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Peter, thank you very much for listening and your feedback. I will have to check it out! The vision of this piece was actually created when I rewatched Harry Potter & The Goblet of Fire - the scene where Harry and Ron are at the bottom of the stairs and see Hermoine (I think I'm spelling that right) come down the stairs for the dance. My current plan is to make 3-to-5-minute pieces that differ in character, tone, and color while using the same orchestral template. This dance, along with Tyrant, will be the 3rd movement in a 4-movement suite for orchestra. I'm currently working on a piece called Abraxas that is similar to Tyrant in tempo and energy. However, Abraxas will be more diabolic sounding.

This is a binary fugue in three voices. Each of the five "subject complexs" explores a common harmonic formula: 1. Perfect cadence, I-V-I (mm. 1-2) 2. Falling thirds (mm. 3-4) 3. Imperfect cadence, I-IV-V (mm. 7-8) 4. Ascending seconds (mm. 16-19) 5. Circle of fifths (mm. 22-26)

Hi @Henry Ng Tsz Kiu! Thanks for listening too! There's debates amongst scholars on exactly where the WTC II No. 3 subject ends: after 4 notes, 6 notes, or whether it lasts one-and-a-half-bars. I don't particularly care about this debate - it's a fairly pedantic debate about labelling things. But what's very clear to me is that the main material used throughout the fugue is the first four notes alone. If you view the subject as one-and-a-half bar long then it reappears only three times for the rest of the piece, in the exact same stretto configuration as in the beginning! All of the "stretto" in the piece occurs after the first four notes too, thereby placing a great deal of emphasis to the first four notes alone. The fugue is also uncharacteristic in other ways. For example, it dissolves into a toccata-like texture with an undefined number of parts towards the end. Does this make the piece not qualify as a fugue? I suppose you can call what I've written an invention with a strict fugal exposition. But then isn't this basically what a fugue is? 😄 Thanks for spotting the consecutive 8ve as well! I've fixed the score now.

Hey @Bjarke, For me the opening bass guitar links me with racing films haha. I feel somewhat different from Peter. Even though the piece is keep moving forward without a break, I think 2 minutes’ time is fitting to it! For me I feel like the use of organ at the end is somewhat abrupt to me, since it links me with gothic films which is totally unrelated to action films! Thx for sharing! Henry

Hey Pabio, I should also apologise for getting too agitated. It’s one of my fault to blame others for not knowing my feelings while I am hiding all my feelings and others would have no way to guess it. I promise I will continue to review pieces including yours if I have time and energy to do so. Love, Henry

Dear Henry, I am deeply sorry that my remark caused you distress. I had no way of knowing there were other reasons beyond my direct statements for you to suddenly stop reviewing my works, so I assumed it had to do with disagreements over ideomatic compositional criteria, which has managed to become the trademark criticism offered towards my works. Never have I requested nor taken for granted any reviews, the same way I feel there's barely anything left for me to add almost everytime I come across pieces I could be capacitated to offer criticism for. I simply had an (ultimately wrong) inkling that the reason for this situation was of my own doing, my fault. It seems I have been wrong from beginning to end, and as such I can only apologize for the impression my words may have caused and hope to clear up the misunderstanding. Best wishes, Pablo

Thanks PeterthePapercomPoser for reviewing my piece. This is the third movement of a planned six total. I appreciate the feedback about printing out the midi data.

Hey @PeterthePapercomPoser! Thank you for listening and I'm glad you enjoyed the piece. This is most certainly a fugue! There are a great deal of middle entries (see mm. 16-18, 22-26), though not in the conventional sense of restating a subject in a given key - rather, the subject is really just a motif which the entire piece is weaved out of. Harmony is established by these subject entries via beginning the subject on different degrees of the scale (ala Omnes generationes from BWV 243). The five episodes are also rigorously written: mm. 5-6, 20-21, and 36-37 are stereotypical 7-6 suspension chains in different inversions, and mm. 31-34 is a replica of mm. 9-12 in a different key, which is itself a conventional falling thirds sequence constructed from the whole subject. There's even an important final entry in mm. 38! If you're not familiar with Bach's WTC II then I'd recommend having a look at BWV 872b (Fugue No. 3). It is a fugue with a subject just as short as mine.

Hi @Bjarke! It sounds like you might have gained some inspiration from John Williams' "Asteroid Belt" music from Star Wars: Empire Strikes Back? And it sounds a bit like the music to the old movie that you've probably never seen "Dark City". It's cool that you've included Distorted and Bass Guitars. I think everything up to 0:37 is pretty good and would fit a movie trailer well. After that I think your bass notes aren't always matching up with the harmony above it. My favorite part is at 1:20 - that sounds pretty awesome. A problem that I perceive with it is that it stays at a high intensity the whole time - it would really have to be a very action packed movie trailer for the music to fit. Also - the very last section that ends the piece is totally divorced thematically from the rest of the piece (1:54). Also, the piece doesn't transition - it just keeps going and going without a break which can be pretty tiring for the listener at such a high intensity. Thanks for sharing!

Hey @WowBroThatWasReallyEdgy! It's great to hear another of your expertly orchestrated pieces! This one gives me vibes of Debussy - especially his "Petite Suite" - "Ballet". It's a great early work of Debussy - I highly recommend it! There's not much to critique here, the piece is very well conceived orchestrally, harmonically and melodically and stays lucid and interesting throughout its duration. I just wish it was longer. Another thing is that the theme made me expect a more impressionistic approach to harmony, but it ended up being a more functional common practice type of harmony. Thanks for sharing!

Wow, an impressive piece. I love the harpsichord and find it phenomenal that works are being written for these instruments. It is also a joy to see the score, beautiful.