Henry Ng Tsz Kiu

Wow I'm sure I'm of those theory nerd! I don't think the tritone substition act as dominant but rather just decorated chords since I never believe a dominant chord can be substituted by a tritone chord! For me it doesn't have any function other than decoration in post cadential passage, just like at the end of Schubert's String Quintet. But I don't listen to jazz at all haha! Henry

But then it's just the same as a German sixth but treat the V as a I?

Hey Manuel @Jqh73o, B.4 is a tonic prolongation since b.5 is also in tonic, so the V in b.4 is not functional but extending the established tonic. I don't know how jazz write it, but if it's not prolongation, let say it's a V chord on a tonic pedal, it will just be notated as V, while the tonic pedal will be considered as a non harmonic tone. Never heard of tritone substitution or Neapolitan seventh. What's that? Schubert and Chopin use a lot of N chord in root position, just like Chopin's famous C minor prelude. It's still an augmented sixth since the "sixth" means the interval, but not the first inversion. I always find the book "Harmony and Voice Leading" a great book! Henry

Sometimes it’s Menuetto too.

Hi @Guardian25, I never heard the term unfigured bass haha! The only error I notice is in b.12 where there’s a parallel fifth between T and B, and in b.5 second chord usually for a diminished chord the third (G) would be doubled instead of the root (E). Henry

Check out this video by Mike @chopin:

Wait it’s August already! What am I doing in all those 7 months?

But why do you want the section to be unrelated to the parts surrounding it? It can sound abrupt and flow less smoothly.

Hello @Yoni, Welcome to the forum! The prelude sounds really chromatic and sometimes dissonant. With the thick texture the music sounds really busy and urgent and I like that. I think the modulation back to G minor by Bb major in b.21 a bit abrupt from C major in b.20. Maybe add slightly longer retransition? The piece ends on dominant D major chord. Will you end it on tonic key? Thx for sharing and joining us! Henry

Hey Chris @AngelCityOutlaw, They are all very distinctive game music and I like them all. My favourite is the Temple of Jaguar. I always like in your music you use texture and timbre wisely by not overbearing it with huge sound and suffocating thick texture, but always in apt with your theme and mood. Hope that adventure game go well!! (Even though I seldom play game at all!) And thx for sharing! Henry (oh it’s my 2000th post!)

Hi @Sonata_5, I think you should name it after you finish the piece as you never know what will happen during composing! But I think a polka will be a great name with that distinctive rhythm. Henry

Sad I cannot just copy and paste my Sibelius score onto the Music Jotter. I am too lazy to type in my notes into MJ lol!

You have two players for instruments, so each instrument can take turn to have a quaver’s rest for breath without having too much effect on the volume. For example flute 1 can have a quaver rest on the 6th quaver and the flute 2 have quaver rest on 2nd rest. For the harp you need to list out the 7 pedals used and which positions they are on: sharp, natural or flat, and indicate the change of the pedal whenever it’s needed. Like the above B natural in b.11 can be played by a B natural pedal or a Cb pedal, but either Bb Cb pedal or B natural C natural pedal can coexist, but not Bb B natural and C as in b.10-13 so you will have to indicate the change of pedals. Henry

Yeah it!s better to write with trials and errors with problems than not writing anything at all. All of us faces the problems when writing, but only through error we can learn to write better music. But sometimes you have to know how to write properly before experimentation. Like Beethoven he wrote more ordinary sonatas before trying experimentation.

Hi @Gabriel Carlisle, I love the aura of the piece! It really feels joyful and fit for a ballet for me. I love the melody, it’s simple and elegant. Will the viola keep playing double stops or there will be a divisi? I am not sure if the winds can play through b.9-16 without some place to breathe given the tempo of the piece. Wind players will be more familiar with the issue. When the B naturals are all resolved to Bb they should be marked as Cb. I think wind players should have the opportunity to play the melody as well! I am not sure from b.21 to 35 the violins should have the staccatissimo marked in a quick semiquaver. Thx for sharing! Henry