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Tchaikovsky IMPORTATION TEST into system1.....................Not sure what to make of it. https://www.kunstderfuge.com/tchaikovsky.htm tchaikovsky_nutcracker_suite_sugarplum_71a_3_(c)kirschbaum.pdftchaikovsky_nutcracker_suite_sugarplum_71a_3_(c)kirschbaum.midTchaikovsky IMPORTATION TEST into system1.mp3

Yes a Decade ago........... i found this by accident under the... tag# "ATONAL" you state that this is NOT a formula.................what a shame, i saw it as an "Unbreakable-CODE" ................that could be deciphered I presumed the Horizontal first line reading, was the first 4 notes............ played in Octaves B-Gb-F-A = Atonal Chord ATONAL CHORD MATRIX.mp3

Hello It’s been a long time since then… about 10 years! You see, back then I was in the midst of exploring post-tonal languages. I have to say that to compose with any degree of discernment in any system, you have to study it thoroughly. This was, like many other things from that era, an example of seeing what might come out of these twelve-tone matrices. I say this because many people believe that dodecaphonism and systems of this kind are like ‘formulas’ for making music, and that is not the case at all. Composers of this period expressed, never better said (the Expressionist movement), what they felt and translated it into this music which is by no means created at random. Trying to answer your question... Here I simply tried to follow the rules of Schönberg’s system once it had been developed: that is, all 12 notes must be played before they are played again, so that there is no tonal hierarchy. With that, you can combine the series sequentially, simultaneously, vertically, or in whatever combinations you like. At the time, I chose those combinations in an attempt to make it sound the way it does.

Hi! Today i'd like to share with you a small part of bigger work. It's intended to be romanticism styled. I know about variety of instruments used in this epoque and here are just strings, but at this moment, is it good? Harmony is clear, or unnecessarily complicated? Is there's too much/lack of tension? And how about double basses used as independed voice - little bit too risky? Better to keep violoncellos divisi and left them this voice? Or change double bass to bass clarinet? Originally i wrote on grand staff for piano, melody and harmonized it, but while translating into strings i've changed some things. In advance thank you for any feedback. sound bass clarinet version.mp3 sound.mp3 score2.pdf piano.pdf

Hi , ive been looking for this concept for a long time, but i dont know how to use it ? Do you have to COMBINE 2 or more of these chords to achieve the Atonality-Cluster ?

Kia Ora Henry, I will admit that when I first heard the original version of your Clarinet Quintet I did not like it very much. Blasphemous, I know. Everyone else on YC seemed to love the piece, and I just... didn't. I found all too much, which I suppose was your intent; despair is overwhelming or whatever it was. After listening to this revision, my opinion has changed. Or at least my opinion on the first movement, which was one of the two of the original I listened to. I don't dislike it anymore, but I don't love it now either. I think it's a decently good piece, but far from your best work. My favourite part of this piece is by far the second subject which if I recall correctly, is based on the dream motif. It definitely has this dreamy, hopeful, idealistic Romantic, feel to it which I really really like. I mentioned something similar to this to you on discord, and I'll rehash it here, I think it could work really well readapted as a waltz theme in an orchestral arrangement or something. I think it really contrasts well with the first subject (despair) and is a nice break from all the despairing going on before it. My least favourite aspect of this piece is... I don't actually know. I've relistened to this version and skimmed through it a couple of times trying to find something I dislike but... I can't find I hate. I think I will have to listen to this a few more times and get back to you. Perhaps it was the awful playback in the original post that made everything sound worse to me, I don't know. Again, I'll have to get back to you on this In summary, I think this piece has really grown on me. Or at least the first movement has. That second subject is absolutely my favourite part of the piece but I don't really care for... something, I just can't quite tell to be honest. I think I find this piece less over bearing now than I did on my first listen years ago. Progress has been made! look forward to hearing the rest of your revision of this piece. Maybe the latter movements will convert me, a filthy heathen who cares not for the Clarinet Quintet in C Minor, into a believer. Ngā mihi, Archie

How should the chord be voiced? It's an F#m9...I'm using the F# as a pedal tone, just experimenting with it a bit. Mind you, I haven't listened to any of this yet, so idk what it sounds like lol

My bad! :)

Hi! Long time for not posting anything! I'm revising my old Clarinet Quintet and learning orchestration in the process. Here's something I'm working on. Clarinet Quintet in C minor is a work I finished 4 years ago in 2022 which I accidentally began my revision of it in April 2026. It's a work in four movements and in it I want to share my feeling towards despair, dream and hope. The piece is dedicated to my friend Ms. Merina Fung. Speical Thanks to @Thatguy v2.0 for making the audio for me. Here is the youtube video of the movement: Here is the structure of the 1st movement: 00:00 1st subject, Exposition. Introduce the "despair" motive (0134), in some sort of sad waltz in C minor. The passage in 01:26 is directly copied from an old piece of mine named "Boredom" 01:48 Transition. Follow the tonal plan of the first movement of Tchaikovsky's Fourth Symphony and modulate to tritone major Gb major (which is the tonic key of my next major work, String Sextet in G flat major). 04:09 2nd subject, Exposition. Introduce the "dream motive" (0247) and subsidary chromatic motive of (0123). Conflicts of the despair and dream motives continue, the dream seems to win at 06:53 with its own climax but easily defeated with a bold C minor half cadence right before the close of the exposition with a forceful perfect cadence in Gb. 08:42 Development, part 1. The dream breaks expectedly I really like the counterpoint in 08:59. Modulates to E minor for the transition theme, then build to a really beautiful climax in E major in 11:10 which I really love. Makes this movement sounds a bit less tragic. 11:36 Development, part 2. Another false serenity after the beautiful climax by a disappointed passage in G# minor in 12:38. The serene texture returns in B major in 13:17 but falls short to a dominant preparation of C minor in 13:50. I really love the retransition as it sounds really passionate to me (Actually I love all parts of the remianing parts in this movement after this point). A review of the keys visited in 14:27 with an octatonic falling scale, ending with two sorrowful monologue of clarinet and cello, just like the beginning. 14:53 Transition. I skip the 1st subject reappearence in the recap as it's completely meaningless to do so, given how the motive is developed in the entire movement. I really love the tragedy here, as I even have this passage reappears in the coda of 4th movement, after 40 minutes or so lol. Another false serenity in tonic major in 15:24, and I really love the nostalgic sounding passage in Ab major in 16:01, still base on the dream motive. The German sixth chord in 16:36 must be stolen from Schubert"s Quartettsatz. A fugato in 16:42 trying to fight despair and reclaim dream once more and "sucessfully" modulates to Gb major once again. 17:31 2nd subject, Recap. But when you want more you hurt more, as despair harms you more when you have hope. This time a hard C minor half cadence comes. The dream theme now becomes a nightmare in 18:07 and continues to sigh. 19:20 Coda. Previous themes keep reappearing as I myself used to ruminate my sadness all the time. Finally it ends with what begins the piece, the realization of despair in its original form. Structurally I am not really satisfied with how I expand the themes in the 2nd subject of exposition (Dream part) and how I treat the materials in development, as I am afraid I overextend too much. However I just retain most of the things originally as I wanna keep true to my old self. It's an absolute low when I composed this piece, as I really questioned myself whether I could really compose something good back then. Luckily I did finish the entire work and gave me some confidence, plus meeting some really good friends here. The whole 4 movement piece is composed with three motives mentioned above, as I wanted to keep the piece coherent. The inspiration of the work comes from Brahms’s Clarinet Quintet as I wanted to write a more tragic piece than his (of course this goal fails), but I am happy with what I’ve done. Strangely only now do I find how Brahmsian this piece is. One interesting thing is that despite the movement is in C minor, in the first 14 minutes (two-thirds) of the movement, only 2 minutes are in the tonic. In this revision I mainly modify spots I find unreasonble, some voicings and slurs, and breathing spots for Clarinet. Hope you listen through the music and read through the description, and my wish that enjoy the work! Feel free criticize the work as I know it's far from perfect. P.S. the old version of this same Quintet is posted before: It's my biggest mistake to post an hour long piece here as my first post. So I will chop up the 4 movements and post it one by one now! Henry Clarinet Quintet in C minor 1st mov V3.mp3 (For YT)Clarinet Quintet in C minor 1st mov final 20260501.pdf

I didn't say that in the first place lol!

@BlackkBeethoven You are getting of this! Let us address voice leading and part writing errors, okay? As @Henry Ng Tsz Kiu there are those pesky direct and parallel 5ths in this string writing. Normally, we want to avoid that! However, there are times when it is nearly impossible to do that. Or base on the style, we choose to ignore standard part writing rules. Another thing I noticed is voicing of the chords. The first chord is not correctly voiced. Why is there F in the bass? what is the tonal center? I know you can do this @BlackkBeethoven . :)

Ill be participating!

lol, then just correct it. Or it's ok to have p.5 if it's not in chorale style.

Writing harmony for strings is always fun tho regardless lol - yes, I see the parallel 5ths 😒

Ohhhhhh gotcha

two keys competing

I was hoping the pedal tone, while I shifted around different chords, would help with that ambiguity...what do you mean by stretch?

I think you could play with the ambiguity of key here... now your bass is suggesting F# minor and the melody is suggesting A major, so probably you can have these two keys stretching themselves, like the opening of Schumann's Dichterliebe. Henry

I want lush and ambiguous w/o a super direct V-i motion...I would like to get some more rough ideas and chords on paper and then take a step back and look @ structure...my composition professor likes to just have us write rather than talk about strict forms. I did study it in theory, though, and I would like this piece to be my magnum opus and I want to do it well.

Hold on: Psycho

Hi there, I have done short example for you. Few things about the example: The timpani and double bass are merely in the background. I did not want to overpower the brass section. So, i choose only used the horns. The cymbal crash at the end creates emotion effect! P.s.. I hope this hope you. Kvothe. Tutti example.pdf @MK_Piano is correct about the planets! Gustav Holst wrote the suite when he was all girls school for two pianos! :) Tutti example.mp3

Title Track | Double Vodka No Ice© SUPER LATIN BIGBAND.mp3 THE CONTINENTAL + I GET A KICK OUT OF YOU.mp3

@BlackkBeethoven Heavens no! Please do not give up! I want you excel at your craft. I want to best write amazing pieces and be proud. Thus, that is why I suggest a path that would allow you to do that. You can approach a string quartet in the same manner as 4 part chorale first. :) That is amazing thing about homogenous textures they blend well! I know this can do this. Please continue. :) p.s. You are being hard on yourself if you think "why should I continue if it is bad". Tell that negative view take a hike!

Hi ................Try a little Rythem first......then progress to LAYERS. an example below: 1: Timpani Rythem 2: Low-Brass & Bass 3: Staccato string & Horn 4: Top-Line String TIMPANI BUILDUP.mp3

I would say in this piece , you were using your ALPHA-Brain waves...Not your BETA Brain waves 12 Foods to boost this Phenomenon https://nhahealth.com/12-brain-foods-that-supercharge-your-memory-focus-mood/ . Psychology TodayAlpha Brain Waves Boost Creativity and Reduce DepressionIncreasing alpha brain waves through electrical stimulation or mindfulness can boost creativity and minimize depression.