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HoYin Cheung

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HoYin Cheung last won the day on March 2

HoYin Cheung had the most liked content!

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About HoYin Cheung

  • Rank
    Composer
  • Birthday August 2

Contact Methods

  • Yahoo
    alexcheung2009@yahoo.com.hk

Profile Information

  • Biography
    An amateur composer which jots down notes to record musical ideas /personal experience that is worth reminiscing.
  • Gender
    Male
  • Location
    Hong Kong
  • Occupation
    Student
  • Interests
    Mathematics; Composing
  • Favorite Composers
    Chopin, Rachmaninov, Bartok, Shostakovich
  • My Compositional Styles
    Late Romantic; Contemporary (Still exploring)
  • Notation Software/Sequencers
    MuseScore 2
  • Instruments Played
    Violin

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  1. @Rabbival507 @Willibald Thank you for the comments! Seems that I always have the tendency to create "directionless" music. Actually, in my previous quartets such as "Frustration", listeners also criticize the lack of direction since my music is in polyphony throughout the piece. For most of the work, I have attempted to compose the theme first. However, most of the time (maybe as a part of my composing style) I tend to introduce new themes not much later than the earlier theme not to make long-winded developments of the theme. I think it is hard to strike a good balance here. Do you have any suggestions?
  2. I made some updates to the draft:) Please feel free to comments.
  3. Limits of a Viola?

    Practically viola has a similar range of violin but is shifted a fifth lower. However, viola commonly has a thicker and darker texture than violins.
  4. CMV: Music is intrinsically worthless.

    So may I generalize and interpret the proposition as "Symbols have no intrinsical meanings"? All notes, alphabets or signs are made by humans and they all can have defined meanings. They are abstract and can have no meanings if we don't define it. But if we do define it with meanings like emotions, it does have meanings.
  5. CMV: Music is intrinsically worthless.

    @Monarcheon Please allow me to rephrase your question to answer it more appropriately, so do you mean: (1) Music cannot completely reflect composer's emotion. (2) The audience has false interpretations of music with an incomplete reflection of emotions. --> (3) No musical work is to express emotions. My response: Indeed (1) is true. But I think the problem of (2) can be greatly improved when you can provide the experience and the corresponding feelings which motivate you to write this work. With this method, you can probably guide the audience or player to interpret the piece closer to your thoughts. But of course, when you want to keep your experience private (and thus less information is provided), the loss of emotion is considerable. For me, I would say I do write music to express my feelings. The loss of emotions is unpreventable but it is a form of art to record your experience and memories. Even when you create the music you may exaggerate it. However, as you create the music, often you are still influenced by the emotions. This creates a linkage between your memories and the music - no matter how the music is. And as you listen to the music again, you can still perceive the emotions presented by the piece as long as your memory is intact. So your musical work is at least meaningful to you. As an audience, false (or inaccurate) interpretation is common. While you meant to create your own music, as there are some errors translating your emotions, you tend to discover the music.
  6. π

    I enjoyed the piece. You should probably make a work on the number e=2.71828... too! haha
  7. It is playable without too many difficulties:) Those double-stops are easily doable in the first position. Moreover, all chords here are in an octave, which is within the normal range (ninth and tenth are plausible but requires more skills to play) To be precise, the fingerings are as follows,
  8. Procession

    I love the "promenade" feeling of this piece! You remind me of Promenade in Pictures at an Exhibition. It seems to be a short journey towards something. I may call it an Intermezzo. The wind band is well-balanced and you did a great job!
  9. Hi everyone, After receiving positive comments of my Piano Concerto Mov.1 , I have decided to write the proceeding movements of the concerto, which serves as a challenge to myself. I have long for writing a slow, romantic movement for a concerto and so, in contrast to the 1st Movement, the piano solo has more melodic parts here. How is the work so far? Is the string prologue too long? Btw, I am still trying hard to add woodwinds and brass as I am more familiar with strings, so I may add it later. Thank you for your comments:) Regards, HoYin
  10. Etude No.1: Mirror Melodic

    Thank you:) I love this work too.
  11. [Theory 302a] Mirror

    The last sentence is a nice touch! I have never thought of horizontal mirroring. Those chords in Poco piu mosso remind me of Bartok, but the chords in his works are much more dissonant. Simple but elegant melodies.
  12. THEORY 302a: Bartok - Mikrokosmos 141

    Here is my Etude:
  13. Hi everyone, This is my latest piano work, written as a response to Theory 302a. I am definitely under the influence of Bartok's Mikrokosmos 141, in the sense that lots of reflection techniques and irregular time signatures are used in my work. To further explore the power of reflection, I use floating origins of reflections in each bar, with the hope not to stay in the same key for the same sentence. Thank you:) HoYin
  14. THEORY 302a: Bartok - Mikrokosmos 141

    3a. The whole step interval (G & A) bounced around the bottom of page two breaks the obvious pattern. Same with the final Piú mosso section. Why would he write it like this? Obviously, it's not simply to sound "cool". I observed that the chain of long notes for the whole piece is as follows: Bb - B - D - Eb - F# - G -Bb. To make the flow smoother, G-A chords are added so that it would be G - A - Bb, which are either half-step or whole-steps. Those 4 G-A chords also keep the rhythmic pattern as in all sections, of which first half always start in a downbeat while the second half starts with an upbeat. 3b. Do the non-A sections have any relation to themselves? To the A sections? If so, what is it? If not, why would we write it like this? In the non-A sections (and actually also A section) have left-hand parts mirror to the right-hand parts. In other words, when the right-hand part is going up, the left-hand part moves down with exactly the same intervals. I think Bartok may want to introduce subject and reflection together. In A-sections, the first bar of each section has a perfect 4th between the highest and lowest note. While in non-A sections, for example in B", it is also a perfect 4th in the main melody but it's mirrored from A. It is probably also a kind of reflection written to create contrasts. Since A and non-A sections are altered (in Rondo form), it can thus keep the momentum throughout the piece. 4. Your task is to find all the places where this reflection is either shifted or inexact in some way. Ponder why he would bother doing this. Actually, those long notes are the origins of reflections for the left and right-hand parts of the same section. I guess Bartok write those long notes in octaves to hint such reflections. Other than melodic shifts, there are also rhythmic shifts.Starting from System 7, third A-section, the left and right-hand parts differ by a quaver. It makes the piece less monotonous as in the previous parts left and right-hand parts are already in sync rhythmically for so long. // I shall start writing the piece.
  15. TEST: THEORY 302 - Survey of Modern Music

    Cool! I love Bartok. Great if I can join too
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