Henry Ng Tsz Kiu

It's easy---just pay me $100000000000000 and that's it! Speaking of the piece Arjuna, we had already talked some of the details on it. I definitely see your progress and just keep going! I like playing it. Henry

Hey Luis, This one is very enjoyable to listen to, I’m to the point of almost listening this soothing music! It seems simple with the texture but the harmonic colour is nice. I’m in an opposite approach as I never think of any theory when composing. Maybe one day I should write a Schenkerian joke when the Ursatz 3-2-1 looks ordinary but it’s in a totally different in 99% of time. Thx for sharing! Henry

No I have to disagree with this! They can be harsh sounding but beautiful if used with purpose. English Renaissance composers like Willams Byrd used them beautifully. For me, I use tons of those minor seconds which includes false relation in my 6 voice fugue: Also I haven't heard the definition of the latter as cross relation! Great topic! Henry

Hello @Solans, Welcome to the forum! The theme sounds very cool. There are varieties in the timbre later on. I think you can add more varieties on the melody and harmony of the piece, since the harmonic progression is more or less the same in each of the variations. For a 11 minute piece may be that would be a bit predictable. The harmony can be more chromatic and dissonant, instead of using always those consonant chords! There can be modulations as well, instead of staying in the region if C minor/Eb major. The melody can also varied with more non harmonic tones and notes outside the C minor/Eb major scale. Also between each variations there is a pause which for me disturbs the flow of music. Maybe it’s more related to the program you write? Thx for joining and sharing your music! Henry

Hi @Aled Edwards, Sorry I have missed this but it sounds soothing. I love the intro with only accompaniment going before having the melody. I like the chord in 0:53 which is a French sixth in a close position (Gb, Ab, C, D right?). I am less a fan of the next sentence with the whole tone scale, but I like the modulation after it, and with the pentatonic scale involved. 2:14 sounds very jazzy, and you went from the tritone A major to Eb major with just one effective chord. The piece indeed sounds moody and Ali enjoy it. The ending on a Ab7 is lovely. Thx for sharing! Henry

Hi @JorgeDavid, For me it works since I conceive the piece rather in a ternary structure with the first and last 8 bars as the A section, B section in between. The V/iv followed by a I sounds archaic to me which fits the English mood along with the false relations. I’m just a bit off for the ending chord of b.10 and 12 since they end on a second inversion chord, which seems less in the style. Thx for sharing this nice little minuet! Henry

Wow that’s why you sing this well! Yeah it’s the same for me. When I finish a piece or one big part I always need time to recharge myself before going back to writing, which is the case for me now. When I finish that Lamentoso part in my Sextet plus facing some challenges in my life I had zero energy to compose at all, not until recently I started to pick up my composer’s pen to write anything. That’s why I could never be a composer rely on his compositions, since I could never write good pieces quickly… Excited for that! Henry

Hi @Krisp Papa Jean, Sorry for my very late reply. I wanna reply at the moment you posted it but I didn’t’t have the energy then. I have nothing to add to Peter’s wonderful musical memory, gmm’s comment on orchestral colour when he’s a great symphonist or Manuel’s notice of motive. I am just here to share my awe in your always wonderful orchestral colour and narrative power. Thx for sharing your wonderful music!! Henry

Hi @Elad_Hevron, It’s a nice little classical rondo! I remember the form of the Turkish March is ABCBABCoda? 😜 Thx for sharing! Henry

Hi @Gabriel Carlisle, For me it sounds effective and good! For me it is exciting! Only all the Bb should be written as A#. I think you do! Henry

Hello @Lean, Welcome to the forum! For me, why not just have a string trio for the fugue? A violin, viola (or second violin) and cello would be good enough. Henry

Hi @Jqh73o, A very late reply. I enjoy very much on the mysterious mood you created and harmony you used. I would be very curious to know how the theme would be integrated to a sonata form! It’s nice to see a huge plan like Liszt’s B minor Sonata. Let’s see how to execute it! Henry

Hello @Elad_Hevron, Welcome to the forum!! The Sinfonia is very much like an opening movement of a concerto gross or orchestral suite. I love its driving rhythm. It would be great to see the movement modulate to other key areas other than the tonic minor and it’s relative major! I think it will begin with the full choir of a first movement of a cantata and the instrumental sinfonia is a surprise for me. The first aria sounds very baroque with the singing and instrumental interlude back and forth. I think even though it’s for alto, the melody can go to upper register in climactic passages. For the recitative I’m more used to one with harpsichord and continuo 🤪, and I think the meter can be in unmeasured time signature to imitate the spoken nature of a recitative! I like your melisma in the second Aria. Again I would love the second sinfonia to be a chorale, but I love this more than the first sinfonia! It’s more fluent and virtuosic here and you explore more keys here, for example the tonic major. For the second recitative I feel like it’s more like a third aria! I usually love recitativo secco rather than recitativo accompagnato. The ending aria sounds nice in relative major key. But I would want an ending chorale as well! It must have taken a lot of effort to write an 18 minute cantata, congrats on this! Despite what I’ve said above, it’s quite an achievement to write this! P.S. It’s very nice to see you commenting on other members’ pieces; keep going!! Thx for joining us and sharing your work here! Henry

Hello @kraka, Welcome to the forum! I am not particular good at percussion nor percussion writing myself. But I have some questions to ask: You have two timpanis, but are you sure the tone of the timapnis can changes quick enough for those note change? I don't think one player can play this. Unless he plays the tambourine with his feet? I don't know. Henry

Hi @Alex Weidmann, Congrats on the live performance of your work! A live performance always sounds amazing. I think even though this one is in jazz harmony, your influence still takes hold of the music. I like how effective the music is. My favourite part is b.69 till the end when you introduce quasi tonic minor chords before getting back to tonic major. Thx for sharing! Henry