Henry Ng Tsz Kiu

Hey Vince, It’s a long time since I review anything so here’s the first one! (I’m still going on with the hiatus though since I’m revising my Clarinet Quintet, listening orchestral music and will write the Orchestral Variations on Peter’s theme tho.) I like how you combine the dreamy dissonance with counterpoint technique here. I love b.3 of the subjects as it’s already containing two voices in a line and it kinds of reminds me the sighing motive of the Kyrie subject of Bach’s Mass in B minor. Motivically you make use of all the motives from the subject for coherence and economy in episodes which of course come from Bach! My favourite spot of the piece comes in the D flat major passage, it definitely is your voice there, I love your harmony! Also, only by analysing in order to play your fugue did I notice a sneaky quasi subject augmentation in b.28 so I bring it out myself. I also love the ending myself, as it’s in F sharp minor which sadness kinds of reminds me my own F sharp minor fugue in the Sextet =.= I don’t follow all the pedals and dynamic instruction you tediously write, sorry for that 🤪, for example I add pedals in b.33 to make it more dreamy, b. 29 I probably played forte instead of mp since I thought I fell the passion there, etc. Only one thing I would suggest on the scoring is that, I would use the same beam direction for a voice especially for subject entry. For example I would use an upward beam for the first F# in b.5 to indicate the subject, and turns the A and G# into a downward beam. In b.14 I would turn the D downward and C# upward, since it is the C# that’s in the subject, not D. But these are just nitpickies. It’s fun to play this, and thx for sharing this! Henry

Never heard of Twinmelody! Henry

Do we have to pay to know the ending this time? 🤑😜

It's Organum tho lol! The only term makes me laugh is "Contemporary Music" lol.

My String SEXtet must make you laugh lol Henry

You should be our ambassador for gif badges haha.

Reading the title of this thread I have a few seconds of terror that you're leaving the forum, thank God you don't! Congrats on your works being used in films! Henry

I am shocked that you said you are not an orchestration expert! You definitely are an expert for me with your ochestral works posted here! Henry

@chopin haha

I had this doubt long time ago for tying around 16 times or so and all lost lol.... Later just figure out the seniority rule myself haha Henry

I really love the new feature of showing the views of a pdf file. Also the vintage brown color is back! Really love it. Henry

We already have "Counterpoint Wizard" badge for it! I myself receive it twice lol! We have the badge "Amorous Romanticist" for it, though no one ever receives the badge lol! What is featured in an outstanding Prokofiev writing lol? Only @Thatguy v2.0 himself can be better than himself until Thatguy vUlimited.0 lol Henry

Hi @MrBelegro! Welcome to the forum! For the Outstanding Orchestrator badge, you may look into pieces below which are awarded the badge for your reference: For the "Better than Thatguy" badge, actually it's named so because one of our moderator's username is @Thatguy v2.0, so you may check out his works to see if you are better than him or not lol! Henry

I'm on a trip lol

Just wanna disturb the great discussion between you and @muchen_, but just one observation looking the opening bar in your piece: in Bach's inventions either with long subject both voices begin at the beginning, or with short subject usually the other voice join after a bar or so. The opening sounds more like a fugue to me. I think the 4# would work well if you modulate to C major for the answer, but you return to F major in the answer so it sounds a bit weird to me. I think he's talking about the {C, C} in b.6 and then the {Bb, D} follows, which causes some ambigous harmonic progression to me as well since a bare C can indeed imply a V, altho I think you are going for an implied I 6/4 here. for the D minor entrancr in b.8, you will prepare it better with C# before it. Henry