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Hi guys, quick post to present you the scherzo of the string quartet in A minor I composed today. Any remark, thought and critic is welcomed ! Here is also the link to the first movement :

For me his influence and feeling can be clearly heard throughout the piece. B.50 reminds me of his Waltz of flowers, the great cello melody in b.89 and the clarinet melody in b.111 is very expressive. The melody in b.215 has some Tchaikovskian sadness in it combined with his beauty like the one of the 2nd movement of his Pathetique. The ending is also very lovely. Thx for sharing! Henry Thank you so much Henry for your kind words! I'm glad you liked this little work Thank you Luis 🙂 ! What did you find surprising with these chords ?

Only 3 good answers for me : FOR SURE, this is so emotional to me. Actually, the most emotional and sad music, in my opinion, are in a major key. In solo piano pieces : I find this piece heartbreaking, like the memory of someone we just lost.

Hi everyone Here is, without any particular context, a waltz that I composed just before Christmas (as I wanted to compose a special piece with a Christmas feel in it). I already posted a waltz long time ago (lol) in 2020 I wanted to reiterate the exercise and compose another waltz in the same style. This is obviously Thaikosvky-ish, and I'm quite proud of the finished product. One of the challenge in composing it was to try to add harmonic novelties, as waltz harmonic progression tend to be quite scripted in advance. I also tried to reproduct that particular "magical" feeling that can be heard in Tchaikovsky's ballet and waltz. Feel free to criticise and say what you think of it. Camille

Hi henry, I admit that I haven't read all of the comments reviewing your piece, but I completely agree with the idea that the Beethovenian atmosphere is a success here. I don't know Beethoven well enough to probably be able to understand the subtleties (or references) associated with the style, but I enjoyed it greatly. I also didn't know you were such an accomplished performer! Here are some passages that I particularly appreciated in your piece: - The 2nd theme of 2nd subject (1:20), loved this more cantabile passage - 2:20 : I love the 3 hands effect! - 2:45 god this passage is probably my favorite of the movement. The harmonic progression as well as the more peaceful and "romantic" (in the first sense of the term) dimension of it makes it delightful. - 3: 11 : I dont know if this is wanted, but the theme reminded me of Moszkowski's E major concerto in that particular moment. I also adore the accompaniament (which sounds quite Mendelssohnian). - 3:30 : Love the texture of the RH - 5:50 : so much harmonic tension, it's dramatic - 7:25 I'm not a fan of the 3 closing chords, but I understand it totally in that context! These are my little remarks. I loved. It's totally consistent in my opinion. I do not necessarily feel legitimate in making other criticisms because for me this piece is perfectly coherent. Looking forward to hearing the next movements. Thank you Henry !

Then I also propose the first movement ! 🙂

Can I propose this ? The composition is long but the main melody occurs between 0:00 and 2:00

I'm in !

Hello! Oh did you really see some similarities with Saint-Saëns? It is true that I love this composer, his 2nd concerto and his Egyptian concerto really were huge inspirations for the first movement of this concerto 🙂 About your 2nd point: I think the piano has that particular lyrical moment in b.200. I know there are some polyrythms but the piano part in that section isn't difficult for the purpose of being showy, but simply to enrich the texture. Besides that, the piano really had some lyrical moment in the 2nd movement of the concerto. This 3rd movement is a vivace rondo, the main goal is not to be that lyric. Thank you so much ! Hi @Henry Ng Tsz Kiu!! Thank you for always taking the time to review my pieces!! - You are right about the structure. I based this movement on the last movements of Tchaikovsky's concertos, which are rarely very long. I wanted it to wrap the concerto up without tiring the listener for too long! You also right for the D Major as dominant of dominant in the beginning (I did this transition for all the movements to have a cohesion in the whole piece). - For the winds section, I asked my mother who is a flutist, and she said it may be hard to do, but it's doable. - Horns b50: this may seem weird, but at the moment of writing it, I just "heard" it. I must have heard this transition somewhere in my life in some work and unconciously memorized it. Thanks a lot for what you said about the 2nd theme, this means a lot. I intended to write a PURE romantic melody in the tradition of the early romantics. - You'll notice the the development (which is the C section of the rondo), is a rhapsody on the first theme of the concerto! 🙂 Once again, thanks for all your comments! I find myself idle now that this concerto is finished. I may begin another grand project that will take me 3 other years to complete ahah.

Hi everyone, Here is the final movement of my Piano concerto in C minor. I began composing it in the first lockdown of 2020 (!), and finally managed to end this (time-consuming) work. The final movement is a rondo. I will surely write the plan of the movement in the next hours even though it is quite clear. I use the main theme of the concerto in this movement (the one of the first movement). If you want to be familiar again with the other movements of this concerto, here are the links: Finally, here are the PDF and audio of the 3rd movement:

Hello Rich 🙂 I'm glad you liked this movement (which has been the most difficult to compose in my opinion). About the idiom, it is true that my compositions seem to draw its inspiration from mutiple composers and you may be right that the style sounds (too much?) eclectic at the end of the day. This is something I should work on. Hello @Henry Ng Tsz Kiu! About the link between the movements, you're right: this is something I love to do as it seems to give the piece a coherence in its whole (I think Mendelssohn was the first one to do it consistently in the symphonies and concertos). About the technical points: you're absolutely right in your critic and when I will rewrite the work (not today but I will definitely do it) I will rewrite the small opening of the movement to make it harmonically smoother. The Left hand in b23 onwards is also something really easy to rewrite so it will be done. However, when it comes to the Scherzando section, I really like the contrast between the glorious orchestral fortissimo followed by this humoresque section. What is correct however, is that this section seems too short and should be lengthened. Thanks a lot Henry for the consistency of your remarks and advice. I really value your opinion. I agree with you about the style thing. I consider myself too immature to begin to find my own voice, and this explains why I'm mainly inspired and immersed in the style of the ancient masters. Hi ! Thank you so much about your advice concerning the tempo marking. That was something I was not aware of, and I'm definitely going to pay attention from now on. I'm glad you liked this movement Luis. Sometimes, I like to listen to orchestral music without scores too, because it allows to move you deeply without having to pay attention to technical factors. Thank you for your honest opinon, I'm glad you like the scherzando passage !

Hi @Henry Ng Tsz Kiu, thanks for taking the time to comment ! 🙂 I can totally understand why you don't like this passage, but I really wanted the exposition to end on a scherzo-ish episode AND a perfect cadence as to say: "what has been said before is gone and inconsequential, let's forget it". But then, I literally heard a F# minor chord in my head when composing it, It seemed natural to me... maybe not for the listener 😞. This little bridge to return to the beginning of the exposition is supposed to feel a bit mysterious. What you say is pertinent in my opinion. You may feel like this episode is rushed? I wanted to include this relaxing 2nd movement in the development but it felt somehow hard to get back to the recapitulation (even though I was honestly satisfied with the little bridge I composed). I think we already talked about it, but I'm a not really found of long, endless recapitulation (this for me the most painful moment of the sonata form tbh). I got this habit from rach 2 and 3 first movements.. (mainly rach3), and find it so convenient and honestly, much enjoyable. Also yes, I wanted to get back to the tonal function thanks to the introduction. I can assure you that I will let you know about my progress, your advice and opinion are so valuable. Once again, thanks for your review! Hi Rich! You're absolutely right about the Mendelssohn part, anyone that like this (underrated) composer that much can recognize the influence in this movement. I don't know if you noticed, but I hid a quotation from a Midsummer night's dream in the development (b. 188 onwards) 🙂 I'm using the new sound library of Musescore 4! Very convincing.

Hi everyone 🙂 A month ago or something like that I posted a draft of my first string quartet. It is now finished (at least the first movement). I'd like to know your thought about it: style? themes? harmony?

For me, Mendelssohn is simply the best for scherzo. Here are my favourites:

Oh thank you for taking the time to comment this very very old work I’m not so proud of! Actually I’ve posted the 2nd movement of my C minor concerto this summer, would you mind take a quick glance at it?