HoYin Cheung

Hi @Vonias, I enjoyed your piece and I find it exciting. For the "atonal" part, I would say it is polytonal at most, at least it's what I perceive. The syncopation and asymmetric rhythms in this work, as @Henry Ng Tsz Kiu says, do remind me of Stravinsky, in a good way. And the vertical/ blocky, parallel writing too. The last part does surprise me with the tranquil, eerie vibe before the last blasting.

Yay I got a submission for this cha llenge too! Lil Fugue 1.mid

If I understand correctly, you wish to find the beat where all 3 sections will align during/ after the tempo transition. I have some idea right now, but may I know if 1 “click”=1 bar/ beat? Here is my sketch: There are 2 parts of this problem: 1) How much, after the transition section, will the 3 sections differ? 2) What is the first aligning beat after the transition section (i.e. first time all tempo=132, 121 and 110 appear at the same time)? ********** Turns out (2) is an easier problem. Let’s re-interpret the musical notation in a mathematical way. Tempo=132 is equivalent to saying each beat takes 60/132 seconds. Suppose it takes M beats at Tempo=132, P beats at Tempo=121 and N beats at Tempo=110 to reach the “aligning” beat. Then we have, the time to reach the aligning beat since the start of the first bar after the transition is (60/132)M=(60/121)P=(60/110)N So 55M=60P=66N To find out the integers M, P, N that satisfy the equation, we need to find the HCF of (55,60,66). (yes sorry for the math) , which is 660. Turns out M=12, P=11 and N=10 are the smallest integers that satisfy the equation… and that means at the 12, 11 and 10th beat at tempo=132, 121 and 110 respectively will all sections meet at the same beat, at the (60/11)-th second! ************** The really tricky part is the first part of the problem - due to the transition section, player section is differed by some time.

@PeterthePapercomPoser I am glad my music is more accessible this time. I am always fond of making a symphony starting with a lyrical, grande Russian theme. I had thought of making a introduction before the theme, but I just find it hard to write a development to the theme without shadowing it (in terms of dynamics/ complexity). There could be lengthy long string chords holding but it may lose your (or at least my) interest. So I decided that to make it straight to the theme. For the ending section, there will be an attacca to the next movement. I don't want to end strong in first movement - would rather some momentum for second movement. @Aria Donn Thank you for your listening! I am quite surprised both of you recognized my music a "Mahlerian" work (in some place) - Perhaps there are some subconscious impact from him - but yes, that's my way of writing - passing the motive between different instruments and purposely stack them to develop new materials. However, in terms of harmonic langauge, my work might be more "harsh" than what Mahler did. That's my long developed style - perhaps my prefered way of writing - even I am already quite "conservative" in the consonant part (as compared to my other works full of dissonant stuff), I just can't help to add a touch of harsh feeling to it - like a drama cannot be complete just with pure joy - but usually coming with some twist and hopeless scene. After all, I agree it is a hard thing to balance two contrasting types of harmonic materials. And I hope I can master it one day.

Dear fellow composers, Today I would like share one of my very dedicated piece to you, Symphony No.1. I didn't write regularly so the work was written for almost 1.5 years if I rmb it correcty. Yes. Another orchestral work. But I really think only this legitimize as my "first" symphony with its length and complexity. To be honest, I can't think of a good, or descriptive name for this work, so let's make it sound "systematic" for the moment. I personally quite like the main theme of this movement - quite lyrical and grand. I am writing the second movement and I did think of "Desparate and Hope" but let's just put it aside first. Please enjoy the work and see what you think.😀 HoYin

For your reference.

My submission here https://soundcloud.com/mythomorphic/reharmonization-on-brahms-lullaby-tour-1/s-HHLaakYn7lD?si=658a8fd9af80420a9bbebcc7e47ba569&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing I admit there are some Mahler ideas in it

It has been long since I write something concrete. Shall take it as a spark of hope and thank you for the challenge. Please count me in.

Dear all, This is a piece I wrote back then, in 2021, for a call-for-score competition of a piano performing competition. This is meant to be a part of the repretoire performers can choose from for their programme. Unfortunately, the competition is heavily impacted by the pendemic and I cannot listen to the live/ streamed performance of this peice. Here is my original note for this work. "This toccata is the second work in the composer’s recent piano series which explore polyrhythmic motif development. The piece starts with a simple, tranquil theme and it evolves into a fast quasi-fugue. Later, the passionate 3-against-5 passage enters with contrasts to the first motif. After the appearance of both motives, variations follow and direct the development for the rest of the toccata. " HoYin

@Luis Hernández @Henry Ng Tsz Kiu Thank you for listening! I wish too add more sweetness to the work but the C# major has just enough sharps lol. I have to say the intertwined melody depicts how she and I exchange our ideas and work on a set of common life goals. @Henry Ng Tsz KiuI am working on my symphony, and that might take some time to finish the first movement and publish it here.

Hey all, I have recently wrote a piece for my first girlfriend, whom is a pianist. Luckily she likes it lol. The motivation of writing a duet is that I am practising a list of duets with her, and I really look forward to make more duet for ourselves in the future. Writing tonal melody for solo violin has been hard for me as highly efficient harmonic and melodic structure is expected, but a duet has eased the task a bit haha. Hope you enjoy it. HoYin

The augmented second theme you used is effective in the sense that it never resolves, resembling never-ending qualities. To me, the quality is more like eerieness, doubt and scare, instead of any from of tradegy or anger. I particularly like your addition of cymbal and vibraphone, which adds white noise to the piece, giving a sense of "I don't know what to expect". The muted strings are well-chosen in this theme. Nice touch. Could be a nice music in cinametic settings.

@Tom Statler @Quinn Thank you for both of your comment and listening! Seems that I have been subconsiouly influenced by Bartok since my composition journey starts lol Fourths and dissonance, layering may be the quality you found familiar. I didn't use his axis theory though. For the coherence issue you mentioned, Tom, the last part is actually recalling some of the motif from the previous passages. The materials are disguised and merged into the tonal melody (and hence the familiarity to audience), for instance, -Since m.83, the cello has been introducing the Violin motif in m.11-12 (let's say Theme A). Then at m.89 the cello pizz recalls m.16. -Viola at m.93 recalls the Theme A -At m.99-100, piano recalls itself at m.12-13, Violin at m.100 is recalling the more tonal form of A which appeared in m.40 (piano) -And finally, those chords in piano at m.107-109 and the last chord directly echo the first chord.

That's pretty lit not gonna lie😆 I like how the organ create that dark yet grand opening. For the second part, it is energetic, but I was expecting some variations at the second entry, perhaps rhythmically in the drum set (solo). It is okay at the moment, but I might lose interest if there were another repeat. One (naive) question here: Sorry I don't have much knowledge on games/ anime, but did you base your music on a galactic battle? (somewhat like this) Nice progress - HoYin