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Here is a Minuet, which I recently composed. Apart from a classical style, there are also some elements of Nordic folk music. I would be very interested to find out what you think of it.

Hi, this is my first advanced piano solo composition . Would love some feedback. Thank you.

Yea I think it’s quite hard to write a Piano Trio! I started a Piano Trio years ago but remained a draft… It’s the same as yours as it!s in C minor too! It’s such a masterpiece! The third movement is in E major since Brahms originally wanna write in C sharp minor instead of C minor for the Quartet, but later found the key difficult to write so he changed it to C minor. But there’s a passage in the 3rd movement where he modulates to C minor (another abrupt modulation which is the topic in @chopin latest video!) which kinds of remind audience the tonic key of the whole piece. Maybe B major is easier to read? They are more like enharmonic keys. Also string players tend to prefer sharp keys than flat keys. My Sextet in Gb major which has six flats will be hated by string players LoL! I really love the b.138-146 passage, but I agree that the modulation from Cb major to G major is a bit abrupt. I think it’s more in Gb major there. you can first modulate Gb major to b minor as dominant relation first, and then from b minor to G major which will be smoother! Actually I don’t think you overkill it and I think it’s very nice! Schubert uses a lot of major-minor contrast in his pieces and I think here the reintroduction of C minor makes the C major more beautiful through contrast. I remember in Schubert D899 no.1 codetta he did exactly the same thing! That piece is in C minor too! Thx for the update! Henry

@Henry Ng Tsz Kiu! Always a joy to read you, and yes, long time and in fact too long. I hope it was good busy but I also hope you'll have more time to be around 🙂 Thank you, of course means a lot... it's my first time to try and write a trio with piano, and I hear what you are saying. I tried to keep things balanced and I'm very glad to hear that you think it's OK! Thank you so much Henry! SO, I tried to incorporate your observations. First, I think you meants to write Brahms third piano quartet, right? I do not know that piece (I've listened to the first two movements yesterday in the car, and I started the third.. so lyrical, so wonderful!!). Question: Why do you think he modulates from eb min to B maj instead of Cb maj? I guess to make the "abrupt" modulation to G a bit less abrupt at least in terms of notation? or am I missing something? Anywho, I tried to do something like that. I loved it because before going back to c min I had the violin mention the secondary theme, but it felt lonely and kinda "hanging" since I only had two measures (what now is b. 135-137). Having more space now (b. 138-146) I let the cello continue the second theme phrase before moving to c minor. The Cb maj -> G maj is perhaps a bit too abrupt so I tried to mellow it putting the d in the bass, but perhaps it's not enough? Regardless, I think it sounds much better now than it did without the longer modulation, but ofc I think so since I wrote it 🙂 Second, I like the "serene" ending in C major, but I hear your point about the two modes struggling. So... I changed the mode of the end of transition to minor (b. 221-231), and then it felt natural to let the secondary theme come back in the piano in c minor as well. When the theme then goes to the violin, it opens up to C major, but the brief part in which the cello sings has a bit of a chiaroscuro in minor as well (b. 258). Of the final codette, I turned one in minor as well (overkill now?). I think the contrast of modalities enlivens the piece, Thank you! Finally, the piano difficult parts... yeah, it looks playable but difficult. I'll show a pianist friend and see what she has to say. I too think it's playable but it might be time consuming to learn. I might have a chance to have this performed, so I don't want to be an a-hole to the pianist 🙂 I've tried to simplify it but it didn't work so far... I'll keep trying.

I notoriously prefer outer movements…..but i think my favorite scherzos is probably bruckner 7. Interesting because Bruckner is otherwise often times a very ponderous, plodding composer. but i remember the first time i heard it, the big augmented chord really hit. it manages to have energy and pace but be sort of noble simultaneously. I also think Bruckner 4 is a great scherzo, the quartal moments with the horns really adds to the vibe.

Hi @Guardian25, I really like the quartile chords you use, this make the piece having a slight refreshing mint flavour in its tragic mood. The melody is very lovely and I like the mood. It’s simple but it’s touching. I think you don’t have to add the “4” above all the semiquavers! Also, given how expressive the cello melody is, you should add more slurs for it ( and for the piano)!! For b.29 and b.42 onwards I think it will be quite difficult for the cello to sustain the octave for so long a time! Thx for sharing! Henry

I never care how the composers die since what matters most is how they leave their masterpieces to us! I only mourn that Bach didn't finish his Die Kunst Der Fuge, Mozart his Requiem, Beethoven his chant like works, Mahler his 10th...... For me the best composer's death would be to know that you have written great masterpieces and render yourself strive for that and utilize all of your potential.... Then you will have no regret to leave the world since yoi have fulfill your essence as a human being and composer, and this for me would be the best death for a composer! Henry