All Activity

Entry: Alishan Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 10 10 10 10 10 7 10 10 Average Score: 9.6 Review: Score Presentation: There were no engraving errors with the given score. Instrumentation, Playability: Strings players need time to change between pizz and arco. The double stops in b 58 is not playable! The quadable stop is better mark pizz. The arco 16th notes could be played better as pizz? Execution: This piece exceeding expectations of challenge. Taste: I appreciate the composer understanding 20th century harmonic language within this composition. It is refreshing to hear modern classical music like this! I would hear piece like this! Creativity, Originality: Alishan was highly creative and original. Harmony and texture: The high sense of chromaticism is what makes this piece truly interesting. Strcuture: This is a tough one to nail down. I think the best way to describe to it is:ABA (I think). Motives: There are well crafted motives and themes through out the piece.

Hello Henry Ng Tsz Kiu, These minor seconds—or dissonances—are intentional; they serve as an emotional "sigh" effect and are meant to give the sound a melancholic quality. In measure 5, we have E and C, with a B above them. It is a Cmaj7 chord missing its fifth. A similar dynamic occurs in measure 18, where the friction between G and G# happens rapidly, creating that "sigh" effect once again. Whether or not it was successful is, of course, another matter. The reason it sounds so poor here is due to this MIDI recording; unfortunately, I do not play the piano myself. Think of it this way: if you separate a small child (the B) from its mother (the C) and take it to an unloved aunt (the A), the child feels a deep longing for its mother. That is what we are hearing. Try playing C-E-G-A-A, followed by D-F-B-A-A. When you reach the B, you will see exactly what I mean. However, some of the errors you noted here—such as the time signatures and rests—are merely formatting issues. Thank you for your helpful suggestions (translated via Google Translate.)

Thank you @Wieland Handke for the compliment. We are here to build each other up. That is why I ensure to continue to review as a member update their works here.

Thank you. But I don’t think we should take the reviews all that seriously. They’re mostly just opinions, and I, for one, don’t feel qualified to ‘judge’ anything. But I do think any feedback can be useful.

When I was looking at my submission thread today I was excited to see more than expected replies – after the reviews were coming in somewhat slowly in the last few days. The more I was surprised when I realized that a “battle” or a “rodeo” had broken out over my post! So I must first state the following disclaimer: I did not create the user D.V.Vanin to troll my own thread in order to have more replies, but however, thank you @D.V.Vanin for producing that amount of attention to my piece, LoL! 😉 Thanks to @Henry Ng Tsz Kiu and @PeterthePapercomPoser for wielding the sharp sword of forum etiquette to defend me against negative comments. But I must make it clear that I don’t take these personally or seriously. I’ve just seen, that D.V.Vanin has posted some short pieces to compare his compositions with mine. I will – after doing my work reviewing the submissions to the competition – give him feedback with a „counter review“ - in the way as I usually do: seriously, honestly and kindly. And thank you to all the „serious“ reviewers so far, @Kvothe , @Luis Hernández and @chopin for their reviews, I will come back to them later, individually.

First Movement Guitar Quartet-Rock Guitar Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight

My Submission for the "Landscapes - Soundscapes" competition

Dear all, This is a short piece inspired by my trip last year with my girlfriend on a winter trip to Alishan at Taiwan, and we were visiting it in the afternoon. The photo is taken at the entrance of the Alishan visitor's zone. It is a place of high mountains with tall, spiritual trees, among which we travel with light railways and walked through the bridges. Being from a city with concretes, this jungle is particularly peaceful and you can always find the beauty of nature there. I have always been eager to write a piece as a diary of my visits, and it is a completely good time (the competition) for me to write one. Hope you all like it! HoYin Alishan for Flute Quintet.pdf

Jealousy : Is when you want someone to STOP what there doing Envy : is when you want to DO what there doing

That's sounds like an envy

First Movement Guitar Quartet-Rock Guitar Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight 🤣

Hello This is a piece I really like and find fascinating. The composition is superb, and the way you break up the sections with what sound like interjections is really appealing. It’s also fantastic to see the techniques you use in the strings. The quotation from the hymn is brilliant. Just like Ives used to do.

Thanks Henry! So glad you like it 😀 Will definitely try your suggestion: it's a great idea. The other two movements are going to be very challenging to orchestrate, especially the third. I've already started on it, and it's a real beast!

Brotha Henry, I've been meaning to comment on this movement for a while, I apologize for the delay. This first movement is full of evocative and memorable themes, which intertwine as the piece progresses. In fact, I found myself humming the beginning "expressivo" theme during work. Your compositional method, including counterpoint and motivic development, reminds me of Brahms but I can see you are adding in your own "random pauses" to the mix. I would be careful these pauses don't interrupt the works organic flow, such as 6:45, which I found a tad out of style. However, I thought 6:55 flowed really well, so the contrast does it's job. Lots of imaginative figurations in the strings, all the while, maintaining support for the clarinet line. Nevertheless, this is definitely one of the darker pieces I've heard, I hope you are in a much better state now, Henry. If this is Yin, then I believe your sextet must be Yang.

I would like the"Nature is wild". please

Oh You want feedback on your MUSIC ?.....................I would start with the Science of a Melody.............that will help you make MUSIC https://www.science.org/doi/10.1126/sciadv.adk0010

Dear Henry, Thank you very much for your kind words. I’m delighted that you enjoyed it. Haha, regarding your handwriting, what matters is that it is genuine and authentic. After all, Beethoven was never famous for the beauty of his manuscript scores, yet even from his handwriting one can perceive the uniqueness of his personality and the genius that he was. Best regards, Vasilis

thank you so much for your comment! may u tell me in what ways can i do better?

What about my music, man. I don't need you lecturing me about what melody is or not.

One of the most Famous Melody's in the world Baroque Concerto.mp3 Baroque Concerto.pdf Baroque Concerto.mid

Thanks for listening to the piece. I really appreciate it!

Thx Vasilis, I am happy you enjoy it! Henry

Hi @Petr Kopuletý ! I quite enjoy the piece and I think both instruments match well. The piece to me sounds progressively more dissonant (from a more pentatonic to a more dissonant harmony) and oboe and harp more passionate (and harder to play) towards the end. Thx for sharing! Henry

Hi @Alex Weidmann ! I really enjoy your arrangement here, especially on how you create sparse atmosphere with flutes and harp (which is also your favourite style). The Strings passage in b.16 sounds amazing and I absolutely love the parallel 5ths there to create the hollow and ethereal effect. Yup i really agree with you here, two trumpets may sound a bit too loud to me especially when the strings are up high in the sky playing that etheral melody! The weaker power of horn conversely becomes an advantage since it acts more like an overtone of trombone there, just like what you do in the strings section when the 2nd violin as overtone is sandwiched between the 1st violin and viola. Given how you pair up an English horn with flute in b.30, would you also pair up a clarinet with flute in b.32, and drop it in b.34? Thx for sharing this wonderful arrangement! Henry

Hello No. My intention from the start was to help review the entries, not to submit one myself. Best regards.