Piano Sonata no.3 in C-sharp Minor, Second Movement, Andante molto cantabile

Hi all! This is the second movement of my Piano Sonata in C-sharp minor. It is set in the relative major E major to act as an (apparent) counterpart of the furious first movement. Pentatonics and Locrian scale are added in the movement, but the motive of fourth from the first movement is important here as well.

Here is the Youtube video link:

Here is the pdf and audio of the score:

Final Draft Piano Sonata no.3 in C sharp Minor 2nd Mov.pdf

The movement is set in a rondo form ABACA. Here is the structre of the movement:

0:00 Introduction & 1st Refrain:

The Locrian scale is used capriciously at the beginning by a confused Henry right at thr start of composing the movement when he didn't know why he used it but still retained it to see what would happen. The main theme (00:23) begins in a quite beautiful pentatonic E major. I love the German Sixth used in 00:53 and I absolutely love the C-sharp minor contrasting theme, as it's beautiful but at the same time coherent by using the falling fourth motive from the beginning of the 1st movement! (Btw it is quoted in parody in my joking fugue) It then unoriginally modulates to dominant B major. 01:32 repeats the whole process apart from some embellishments.

2:34 1st Episode:

The beautiful (I think) 1st episode is actually composed the second last one, only before the last refrain. It's Chopinistic here, but I think it's quite beautiful! The theme is roughly the inversion of the 1st theme. I had the inspiration of this beautiful theme when waiting in a queue in my ex-company's canteen LoL! I love the counterpoint in 03:43 as well, again using the falling fourth motive. The C-sharp minor is never solved and merely forced back to E major with a quite beautiful G sharp major transition to the 2nd Refrain.

4:29 2nd Refrain:

The first theme is turned to a bell texture which I must have taken inspiration from Brahms's op.117 and Prokofiev's Sonata no.6. The serenity proves short-lived as the mood starts to become agitated and the falling fourth motive starts to attack.

5:12 2nd Episode:

The Locrian scale starts to disturb and the keys start to moving all around, again in 05:30 the agitation proves itself it is not going to be covered at all, and with octatonic modulation it ends on G minor which sounds like the beginning of Chopin's 1st Ballade in 05:41. The first theme enters in 05:53 but is only a false recap as the stirring continues once again in a semitone higher in a Schubertian fashion. The first theme re-enters in 07:07, this time in C-sharp major, the global tonic major but with undercurrent underneath. F minor disturbs once again as in earlier as well as the development of the 1st movement, and the Locrian mode is finally forcefully purified to a pentatonic. I think the retransition here is slightly abrupt and forceful.

8:16 Last Refrain:

First theme appears with the purified locrian scale turn to pentatonic crystal in the upper register of the piano. The contrasting theme is set in F-sharp minor this time for the E major confirmation. The C-sharp minor is not answered at all again in 09:17, and only forcefully shut up, and the piece ends in E pentatonic. At least a momentary serenity can be achieved before facing the disasterous 3rd movement.

This movement starts in 2023 June right after the completion of the 1st movement, but was abandoned since I had to focus on composing the 2nd movement of my Sring Sextet. Then after a personal crisis in 2024 I had no energy at all to compose, and I hoped to use this movement to pick up my creative energy. It succeeded and the movement is quite beautiful in my opinion. I expanded the movement from a ternary one to a rondo with the addition of the 1st episode and completion of the last refrain. The movement may sound too Chopinistic and less original, but I definitely pour my heart here. I just maintain the “write-what-I-want approach” in the whole Sonata without much thinking, planning, or trying to be original. I just don’t want my emotion disturbed by the chasing of originality when expressing my feeling is my ultimate concern in the whole Sonata.

The recording is played by myself. I buy a new microphone I hope the recording quality will be better and not to be roasted by @chopin anymore! Feel free to comment or critize this piece below! I will be more than happy to hear any opinion whether it's positive or negative!

Hope you enjoy it!

P.S. Here is the link for the YC post of the 1st movement from the same Sonata:

Henry

Hi @Henry Ng Tsz Kiu!

I know you've been working on this movement for a while so I'm glad that you've finally finished it!  I am a bit surprised by the isolated Locrian opening (that almost sounds like some kind of chess opening LoL).  The dark Locrian opening is immediately followed by the E major pentatonic ascending figure which is a very bright sound.  The juxtaposition of these two dark and bright figures really doesn't mesh well for me.  And as far as I can tell, the Locrian scale never comes back in any other part of the movement.  Also, the parts immediately before the "ritenuto" markings in the score for me sound overly thick and chaotic (m. 86, 98).

But what I really really enjoyed about this movement is when the melody imitates itself canonically and you somehow managed to play both the melody and it's canonic imitation in the same hand!  (m. 56 - 59)  Also, why did you omit the melody for a few beats in bar 126?  It seems empty with just the high pentatonic flourishes in the right hand!  I also like how you end the piece by extending the pentatonic figures out through progressive rhythmic diminution.  The combination of the pentatonic figures with the melody being played in the same hand in m. 69 - 72 is also a very cool idea and creative combination!  Thanks for sharing this virtuosic movement!

Henry, you've really changed the way I view the pentatonic scale. The structure of this piece is insanely organized, and right off the bat, we know this piece is playable! Let's break down some sections:

• Your intro, is fun, and stands out from your entire piece. This is equivalent to Chopin's intro to his 4th Ballade. I love it!
• The opening after the intro has a beautiful Chopin-like melody. This style reminds me a little of his waltzes, but in 4/4 time instead of 3/4. How did you manage to do that? 😅
• Love 2:40, where you introduce some key changing, then we get into your secondary melody. This is perhaps one of my favorite parts of your composition. There's just so much feeling and excellent chord changing going on here.
• 3:40, I hear the counterpoint you are talking about. Well done!
• 6:10, is another favorite of mine, as this seems to be a recap of your secondary theme? And I love how you go through a series of subtle key changes here in a matter of seconds.
• 8:35, I anticipated you finishing the melody in the left hand on the next bar, but you didn't. This is an excellent anticipatory move, and very clever 😍.

I listened to this about 3 or 4 times so that I could give you a proper review. There's just so much to learn from this composition and performance. One thing is for sure though...this sonata teaches the importance of structure, which I think a lot of new composers forget about. I would definitely recommend others to listen to this piece, not only for the fun melodies, but also for the key changing techniques and well organized nature of this sonata.

idk, bars 76-112 seems intimidating and you have to do it in one continuous motion

though bars 69-75 is technically more musically difficult imo

your slow movements are miles ahead of mine lol... and to actually play it

17 hours ago, Henry Ng Tsz Kiu said:

The movement may sound too Chopinistic and less original, but I definitely pour my heart here. I just maintain the “write-what-I-want approach” in the whole Sonata without much thinking, planning, or trying to be original. I just don’t want my emotion disturbed by the chasing of originality when expressing my feeling is my ultimate concern in the whole Sonata.

Originality will continue to seep through your music if you have this approach. Sure, we've all looked at works from the past as a framework, even the masters have done that. But writing what you want without outside interference from the world I think is the goal we all should have. It's WHAT will make your music individual and uniquely you, since no one can tell your story other than yourself. I think you've succeeded in that. You've embraced your heritage and culture with your knowledge and learning, and if you continue that my friend, you'll find that you'll think of what or who your music sounds like less and less. You'll continue to focus on you and your goals with music, and by happenstance if there are similarities with another's work (which I guess is inevitable), it's by mere coincidence and not even a big deal.

I listened to this several times, not because I wanted to craft the right response and get every little detail right, but because I enjoyed it. I enjoyed it the same way I would enjoy a Beethoven sonata or Chopin nocturne. I just like them. Even though I've heard their music hundreds of times by now, I still always come back because of the enjoyment. And your 3rd sonata is no different. I even re-listened to the first movement to better grasp the story you were telling, and I forgot how much I enjoyed that piece too. The power and passion in it is dripping with fire, and the somber and sweetness, equally as passionate, of the second movement is a delicious balance. 

This movement was stuck in my head last night, the themes are just so simple and beautiful they found their way into my thoughts. There were so many moments that I loved. The Locrian intro into pentatonics, the syncopated falling next motif, the organization of craftsmanship in developing, the clever balance of technicality and simplicity, the gorgeous way you ended it, I could go on and on. To top it all off, you labored hours of preparation to present your music in the highest way: a wonderful performance by the composer. 

There were barely any moments I didn't like. Maybe it got convoluted and heavy in spots I wouldn't have done, but that's what makes this your music, not mine. This is a lovely piece, angelic and ethereal at times, that have inspired my future music as a new reference for me to check back on. I love that you poured your heart out in this, and oh how it shows. Your heart yearns, and I heard it in this piece. The world doesn't deserve how good of a man you are and to all of us, yet you still give us more music to enjoy. Well done Henry, this sonata as a whole is a favorite of mine from you, I can't wait to hear how you end this. 🙂 

Really nice work, Henry.

Hey again @Henry Ng Tsz Kiu!

After further listening and consideration I have decided to review your piece again since I seem to have missed so much in my 1st review!  LoL

First, I really appreciate now how you've modified the rondo form to your own purposes by varying the main theme each time it comes back, never repeating it twice in the same way to sustain musical interest.  In a way it's like a variations and rondo form hybrid.  Also, the ending is really brilliant by showing the unity between the pentatonic figures and the main theme, exemplifying that the pentatonic figures actually emerge from the main theme.  Also, I was wrong in my first review to not notice that you do in fact bring back the Locrian figures in m. 113 - 115.  And you immediately follow them up with the pentatonic figures mirroring the introduction.  I do wonder if those Locrian figures are related to some other part of the sonata or if they have any other kind of special significance or reason for their occurrence.  Once again, thanks for sharing this very coherent and unified piece!

idk why, I see the your 2nd episode as just a development of the refrain of part A', I see your movement more in a tenary ABA' form

ok sure let me give you some feedback since it seems you gave the impression its all praises for you lol

bar 18/34 (either or/and), would you consider changing the low e-sharp to c-sharp so the last quaver of this bar has a complete triad?

I guess the second refrain does sound a bit random with all the running notes and stuff, but it could also be a playback and *** ahem I'm not qualified to say this***  skill issue, like I said the 2nd refrain the melody is hidden in between the voices it's hard to bring it out.

6 minutes ago, PCC said:

ok sure let me give you some feedback since it seems you gave the impression its all praises for you lol

Meh Chinese New Year is coming and I will treat all praises and criticisms as my New Year’s auspicious congratulations 🤪! I’m just reading Jane Eyre so I didn’t and couldn’t reply anything!!

Personally, I like the Chopinism of this movement Henry. (If that's even a word!)

Also prefer it to the other movements, mainly because I can actually play this one! (Due to the slower tempo.)

That said, the runs are quite challenging for me (as a very rusty pianist).

I wonder why you see the pentatonic as purified Locrian? Seems like an original and interesting idea!

Ofcourse Locrian is notoriously difficult to write in, since the tonic triad is a diminished 7th, and therefore sounds unresolved. 

Whoa Henry,

Seems like I am late to the party again... But whoa, you are really beginning to develop your original style with this movement even if it is quite Chopin-influenced, a sharp contrast to the more Beethovenian first movement. The pentatonic melody in the last refrain is so magical, reminds me of those beautiful Chinese pagodas which I have yet to visit. As Peter mentioned, the repeated chords do get a little pompous at times, though you seem to be experimenting a lot both with rhythm and harmony. I do have to note that this section actually makes the leggiero sound so much better(contrast between light and heavy), so I wouldn't suggesting making any changes if this is part of your mind game. I really appreciate you incorporating more folk elements into your work, I think it will help with discovering your own voice. 

May I ask how many hours you practice per day? Its been so difficult to motivate myself to play piano recently; I feel like focusing solely on my future day job(if I can find one) and composing after I graduate.

Look forward to hearing the 3rd and 4th movement.  

Masterful. I got nothin' to add... 

Hello Henry

This is an impressive composition and I really enjoyed that you performed it yourself. This is quite demanding but you managed very well to play it. I listened to it several times and will try to give you my impressions.

This work is coherent and well structured, with the primary melody present in most of the piece. But I think that it is often a bit heavy, particularly the part after the second melody. The thick repetitive structure of chords (in bar 86 and 98) as well as many of the fast running arpeggio´s can work OK, but attract too much attention, and obscure rather than enhance the melody awareness.  I would try to avoid too many of such embellishments, unless they have a very clear purpose (I should not really say this because I make this kind of mistake too often myself).

A very beautiful part starts from bar 39 (typically Chopin-type style).Also the music in bar 56-59 is very good - great work! In bar 60-63, I can unmistakably identify your personal style.

 After a rather complex narrative, there are nice resolutions in bar 89 (and also in 101), and a pleasant and clear return to the primary melody ( but things remain still a bit heavy).

The sudden interruption of the melody line after bar 126 evoked a bit of a question. I did not quite understand the idea.  And the arpeggiated chords in 129-130 were too “thick” for my taste.

The start of a Coda in 138 is nice and should perhaps be noted as tenuto (at least this is the way you seem to play it, and I like it).

In the ending of bar 142, I would prefer a simplification, by just using the top E, instead of the diads in the groups of 4 notes (and everything played pp). The overlay repetitive pentatonic style is not my cup of tea, but OK, this is just me. It is more a question of personal taste. When looking at the score, I found some other (minor) things which I would do differently:

1)    In bar 4 of the preamble, I would replace the half note (C-sharp) and the E (with the fermata), with three quavers:  C sharp – E and F-sharp, (played slower of course and adjusted with an appropriate metre) . I think it would provide a nicer transition to the subsequent start of the melody.

2)    The augmentation from the B to a C in bar 8 (and also bar 16) in the l.h.chords seems unnecessary to me.  It detracts the attention on the melody In the case of bar 12, the situation is quite the opposite. Here, the augmentation is excellent! 

3)    In bar 14 (and also bar 30), the last two quaver chords in the l.h.are a bit jarring for me.

4)    In bar 26, I would change the last r.h. diad to a triad: (F-sharp – A – B). It provides a better transition to the next E-major chord.

I did not have time to look at the more complex part of the score , but I hope that my ideas make some sense.

Alltogether, I must say that you did an admirable job!   

Hey guys, thank you so much for all the responses! I feel so grateful for them! I am currently celebrating Chinese New Year and playing Mahjong all day and trying to finish Jane Eyre, so I can only reply one by one in probably a few day’s time!!

Henry

Hey Peter,

Thx for your two valuable reviews!

On 1/26/2025 at 10:20 AM, PeterthePapercomPoser said:

  I am a bit surprised by the isolated Locrian opening (that almost sounds like some kind of chess opening LoL).  The dark Locrian opening is immediately followed by the E major pentatonic ascending figure which is a very bright sound.  The juxtaposition of these two dark and bright figures really doesn't mesh well for me.  And as far as I can tell, the Locrian scale never comes back in any other part of the movement. 

On 1/27/2025 at 1:43 PM, PeterthePapercomPoser said:

Also, I was wrong in my first review to not notice that you do in fact bring back the Locrian figures in m. 113 - 115.  And you immediately follow them up with the pentatonic figures mirroring the introduction.  I do wonder if those Locrian figures are related to some other part of the sonata or if they have any other kind of special significance or reason for their occurrence. 

Yeah maybe the contrast of brightness is what I want there. I myself am quite confused at using the Locrian scale to open the movement at the first place, but I still keep it to see what will happen next, and like @Mooravioli said I did want to try some new scales after a rather monotonous first movement.

The Locrian scale would be again used nihilistically in the third movement. The Locrian scale followed by the pentatonics would be used again the coda of the entire sonata, so stay tuned!

On 1/26/2025 at 10:20 AM, PeterthePapercomPoser said:

Also, the parts immediately before the "ritenuto" markings in the score for me sound overly thick and chaotic

Yeah I deliberately try to be chaotic in that two spots, and I think it succeeds if not too chaotic! There I try to use the Locrian figure in the left hand to make it more chaotic!

On 1/26/2025 at 10:20 AM, PeterthePapercomPoser said:

Also, why did you omit the melody for a few beats in bar 126?  It seems empty with just the high pentatonic flourishes in the right hand!

Yeah it’s intentional. It’s like I as the sufferer want to take a deep breath and just listen to my mind of an imaginary idealistic world of pentatonics, hence forgetting to tell my own tales and omit the melody. I myself find the moment rather poetic to be honest hahahahaha!

On 1/26/2025 at 10:20 AM, PeterthePapercomPoser said:

But what I really really enjoyed about this movement is when the melody imitates itself canonically and you somehow managed to play both the melody and it's canonic imitation in the same hand!  (m. 56 - 59)

Yup I like this passage very much. I must have been inspired by Chopin’s 4th Ballade with the counterpoint.

On 1/27/2025 at 1:43 PM, PeterthePapercomPoser said:

First, I really appreciate now how you've modified the rondo form to your own purposes by varying the main theme each time it comes back, never repeating it twice in the same way to sustain musical interest.  In a way it's like a variations and rondo form hybrid. 

Yeah I also try to avoid exact repetition except it”s necessary to do so. I myself find the exact repetition in a lot of the recapitulation of a sonata or reprise of a rondo boring, so I avoid doing that myself. I always think a sense of development and progress is important as the piece goes on, and varying the main theme would be a way to develop the piece. As in here, the main theme here is more and more involved with the pentatonics, hence for me it’s like the sad me more and more in touch with the idealistically peaceful world as Vince @Thatguy v2.0 had noted.

On 1/27/2025 at 1:43 PM, PeterthePapercomPoser said:

Also, the ending is really brilliant by showing the unity between the pentatonic figures and the main theme, exemplifying that the pentatonic figures actually emerge from the main theme.

On 1/26/2025 at 10:20 AM, PeterthePapercomPoser said:

also like how you end the piece by extending the pentatonic figures out through progressive rhythmic diminution.

Yup the main theme is basically just a pentatonic scale, so I make use of it and make a scale like variation of it as an accompaniment as well. The rhythmic diminution must be adapted by my playing of Beethoven’s op.111 and Brahms. I know it has to flourish at the end, so I just diminish the value progressively to make it more natural!

Thx for your reviews!

Henry

On 1/27/2025 at 10:14 AM, AngelCityOutlaw said:

Really nice work, Henry.

Thx so much Chris!

Henry