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Any key can work on the violin in the hands of a professional, but it is best to use keys that make use of the open strings, or keys based around the open strings (the major/minors of G,D,A,E).

This is intended to be the second part of the second movement of my String Sextet in G flat major, after the part of Lamentoso. These two parts are very different from the more fleeing and transcendental first movement as I hope they capture the sadness of the time and what I feel, before leaping back to the world of the pentatonics later, which would make the pentatonics more grounded. Here is the first movement of the piece: Here is the first part of the second movement of the piece, the Lamentoso, which is actually finished after this fugue: Here are the scores, the original version and a version with my own (painful) analysis on it: Final Fugue from String Sextet movement 2.pdf(With Analysis) Final Fugue from String Sextet movement 2.pdf And here is the youtube video: The piece is dedicated to Mr. Johnson Ho. The finishing of the fugue is prompted by hearing his worsening health, so I really want him to stay healthy. The inspiration of the fugue first comes from my friend Mike @chopin and my mentor David (I am very honoured to name him my mentor even though we have never met in real life since his videos form the skeleton of my composing skill. Go watch his analysis videos NOW!) said that the middle fugato section from the first movement is the best part of the movement. I was shocked since I believed it was the worst of the movement! Then my bro Vince @Thatguy v2.0 (who also makes this perfect audio) inspired me to write a dense fugue for the second movement, and so I challenged myself to write a six part fugue, since I feel like it’s not fully realised in the first movement. This is he most difficult I have ever written, but finishing it I now consider it my most beautiful work composed up to date. It’s so emotionally deep, even weirdly I feel zero emotion during the composition process, only calculating the counterpoint haha. I am so satisfied with the result. The fugue comprises of three subjects, all from the 1st movement. The 1st and 2nd subjects are from the 1st movement fugue’s subject, while the 3rd subject is derived from the opening theme of the Sextet’s first movement. Here is the plan of the movement (time according to youtube video): First part (00:03): First subject enters in each instruments, inversion introduced at . All of sudden C minor enters (01:55) and I quote my subject of the C minor Clarinet Quintet 3rd movement fugue here to intensify the sadness. Also kind of replying to the relationship of G flat major and C major in the first movement, but while freedom is shared there, now sadness is shared. Second Part (02:12): Second subject enters and the section features a saturation of stretti. The C minor section (03:56) comes in at and it’s my favourite section of the whole fugue. It’s insanely tragically beautiful here. Third Part: Third subject enters (04:58), first and second subjects combine in the manner of the 1st movement fugato. The intensity is kind of lowered after that insanely tragic C minor section, maybe kind of accepting and reflecting upon it, and it’s less saturated with the subjects. However things starting to get intensified, first the third subject is treated as in Bach’s Chorale Preludes when it is cut up and divided to four phrases alongside the other two subjects (06:29). The only pentatonic entry (07:16) arrives to kind of relate itself to the first movement and hints what will come at the end, but at the meantime it’s defeated by disappointment and the fugue ends in a doubtful manner, which will lead to the chant section. Hopefully I would finish the whole movement as soon as possible! Hope you enjoy the fugue now! Henry

This is my first duet, I made it to play with my friend. Let me know what you liked and what needs work. 25_12 2.mp3 25_12 2.mp3

Hi @Aw Ke Shen, I think this is definitely a waltz. I think it’s pop since it uses the circle of fifth falling bass, but honestly it’s the pop learning from the classical music. Schumann uses a lot of it. And pop and waltz are certainly not mutually exclusive right? There can be a pop waltz. It can add more variety to make it less pop, since pop loves to use tonic minor major modulation and maybe you can modulate to other keys and vary the melody more. Thx for sharing. Henry

can we make this giant 6 6a youngcomposers in-joke 6

When younger, the talented and beautiful Mrs. White was first cello for the Philharmonic Orchestra of “Dildo” Newfoundland, Canada. At that time she also was Dick Boneman’s mistress and then unofficial wife while she was enjoying luxury and … lust with this rich man. Once she got older, she was removed from the cello section first chair and as Dick Boneman’s mistress/unofficial wife because she was no longer that great with her bow and fingering technique making her G string to resonate badly and not as appealing as it was years ago. She then became housekeeper in a sumptuous Tudor Mansion for more than 30 years until found suspect behind the murder of Dr. Black. Fortunately for her, she was not convicted. However, all the accumulated frustrations has put a storm in her mind. Since Dick Boneman has now disappeared, could she be Dick Boneman’s murderer. But where is Dick Boneman's body annyway? “This story is a work of fiction. Any similarity to actual persons, living or dead, or actual events, is purely coincidental.” Music & Production: Syrel Photography: Syrel (1985) Musical Note: Cello played by Natalia Sonuscorova

It depends on what you're doing. How much theory background do you have? I would get familiar with all your major and minor scales, it'll really help. You spell chords with sharps or flats depending on the scale, and the letters of the scale ALWAYS go in order. So in A major, you would NOT have A B Db D E F# G# A. See how I skipped the letter C? We don't want to do that. Now if you're talking about using chromaticism, or going to non-chord tones, or whatever else, what you say is true. You want to use flats going down, and sharps going up. HOWEVER, this is not the case with what I pointed out. Chord tones are different, and we'd want to revert back to our scales. This isn't always the case, but it's where I'd start out if I were you so you can keep track of what you're doing. Later on, you might use the Db depending on what the other notes around it are doing. Sure there are outlying examples of this that might be contradictory or confusing, but if you stick with this and practice that, the rest will begin to make more sense. My guess is you were viewing your music horizontally, but not vertically. Always watch to see what kind of harmony your melody is intertwined with to avoid clashes and such. 👍 I'm not a string player myself, but I would rather have the music sound more like I want it to than to fear slurring wrong. I'd write your slurs, and if they're wrong, hey, you get to learn how to do them better from feedback or critique. The forum-god @chopin just made a video about slurs, you would probably find this useful. Especially check out the music by some dude named "Vince" on the video, he's my favorite.

I started composing right after the last exam of my primary education. I started learning piano and joining band at around 13, 2 years bf this exam, when I here and there had the desire and inspiration to compose, but never manifested them. I started off with drawing those fives lines on paper as a substitute for actual printed " manuscripts ". This was partially becos I did not know how to get a proper manuscript paper and also cos I wanted this endeavor to be secret. Later on, I got tired of it and wanted to get actual manuscripts to write on, using the excuse of writing music notes. Eventually I had known how and where to get them myself. Those are v cheap and simple music manuscript notebooks, which are A5 sized. Then as I had written more and more, I began buying the A4 sized notebooks and small stacks of spare manuscript papers for drafts and/or movability. I have only used pencil and eraser, and no pen and what nots. Thus began three years of composing on paper... bf my years of musical stagnation due to academics and an ironic revival of my music composing in software in govt service, which gna end soon. This is elaborated in this other thread - I still have the very draft of the very first piece - which is so difficult to finalize due to confusing timing and key and deciding on both the time signature and key till today. I still wanna re-create that piece becos it sounds rly interesting and adventurous. Hope I'll be able to do so asap! These first few pieces were kinda all like that- weird, almost atonal, kinda without a fixed time signature, before me more or less settling down on more disciplined, but also more rigid, grounds. And yes, I haven't even decided on their titles lol... So yes, I still remember those pieces, but this still has been really relatable: Thanks for the sharing and discussion!

Hello @Derek Pintozzi, Welcome to the forum! I love that it has expressive melody and some interesting harmony like the augmented A-C#-F chord. I love your constant use of augmented chords throughout the piece. I really love viola playing melody which gives me mellow feeling. In around 1:40 I like you try viola’s higher range! I love its high register. In 2:30 you go for piu Mosso with some good contrast of tempo and texture. The structure is appropriate with the climax at the end. What I think you can work on is that you put all the melodic significance to the viola and the piano receives almost no melody! For me as a chamber work the interaction between players is important, and having one instrument sticking to one role makes the piece less varied. But still I enjoy this melancholic piece! Thx for joining us sharing your music here! Henry