HoYin Cheung

@PeterthePapercomPoser Thank you for the comment! At first thought I would like a gradual build up from the piano part, so I made the texture thinner and let the piano play first. Perhaps a short introduction will work. An example I can think of is Rachmaninoff's version of Liebesleid. Let me try and share again:)

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

That sounds like a jazz piece with complex chord choices before 03:45 with a tons of synchropation. I actually enjoy it - fresh and energetic Curious what software and prompt/ constraint used to produce this music with AI? That was an abrupt stop though. lol

Hi @PeterthePapercomPoser Thank you for the comment! I hope this work is not too complicated and bitter to you. Yes, my music is usually highly thematic and is usually evolving. This way of writing give me a balance (which I hope to achieve) where coherence between different passages while constantly giving changes/ energy to the music like a living creature - instead of very structured development. It really does. After all those dramas, I just want some "peace" to settle the piece, and prepare the audience to the next movement. Another technical considerations is that, I realize there might be frequent pedal changes to play the written chords, but I don't want 2 harps to play there. So I wrote the passage in a minimal way. Yes, Dorico with NotePerformer. Any good suggestion to avoid that issue lol

For the crescendo and ff part, for instance, m.24-28, string players have the tendency to use more bows. That will mean the slur across measure 27 and 28 will be seperated in to 2 strokes. Otherwise, you made good notations. And the principal section player will make the decision for you and confidently use their own sets/rules of strokes as long as the whole section are using the same.😆No worries.

I am a violinist and a former orchestra player, so my advise should be realistic. I think most of the slurs you marked on this score is appropriate and practical, given most of the lines are in pianissimo or pianississimo. One useful thing to know is that, 1) if the part you are writing is not the main melody that do not need to be that is not that pronounced, and; 2) if there happens to be a decrescendo leading to a p or pp, then the string player is able to play the passage as slow as possible on the same stroke and the bow is treated as infinitely long. That may seem ridiculous, but that's the case. You play the "feeling" there. Tl;dr, 4-5 bar is totally possible with above prerequisite. One reason behind this playing style is that, it requires good technique to make the bow change unnoticeable. Due to the structure of bow, there is more tension at the bottom than at the bow tip. That will mean a natural decrescendo playing down bow (from bottom to tip) assuming a constant pressure applied. The reverse happens too, where a natural crescendo will occur playing upbow. So if there are any bow changes, the shift from cresc. to descrec. might be audible. While experienced players may control the pressure to mitigate the effect, they avoid changing bow unless the same phase really require 2 bows to project with expressiveness. Therefore, most of the cases, we keep it done in one single stroke for the above situations.

Wow, I guessed I have listened 3 times in a row to start to understand the piece😆 I enjoy the piece! I love the development at m. 13-17, where the Violin I giving a slight breath to rest, with the ascending melody, from the ever-descending motive. FIguratively, it would be like a nightmare where you try to do sth but never succeeding each time - pick something up and something missing😅 Btw, what notation software are you using? I kinda like the shifting sound and quality of the solo strings in the recording.

Hello all, I would like to share the second movement of my Symphony No.1. I belive this is a movement with more contrast than the first movement, and I wish you will enjoy it. In case you haven't listened to the first movement, here is the link: Symphony No.1 - First Movement - Orchestral and Large Ensemble Thank you for listening! HoYin

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.