H. S. Teoh replied to H. S. Teoh's discussion Fugue in E minor
"Uploaded latest version, with reverb and other revisions suggested by someone in another forum."
H. S. Teoh replied to H. S. Teoh's discussion Fugue in E minor
"Hi Patrick, thanks for the feedback!  I didn't use a VST, but I do pass the audio through an audio filter in the course of creating an .mp3. I'll definitely look into adding some options to tweak the reverb!
P.S. The Dvorak impression is probably…"
Patrick Hasselbank replied to H. S. Teoh's discussion Fugue in E minor
"I think it is well done melody. The only thing I want to add is to change your vst (if you used it) and to put a bit more reverb or delay. P.s. "Fugue" reminds me (in some parts) Dvorak's "New world…"
H. S. Teoh replied to H. S. Teoh's discussion Fugue in E minor
"Updated post with latest version, with some further revisions to improve the ending section."
H. S. Teoh replied to Dane Aubrun's discussion Music for Orchestra 7
"Very dramatic!  Reminds me of Walton's symphony #2 in terms of drama and language.  Not my usual musical tastes, but I did actually enjoy listening to it."
H. S. Teoh replied to Jon Corelis's discussion Three Impressions of Winter for Clarinet and Piano
"It's not the discord that bothers me at the end, it's the distorted quality of the piano that sounds like either it was clipped (due to excessive volume), or some other technical issue that makes the timbre unpleasant to listen to.
I actually hold…"
H. S. Teoh replied to James A. Goins's discussion Your Feedback is Welcome
"You have some interesting ideas, but upon listening to it, I found them inadequately developed.  There's a lot of repetition, and a lot of what sounds like "filler" material.
That initial ramp, for example, leaves a lot to be desired.  I'm not 100%…"
H. S. Teoh replied to Jon Corelis's discussion Three Impressions of Winter for Clarinet and Piano
"Is there any way you can use a higher-quality, or at least more expressive clarinet patch?  Either that, or adjust the relative volumes of the clarinet / piano accompaniment?  Or, if all else fails, perhaps use expression dials / ramps to make the…"
H. S. Teoh replied to Dane Aubrun's discussion Prelude for Percussion
"Interesting concept! I found the persistent regular beat a little too regular after a while. I think you could leave it out in various places and/or introduce a more syncopated rhythm, just to break up the monotony.
Also, you could consider doing a…"
H. S. Teoh replied to Michael Bates's discussion 10 Variations on an Original Theme for solo piano
"Very nice! I liked especially the fast variations. Also liked how subtle harmonic ambiguities in the theme opens up the opportunity for interesting developments in the variations.
Was hoping for a more climactic ending, though. But that's just my…"
H. S. Teoh posted a discussion
This fugue breaks so many conventions, I don't even know how to describe it.  For sure, if you're expecting a Bachian fugue, be prepared to be disappointed. :D  A tonally-ambiguous subject, answers coming in a 6th below instead of a 5th,…
H. S. Teoh replied to H. S. Teoh's discussion How to notate a chromatic glissando?
"Thanks, Jon! I will definitely look into purchasing a copy of Behind Bars."
Sep 23
Jon Corelis replied to H. S. Teoh's discussion How to notate a chromatic glissando?
"Elaine Gould in her book on notation Behind Bars (which has become standard and which everyone writing any type of music should have a copy of) says "When a glissando s ia scale of chromatic semitones, these should be notated in full, either as…"
Sep 17
H. S. Teoh replied to H. S. Teoh's discussion How to notate a chromatic glissando?
"Thanks, Dane!"
Sep 16
Dane Aubrun replied to H. S. Teoh's discussion How to notate a chromatic glissando?
"From the way you describe it, I can't see any other way than to notate it, if anything because fingering is important although violinists will likely choose fingering they're most comfortable with.
If it covers more than an octave you could probably…"
Sep 15
H. S. Teoh posted a discussion
Hi all,I'm cleaning up the score of one of my orchestral pieces, and I'm stumped by how to notate the following: I have the strings play long descending chromatic scales (fingered, not a sliding glissando) in 32nd notes. For the purposes of MIDI I…
Sep 14

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  • Hello H.S. and thank you for your very kind message. Actually, I'm just coming off a very serious eye condition triggered, I suppose by an equally serious upper and lower respiratory thing I picked up on a flight back from Berlin in May (I'm in Los Angeles). The eye required surgery to set things right and I'm just now getting my vision back in the one eye (the other was unaffected). Actually I've had problems with this eye in the past so I'm not surprised the respiratory condition reignited it. This is since May 3 when I got back and I'm just kicking the respiratory infection now. It's been a grueling---what--three months? I've never had anything like this before. Had to be some kind of exotic bug from the deepest parts of Asia or Africa or something because I usually bounce back from these things in 4-5-days. This took 3 different courses of antibiotics to finally get under control (coughing up blood and blowing blood out of my nostrils at one point, but no TB) and I was still coughing a month afterwards. Beware flying internationally. Nowadays you take your life into your hands getting exposed to all these potent diseases like Ebola floating around.

    Greatly appreciate you letting me know you enjoy the concerto. You're right; I do get discouraged frequently because generally speaking most musicians aren't interested in doing an ultra-Romantic work these days, especially one that requires such large forces (expert pianist plus accomplished orchestra) to pull off properly. I did get word from someone who loves the concerto--psychologist and author Darrel Ray that he had a friend of his try to get it into the hands of David Stern, violinist Isaac Stern's son who is the conductor of the St. Louis Symphony Orchestra but I haven't heard anything since. This was about 6 weeks ago. Got my fingers crossed. Maybe someone can pull a miracle off. I hope so. Thanks so much for getting in touch. I will keep you apprised of any developments. Wishing you all the best and looking forward to any news you might want to share about your own career happenings. Take care,

    J Joe Townley

  • Hi H. S. and thank you for your very kind comments re My Piano Concerto No 2. Not sure if you were able to get to my bio. Thunbnail; started studying piano seriously at 10; wanted to write a piano concerto desperately by 16 but didn't actually do it until 18 when I wrote a horrid 1st mov. to a Piano Concerto in C Minor in 2-piano/4-hand. Injured my RH forefinger severely at 19-20 (don't remember) but continued with BA and injured finger until giving piano up at 25.

    I agree. I'd love to hear this live. The screen-capture mutilated the audio. The SoundCloud audio is much better, but still sounds like an electronic rendering. To put on a performance of this concerto would cost roughly 150K for a top-tier orchestra/pianist so that's not in the offing anytime soon. My advice: don't write piano concertos if you're thinking of getting them performed. Stick with smaller works for small ensembles. Much greater chance of getting them performed live. I will check out your music tomorrow. Just getting this message really late (nearing midnight--yawn) So glad you enjoyed the concerto and noticing that it is cyclic. You're the first out of roughly 5000 viewers to comment on that (including earlier versions on YouTube which I have since deleted). J Joe

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