep practicing those movements (as well as the movements of the First Piano Sonata), so stay tuned! Here is the pdf score and the mp3: Piano Sonata no.2 Second mov.pdf Piano Sonata no.2 2nd mov.mp3 Here is the youtube video if you are interested! P.S Thanks Vince for suggesting me to upload the movement first! P.P.S my favourite recording of Beethoven's op.111 is by Igor Levit since he's a god especially playing late Beethoven sonatas: Hope you enjoy the music and the day!! Henry

@Thatguy v2.0 I love this piece, and it's perfect to use in storytelling. I may even use this again if I decide to make another video that is similar to this style. If you are interested in business, come watch my podcast explaining why I am running Music Jotter with my own personal finances.

If you have never written in sonata form before, write something that is in sonata form but relatively simple, like Clementi op 36 no 1 first. That probably should not take you too long if you are already familiar with forms like binary and ternary forms. Listening to pieces with sonata form also helps, but it's not just sonatas but also chamber music and symphonies, but you most likely already know that. In fact my obsession with the sonata form really was from my teen years when I start getting into playing sonatas and symphonies. Unfortunately I have no orchestration concepts so I am not of help in that department. I disagree with counterpoint not being fun. I will demonstrate it to you... is what I would say if I don't have skill issue needing to practice my own pieces. stay tuned I guess though. Also why is CAS still a thing in IBDP 😕 ...

Henry this is the coolest thing i heard this week Sounds super epic tbh

Thanks! I usually don't go over the pieces I write. I don't mind if they are short. Your insights are good, but I prefer to write a new work from scratch with those ideas...

Hi! This is my first orchestral piece, so it's probably not very good. I'd like to hear some feedback for it, though!

It's a good entry into the game! You seem to have very good orchestral ideas. However, I would allow myself some reservations about your harmonic progressions. Sometimes a static nothing. Sometimes on the contrary, to abrupt sequences. The harmonic journey remains a little too local for my taste, but the effects are well realized however. Precisely, these dramatic effects of orchestration that are tremolos, or crescendo climax climbs, are the springboards you can use to bring us to very unexpected, very crazy, very daring things that we miss here a little. If you stay on too standardized sequences, it is imperative to check the forced movements. But it's very encouraging, because you seem to have an innate orchestral intuition.