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As implied by its title, this arrangement was based off my Crab Canon (aka. Canon Cancrizans) a 3 in C minor ( • Three-voice Crab Canon in B minor.): Since its initial publication, it has been transported one half step upwards to accomodate for the ranges of the instruments involved in this double trio, with the full realization played by the Continuo harpsichord part (which may be omitted entirely on account of the extremely wide intervals between voices in certain invertible configuartions making it rather difficult to play). Enjoy! YouTube video link:

A small piece that I recently reviewed. Maybe someone will like it.

I'm back yet again with another microtonal experiment! This time, I was inspired by @Henry Ng Tsz Kiu's recent sonata movement that he published. I thought it would be cool to try my hand at a microtonal sonata, although I myself am not entirely sure I like the result! LoL I've received the criticism that although the microtones in this are something one can get used to, they don't seem entirely necessary and might not contribute anything to the music and rendition that makes it particularly better. What do you think? I would appreciate any comments, critiques, suggestions or observations that you may have! Thanks for listening. P.S.: The piece uses 1/4th tones, 1/3rd tones and 1/6 tones. It could possibly be performed on a lumatone tuned to 53 edo which would best approximate the just 3rds and subminor 7ths I have utilized in the piece.

This piece is an exploration of how two vastly different spaces can inform each other and interact in a more indirect way. When a piece explores two textures, they’re usually interwoven with each other and provide contrasts throughout, but I was curious what would happen if I completely separated them from each other, and made one of them the result of the other. Thus, this piece resembles a becoming of a new sound-world from another, and is namely a kind of transfiguration.

A beautiful and kind music. The counterpoint is fluid... Is it what is called an aria with obligato flute?

Hey @Mooravioli! Thx for your timely review! You’re never late to review (my) piece here! I don’t know how I get the pentatonic in the last refrain. I just got it in one take when trying to finish the whole movement at December after I just resigned my freaking job. Maybe it’s my own way to escape the reality haha…. To further elaborate my response to @PeterthePapercomPoser, the repeated chords are composed under agitation, so it may sound too loud haha. I just went for it without thinking any of the consequences and found in b.87, “oh I reach G minor”, and my mind suddenly wanna twisted that passage to E major, a false recap, and twisted it once again in F minor with the whole dramatic sequence pushed up a minor 2nd. It’s just a composing adventure for me, I never intended to have the movement went like this to be honest haha! For my practicing piano, in fact I didn’t practice much until these two months after I quitted my full time job. However it’s still not long practicing session every day, as I wanna do other things as well. I lost my interest on my three piano pieces learned for an exam as well, so I played my own movement and would learn other new pieces. I didn’t play this well (of course not very well) when I graduated. I only improved my piano skills after teaching piano, weirdly without practicing piano at all. Maybe because my musical understanding improves, my piano skill improves. The 3rd movement would be the last for this Sonata. Stay tuned! Henry

Hi Pabio @Fugax Contrapunctus, I like your arrangement here. It sounds more like Bach’s Crab canon in his Musial Offering than your original version. Thx for sharing. Henry

Hey Alex, Thx for your review! It is at least easier than the other two movements haha! Yeah I will keep use this linkage of Locrian and pentatonic in the 3rd movement as well. I don’t know where I get the idea from haha. Henry

It sounds very good, very fluid, you don't even notice at first listen where the change point is. I think the dubbing between the instruments is a good decision.

Wow ... I really enjoyed your harmonic and thematic style here. It is a very individualistic statement ... and the work itself is quite moving in its lyrical tense mood. The clarinet, violin, and piano fit very well together in conveying the feelings presented. Mark

Yo Vince, Thx for your very encouraging review. 🙂 Yeah I never like forcing my originality by being original for the sake of originality. I always think that you will attain originality only if you have something original and distinctive to say, otherwise that originality is just artificially. Hopefully I can find my own voice one day, I feel very happy and grateful that you are moved by my music. Some people tell me that I”m too unrealistic a person and live in my own world. I do and probably will in my life. I can only be myself. The third movement has some passage inspired by playing your preludes, so thx for that haha! Henry

Really good writing there! My one slight criticism is that I think it would better serve your music to use a higher quality organ sound.