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Hi all! This is the second movement of my Piano Sonata in C-sharp minor. It is set in the relative major E major to act as an (apparent) counterpart of the furious first movement. Pentatonics and Locrian scale are added in the movement, but the motive of fourth from the first movement is important here as well. Here is the Youtube video link: Here is the pdf and audio of the score: Final Draft Piano Sonata no.3 in C sharp Minor 2nd Mov.pdf Piano Sonata no.3 2nd Mov.mp3 The movement is set in a rondo form ABACA. Here is the structre of the movement: 0:00 Introduction & 1st Refrain: The Locrian scale is used capriciously at the beginning by a confused Henry right at thr start of composing the movement when he didn't know why he used it but still retained it to see what would happen. The main theme (00:23) begins in a quite beautiful pentatonic E major. I love the German Sixth used in 00:53 and I absolutely love the C-sharp minor contrasting theme, as it's beautiful but at the same time coherent by using the falling fourth motive from the beginning of the 1st movement! (Btw it is quoted in parody in my joking fugue) It then unoriginally modulates to dominant B major. 01:32 repeats the whole process apart from some embellishments. 2:34 1st Episode: The beautiful (I think) 1st episode is actually composed the second last one, only before the last refrain. It's Chopinistic here, but I think it's quite beautiful! The theme is roughly the inversion of the 1st theme. I had the inspiration of this beautiful theme when waiting in a queue in my ex-company's canteen LoL! I love the counterpoint in 03:43 as well, again using the falling fourth motive. The C-sharp minor is never solved and merely forced back to E major with a quite beautiful G sharp major transition to the 2nd Refrain. 4:29 2nd Refrain: The first theme is turned to a bell texture which I must have taken inspiration from Brahms's op.117 and Prokofiev's Sonata no.6. The serenity proves short-lived as the mood starts to become agitated and the falling fourth motive starts to attack. 5:12 2nd Episode: The Locrian scale starts to disturb and the keys start to moving all around, again in 05:30 the agitation proves itself it is not going to be covered at all, and with octatonic modulation it ends on G minor which sounds like the beginning of Chopin's 1st Ballade in 05:41. The first theme enters in 05:53 but is only a false recap as the stirring continues once again in a semitone higher in a Schubertian fashion. The first theme re-enters in 07:07, this time in C-sharp major, the global tonic major but with undercurrent underneath. F minor disturbs once again as in earlier as well as the development of the 1st movement, and the Locrian mode is finally forcefully purified to a pentatonic. I think the retransition here is slightly abrupt and forceful. 8:16 Last Refrain: First theme appears with the purified locrian scale turn to pentatonic crystal in the upper register of the piano. The contrasting theme is set in F-sharp minor this time for the E major confirmation. The C-sharp minor is not answered at all again in 09:17, and only forcefully shut up, and the piece ends in E pentatonic. At least a momentary serenity can be achieved before facing the disasterous 3rd movement. This movement starts in 2023 June right after the completion of the 1st movement, but was abandoned since I had to focus on composing the 2nd movement of my Sring Sextet. Then after a personal crisis in 2024 I had no energy at all to compose, and I hoped to use this movement to pick up my creative energy. It succeeded and the movement is quite beautiful in my opinion. I expanded the movement from a ternary one to a rondo with the addition of the 1st episode and completion of the last refrain. The movement may sound too Chopinistic and less original, but I definitely pour my heart here. I just maintain the “write-what-I-want approach” in the whole Sonata without much thinking, planning, or trying to be original. I just don’t want my emotion disturbed by the chasing of originality when expressing my feeling is my ultimate concern in the whole Sonata. The recording is played by myself. I buy a new microphone I hope the recording quality will be better and not to be roasted by @chopin anymore! Feel free to comment or critize this piece below! I will be more than happy to hear any opinion whether it's positive or negative! Hope you enjoy it! P.S. Here is the link for the YC post of the 1st movement from the same Sonata: Henry

Hi everyone, this is my new composition, Autumn Leaves. I hope you like it!

Masterful. I got nothin' to add...

Whoa Henry, Seems like I am late to the party again... But whoa, you are really beginning to develop your original style with this movement even if it is quite Chopin-influenced, a sharp contrast to the more Beethovenian first movement. The pentatonic melody in the last refrain is so magical, reminds me of those beautiful Chinese pagodas which I have yet to visit. As Peter mentioned, the repeated chords do get a little pompous at times, though you seem to be experimenting a lot both with rhythm and harmony. I do have to note that this section actually makes the leggiero sound so much better(contrast between light and heavy), so I wouldn't suggesting making any changes if this is part of your mind game. I really appreciate you incorporating more folk elements into your work, I think it will help with discovering your own voice. May I ask how many hours you practice per day? Its been so difficult to motivate myself to play piano recently; I feel like focusing solely on my future day job(if I can find one) and composing after I graduate. Look forward to hearing the 3rd and 4th movement.

The pain and suffering will be yours when you hear how out of tune a violinist attempting to play in Eb minor is. Moving it down a half step would make it sound substantially better without changing a note, and no one in the audience will know the difference. Why is making the performer work harder important to you as a composer? Who does that benefit? I would think that, if you want people to play your music, you would want to write things that sound good and are rewarding to play. Putting bowed strings in six flats is an effective strategy if your goal is to miss both targets.

Hi everyone, I’m new here! I’ve seen a few other pieces of music shared here, and it seems like the perfect place for me to join in. I’m a French student, and I’ve spent 12 years studying piano at a conservatory. Recently, I’ve started composing, and I feel confident enough about what I’ve created to share it with you. Right now, I don’t have anyone around for active listening, so I have no idea how to assess the quality of my compositions. I’d really appreciate honest feedback (whether it’s theoretical or just based on your feelings) to understand where I stand and how I can improve. I hope you will feel as much emotion listening to it as I did composing it 😀 Thank you in advance for your time and your insights! I don't know what style the song stand for.

Thanks for the heads up. also, yes Musescore 4 seems to support detuning now as well as snap pizz and harmonics.

I see no problem with the cadenza having just the solo Violin part. As long as there's some indication ahead of time for when the orchestra is about to come back in so the conductor can cue them. Edit: a closer look at the cadenza brings a different issue to mind. The implied key seems to be C# minor now and sometimes even G# minor which would necessitate some respelling of the pitches to for example Fx's instead of G naturals and B#'s instead of C naturals.

Saigai Go.pdf Sg.mp3 This is a piece that was originally Edin's Piano solo composition. With his direct approval, I wanted to give it some color, and this is what I came up with 🙂 It may be rough around the edges in terms of its grammatical correctness, as I wrote this one some months ago, as I were re-learning things in the music theory realm of things. Go easy on meh I was rusteh xD