Henry Ng Tsz Kiu

Still need you guys’ and gals’ opinion! Henry

Hi @Willibald! I just check out the 4th movement and it’s a lively nice rondo, I like your B minor episode inviting some contrast. Thx for your update! Henry

Hi @Cafebabe, I like the recurring March like turn figure in your prelude, it reminds of the D major fugue in WTC I. For the fugue, nice Dido and Aeneas like subject. If you are writing in Baroque style, usually the 3rd entry of the subject (in b.73) will be in tonic G minor instead of dominant D minor. I agree with @Willibald that there can be more appearances of the fugue subject, and to me especially there should be more appearances of the subject in the tonic G minor! Good counterpoint throughout though. Thx for sharing! Henry

Hi @mercurypickles! For the first movement even without reading your description (I haven’t) it sounds so Brahmsian with the 2 against 3 and the Brahmsian Scherzo section, as well as the thick and more contrapuntal texture. It can well be a Clarinet Sonata if the saxophone is played with a Clarinet! (I’m thinking of Brahms’s 2 late Clarinet sonatas.) I really like the Scherzo sections with its energy. For the 2nd movement again both Schumannesque and Brahmsian, and b.28 even reminds me of Chopin’s Polonaise Fantasy where he has a similar figuration. The 3rd movement is exciting and I love the complex rhythm as you say the most. For me both fugues are more rhythmic than contrapuntal because there’s at a least a voice playing the ostinato instead of individual voices, but that doesn’t undermine it given how complex the rhythm is! Thx for sharing! Henry

Hi @Kvothe! The waltz is fine and I think you can add a contrasting section to it, probably in a major key or something. Also the false relation in b.12 sounds a bit harsh in this context to me. Thx for sharing! Henry

Hi @Crescent Roulade! Just a personal preference but I will put it in Db major for a calmer atmosphere. One thing to consider is that, if you really want to use flute as the solo instrument, the G major one contains notes lower than the middle C and won't be playable by the flute (not even an alto flute with the F#3). Henry

They do, you can play Microsoft Minesweeper on it!

It's common when someone has no words to object they claim the opposing arguments have no sense at all 🫢😏

Hi @Kvothe! I check the score and it only has p.3 with just one staff of score. I will check this out once you update the score to the full version! Henry

Hi @pateceramics! I really like how you use different mood and word painting for different lyrics. The A minor section in b.13 really depicts the agitation to “protest” with short and accented tone, and then the next section you use long slurs to depict the “unspooling thread fine legs”. Next section is like a declamation. And then next section you really “beat” your beat with staccato and accents, and then “relaxes” with longer notes, and ends with longer note value too. Thx for sharing! Henry

Hi @mossy84! I personally find this a really successful attempt to try a sonata allegro and keep the opening motive present in almost every part of the movement. I agree with you that the movement fits more as the Scherzo movement (lots of Scherzo movements are in Sonata form tho). I really enjoy the harmonic progression in the piece which keeps surprising me. In the 2nd subject you start with C major and then modulate to C minor in b.34, which is common in Baroque sonatas, and I think you will do the normal practice by returning to C major again afterwards. But no you modulate a semitone upward and ends the exposition in C sharp minor! That's a real surprise to me. But with the exposition repeat isn't weird at all. You do the same for the recapitulation, first moves to G sharp minor and then returning to tonic A minor, very clever and surprising to do so. The modulation in development section is really colorful and you move as far as to F sharp major and soothingly returns to A minor. Thx for sharing! Henry

Is that the bad Musecore violin soundfont lol?

Hi @Fruit hunter! The whole piece has wonderful changes of orchestral timbre fitting for each dances. I like how you use B as the tonic for different modes, then E and then A and lastly D as the fundamental note, under the circle of 5th. The whole piece thus becomes a whole bazaar of different cultural dances with fully apt harmony, scale, rhythm, color etc for each dance, but the main theme of the repeated notes is easily recognizable. Thx for sharing! Henry

Hi @Willibald! I like the jovial mood for the 1st and 3rd mov minuets. Maybe you can end the Sonata with a Rondeau? Henry

Hey Chris! This one sounds really cool! I have never listened to the original song but after listening it, I have to say your version is better! How come a Rock God song lacking rock elements in it! Thx for sharing!! Henry