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Four Chinese Poems by Poet Wong Kin Kwok

Classical/Song • 2008 • Lyricist: Kin Kwok Wong

Four Chinese Poems by Poet Wong Kin Kwok

7.00 USD

PDF, 6.06 Mb ID: SM-000067116 Upload date: 10 May 2011
Piano, Tenor
Scored for
Solo, Accompanying piano
Type of score
Piano-vocal score
Man-Ching Donald Yu
English, Chinese
Tomorrow expresses the poet’s hopefulness and he attempts to forget about the past and he is optimistic what would be happening in the future. The piano introduces the perfect fifth musical gestures at the beginning of the piece. The harmonic languages are modal and tonal in character while blending with pentatonic elements. Pitch permutations occur throughout the rest of the piece while transposing several pitches of a C Dorian scale.

Creation expresses the sorrow of the poet as he believes that one can never avoid the fate of confronting death and thus in our life time, we should do what we want to achieve for avoiding any regrets in our life. In the piece, the flowing melodic ideas in the piano part blends with the vocal part in an expressive manner and the piece is delineated by several pitch centers. The harmonic language of the piece is “pandiatonic” as tonal materials do not follow traditional practice.

Praying is a lyrical poem expressing the poet’s sorrow for the departure of his beloved. He can only pray for his suffering as well as the safety of his beloved. The scenario takes place in a silent night where he can barely hear any voices and sounds. The music begins with a simple introduction which sets the mood of the whole piece. The vocal melodic idea of the piece is actually derived and developed from the motivic fragment of the opening introduction. Yet the harmonic language of the music is diatonic, however it does not follow the functional traditional practice of the diatonic sense. In the piece, modal elements and pandiatonicism are involved.

The Shadow of Dream describes the poet recalled his memories in the past when he wandered nearby a beautiful beach during a charming sunset. The music begins with a concise and rather diatonic introduction. The piano part is pointllistic in character and the harmonic language of the piece becomes even more chromatic at the middle section where octatonic segments are employed. Moreover, permutation of pitches occurs during the course of the piece and the music returns to diatonic at the end.
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