expert21

Beautiful!

Hey Gabriel, Nice work on this short minuet, it sounds quite good. A few suggestions: For that final cadence I think it would've been better to use a V7 chord instead of a regular dominant chord. The dominant seventh chord contains what is known as the tonal tritone between the third and the flattened seventh which has a dissonant sound to it, but has a more satisfying resolution when it resolves to the tonic chord. I think you could've use a few more dynamic contrasts between the phrases to make them stand out. Overall, good work and I hope to see and hear more from you. Nga Mihi, Arjuna

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).

Good day Henry, I hope you are well. Wow, this is a great piece, both tragic and beautiful at the same time. I especially love the second part of the fugue and the C minor section that you say is your favourite. I'm very impressed by the fact that you have written a fugue for 6 voices, something I could only dream of doing. Not only have you managed to write a fugue for six voices, but have filled it with honest, raw and beautiful emotion and clothed it in tragedy. All I can say is, in the words of Robert Schuman: Hats off, gentlemen, a genius! Nga Mihi, Arjuna

In Guitar playing, there are two ways to play slurs; Hammer-ons and pull-offs. You can also play slurred notes using slides, but that would be using glissando which would probably not come Hammer-ons are, as the name suggests, when you sharply bring a fretting-hand finger down on to the fingerboard behind a fret, causing a note to sound, you "hammer on" to the fret. Pull-offs are when you pluck or "pull" the finger that is grasping the sounding part of a string off the fretboard. They are the opposite of the hammer-on. Examples: Pull-offs; The opening bars of Francisco Tárrega's mazurka "Adelita": Hammer-ons: (contains both techniques but hammer-ons are more prominent): The opening of the theme in my own "Variations on an Old Kiwi Christmas Song": Both Techniques; The opening of Fernando Sor's Minuet No.1 from 2 Themes and 12 Minuets Op.22: Though most slurs in guitar music imply whether they are to played as a hammer-on or pull-off, in more modern guitar notation ( the way the slur is to be played is usually directly stated:

Hi, Can you post a score please? It's much easier to review a piece with a score thanks.

Wassup Henry, I hope your doing well. Firstly, I just want to say that this recording is much better than the one you sent me earlier, the bass is far less muddy and the treble is somewhat clearer (from what I can hear). Also, good job on playing your own pieces. This seems very difficult, you must be a great pianist. With regards to the music, I think this is near perfection. My favourite is probably the development, it sounds like Autumn leaves falling down to me. Like Mike, I think this sounds like a modern Beethoven with touches of Chopin in the pianistic sections, but overall I'm hearing Henry Ng rather than those two. Henry, I think that you should at least try to get this performed, or at least teach it to your piano students when they reach the level, the way the old master (Chopin, Liszt etc.) taught their students their own compositions. It's up to you in the end, but this piece is definitely something I'd want to learn if I was a pianiast. Anyways, lovely piece, hope to hear the other movements soon! Ciao, Arjuna

I was 11, and had some weird TV Show in my head called Demon Hunters. We were learning to play Pirates of the Caribbean in Orchestra so I decided to try and write a theme song for the show. I don't remember what it sounded like, but I listened to it a couple years ago and even though it was about 2 bars in length, it was rubbish. There were a few improv things I did earlier than that, but I dont consider them compositions.

Kia Ora Henry, I hope your well. Just a few words Holy s*ht, that's stormy. Nga Mihi Arjuna

Hello Henry, I hope your doing well when you (eventually) read this comment! Firstly, I'd like to say that this is a very wonderful piece, and you should really think of it more highly. My favourite passage was that from b.96 to 103 with that cool as chromatic passage. There's not much else I can add, but thank you for dropping this piece! Kind regards, Arjuna

Good time of day Jean, Wow, this once again a really good setting of a really good poem. I really love your voice too. With regards the music itself, the use of dissonance is lovely, and definitely gives the piece a very autumnal feel. Well done on another great art song, I hope to hear more from you in the future. Nga Mihi, Arjuna

Good day Ivan, I really enjoyed both of these preludes, they were very atmospheric and made great use of the piano. Both these peices reminded me of @luderart's soliquoies and Vince@Thatguy v2.0's Prelude No.11. Good job. Kind regards, Arjuna

Hey, Thanks to everyone that replied! Here's an updated version of the score with some revisions. Regards, Arjuna

There isn't a 'limit' on difficulty for non-soloists, you can make it as difficult as you see fit for the music. However, for something like a concerto I'd tone down the difficulty for the non-soloist instruments in order to ensure the spotlight is on the soloist alone.

Hey Luis, Thanks for your review! You would be correct in thinking that my intention in b.21 onwards was for the violin to takeover the melody. I have taken your advice, as I concur that the violin sounds muffled, and have fiddled with the dynamics. Yours, Arjuna