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Hello Everybody, It has been another long while since I've posted but I've definitely been composing during my time away. This is a work written for a 2-week composition festival I attended, lots of great opportunities and people when I was there. The festival is called the "ICEBERG Institute"(https://www.icebergnewmusic.com/about) if you're interested. Anyways, hope to hear your thoughts on this piece in regards to harmony, melody and rhythm. I am trying to work in a new(jazz?) idiom and I'm not sure how it sounds to others. Thank you for the support

Dear all, After all recent completion of my Symphony No.1 - Movement II, I finally got some time to work on some tiny projects. Phew. This time I would like to present my arrangement for Johannes Brahm's Intermezzo. The original work by Johanne Brahms is written for piano solo. It is definitely perfect and is one of my (and my gf's) favourite classical works. My gf and I want to plat it in arrangement for violin-piano duet, but the available scores online, in my humble opinion, does not build enough interaction between the violin and piano. Therefore, I decided to make my own arrangement for this piece. Minimal modification was made in terms of additional elements/ chord changes. Main features in this version includes the further emphasis of the "longing" motive ("C-B-D") and distribute the melodic part more evenly between the instruments. I also added some harmonics for violin to bring in some extra variety of texture for the piece. Hope it sounds well. Please feel free to share your thoughts on this arrangement. Thank you! Best, HoYin

No I was actually looking at 170-173. It doesn't look diatonic there because of the recurring A natural. Is this E flat Lydian Dominant?

Yes, in the UK we always use concert pitch for the conductor's score. I let MuseScore handle the transposing instrument part scores; but always check them for mistakes.

very nice, I look forward to it (always good to introduce simplicity into the mix too) and thanks for giving me a like on my old post!

Hey @Mooravioli! Thanks for your review! Stay tuned for that in a future movement! I've already composed a variation which does this, I just haven't integrated it into a finished movement yet. I feel like it wouldn't be in the spirit of the original themes by Nobuo Uematsu to use microtones since they didn't use microtones. Although I definitely plan on writing plenty of my own microtonal VGM music in the future. Thanks again for your review!

Sounds awesome! Really like how all the instruments sound together. The timing of the notes gives a feeling of slipping and unpredictability. I imagine this would fit in a game where you need to move carefully to make you feel unstable. Or simply a horror game full of surprises.

Hello Peter, A masterful work which integrates many unique and lovely textures, as well as colorful dissonances. I especially liked the string quartet variation, which I thought was quite original of you to include. Although the piece remains in e minor for much of its duration(apart from the later variations), I feel there are so many distinguishing features in the compositional process that shift the focus away from modulation, and I must say that this is not easy to do(as a composer who relies too much on modulation). With this, you are building a really interesting, modal harmonic language. I also admire the way you've woven the different themes together to create a rich, dense texture. I do think it would be a nice contrast if we could have a clear melodic line/homophonic idea in order to introduce a specific theme. Hey.. its just an idea. But I am also surprised you're not using microtones in this piece because to me, its probably a part of your style at this point. 🥴

I believe you're referring to beat 3? I didn't want to spell the Eb major chord as a D# major chord (on account of having to spell the G as an Fx and also because there occur both F#'s as well as G's in the voice leading which are still best understood in the key of E minor). The chord on beat 3 is actually an F# major chord spelled with a Bb instead of an A# (and again, this is done because of voice leading since the Bb leads to an A in the following harmony of B7 with a C# in the bass). You gotta consider that the whole chromatic system is imperfect and often, compromises must be made for the sake of readability and voice leading. Also often, organizing the given pitches into a heptatonic scale with no repeated notes as best one can takes precedence over spelling passing chords on weak beats correctly. Are you referring to the Db major section in measure 258? Db major has 5 flats while C# major has 7 sharps so that was just a practicality and familiarity thing. Some key signatures are preferable to others for practical reasons and are used way more often because of that. That to me justified switching to a flat key even though the tonal center of C# is not that foreign to a piece in E minor, being the relative minor of E major. Yes, that is annoying for sure. Even more so for harp which sometimes needs everything respelled a certain way according to the position of its pedals. But correct me if I'm wrong, but you seem to use scores in concert pitch for your music? That's one way to avoid the trouble in the score, but if you ever need to print out parts you'd still need to transpose it to the correct enharmonic key. Unless you're working with an instrumentalist who is expected to be able to transpose such as Trumpet or French Horn. Thanks for your comments!

Hello peeps, Merry belated Christmas and happy upcoming New Year. I recently wrote this work based on a popular theme that has been surfacing on Tik-Tok and Instagram. It usually appears on slow-mo reels or funny fails in general. I thought the theme had quite a bit of potential and decided to write a short orchestral fantasia based on it. I apologize if the score is a little hard to follow. I am planning to work on engraving after I receive more feedbacks. Thanke Truly Final Version + Animation