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program notes: Act III: Betrayal Ross begins to sense something wrong—what should have been a simple meeting starts unraveling into a web of deception. Aldric secretly contacts Isolde, planting seeds of confusion. His new, manipulative theme emerges, cold and calculated. Isolde’s presence grows stronger, but so does Ross’s fear. Despite Ross’s efforts to intervene, Aldric’s control deepens. Tension builds as Aldric floods Isolde with messages, mocking Ross in the shadows. Ross spirals into paranoia, captured in the emotional haze of the Pool of Constant Fear. But clarity breaks through—Ross finds a way to act. He reaches out to Isolde himself. A confrontation follows. Aldric’s mask finally slips. His schemes are exposed. For more context visit this.

Forgot to add, here's a couple of things that changed from the original; 1. Original main key was F# Minor - Current key is Eb Minor (1.5 steps lower to enrich the lower registers) 2. Ensured that nuances in the rhythm were more accentuated where needed (For example, at m. 108, where the motif rhythm changes to half note, half rest, then completes the phrase again, I've, rather than having only the melody instruments doing that rhythm, have made the entire ensemble follow suit) 3. completed a large amount of audio re-mastering with the playback to balance the ensemble better 4. Multiple areas have been re-done in regards to placing emphasis on melody, changing voices in harmonies, and more. Off the top of my head, that's what I remember altering in the score. I know that I did more, but can't remember every change, at this time.

Hey @Alex Weidmann! Beautiful job once again! I love the way you scored the rich harmonies of this menuet. The format of starting with the woodwinds, switching to the strings, then to the brass, then combining all the forces together was a really great choice that brought much body to your orchestration! Great job and thanks for sharing!

I appreciate the reminder that perfection shouldn't be the goal. I often find myself going back to improve on things where I'm told that I should, when given feedback on some of my work. I went ahead and pull the files for the original score to add here as a reference, should you feel you'd like to re-visit that version, as it's no longer available on the previous post. 🙂 The_Hallowed_Knights_Journey_-_UncleRed99__Kyle_Hilton.mp3 The_Hallowed_Knights_Journey_-_UncleRed99__Kyle_Hilton.pdf

I appreciate the insight, Peter! I'll keep this in mind moving forward 🙂

Hey @UncleRed99! I know I've heard and reviewed this piece before, but being only a casual listener from the sidelines, I can't tell what differences or improvements you might have made. Nor can I tell if the improvements actually improve my listening experience or possibly, if they detract from it. I feel like delving deeply into the score and searching for the differences would be an endeavor that would require quite a bit more effort on my part (seeing as how I'd have to compare it to the original or however many previous versions of this piece you've made before this). It's the law of diminishing returns in music. In addition, I thought I'd share a pertinent parable about art in general that I think might be applicable or at least hopefully helpful to you: (from the book "Art & Fear: Observations On the Perils (and Rewards) of Artmaking") I find that this parable really helps me in my approach to composition and work ethic in general. I try to apply any lessons I learn to new pieces and to churn out a greater quantity of work with the confidence that the things I learn from previous works will manifest themselves in future works. I also recognize that trying to perfect old pieces with endless reworks would not be conducive to improving. In terms of time management, I believe my time is spent much more wisely writing new pieces. I don't know if any of that hits home for you or not. But I thought I'd at least share my own reflections on the subject and hope that that could be helpful for you in some way. If you disagree with my work ethic or with the parable, that's fine too. Thanks for sharing!

Hello @90110n, Welcome to the forum! I don’t listen to the original at all. Lemme just respond point by point: The key signature is perfectly fine here with just some F sharps for the Dorian mode. I do find the key change in b.127 unnecessary since you are modulating to G/E minor anyway later. I don’t think ninths are unplayable by vast majority of pianists at all. From what I see from your score an intermediate level pianist will be able to play your score so it’s perfectly playable. What is the bar number of the bridges? For me the dissonance here is absolutely fine. I would keep it as it is, and it’s nice you have the sense to avoid repetition for the choruses! For me some of the bars with bare chords like b.65 or 165 too bare. Probably you can add more harmonic notes for fuller chords there. Thx for sharing and joining! Henry

Hi @UncleRed99! Apart from the F# issue Luis said, I wouldn't have two F#s in the last beat of b.2 and first beat of b.3, since it doesn't sound good with two leading tones unless you have four more other tones to outbalance them in a chord for me. Thx for sharing and attracting other members to join the challenge as well haha. Henry

OK In the tuning system we use, a Gb sounds the same as an F#. But of course, with that notation there is no (visual) tonic dominant relationship, which in this language is basic.

Hi @Willibald I enjoyed your work. It's pleasant to hear some - nice - music in this demanding style 🙂 I'm a fan of harpsichord, which you handle well here. Regards 🙂 Marc