# Midnight Fantasy - Piano Suite



## Jfong (Feb 9, 2014)

Hello peeps, im new to here and im here to share some music
Note that I don't only compose piano music. I did compose a fair bit of chamber and choral.
This is a self inspired piano suite. 
I am a night person and this suite portrays "me on sheet music". It
shows my nighttime imagination and the weird things I think about.
I may consider upload the score if requested

I: Nightmare
This piece is in ternary form; the A sections are atonal, while the B section is lyrical and
peaceful.
The theme of section A is organic, and some of its motives are used throughout the piece. For
example, the main theme in measure 30 uses the same pitches as measure 1, although the
notes are in a different sequence; also, the half notes in measure 11 reappear in measure 37.
The ending of section A, in measure 37, brings the piece to a dissonant climax.
Section B is very melodic and chorale-like, balancing out the extreme dissonance of section A.
There is also a "standing on the dominant" section that gives a strong lead to the main theme. Of
course, there is no such thing as "dominant" in an atonal piece like this since traditional tonality
doesn't work here, but it does provide a strong feeling of resolution.

__
https://soundcloud.com/jeffrey-fong%2Fmidnight-fantasy-nightmare

II: Lost Sheep on the Bed
This piece is in rondo form. It shows influence of minimalism; the repeating eighth notes exist
almost throughout the entire piece.
The beautiful chords and eighth notes of section A create a tender, delicate ambiance. However,
the atmosphere of the first half of section B (measures 20 to 33) is very different. The repeating
eighth notes are absent here; instead, the music sounds hollow and meditative. The repeating
eighth notes appears again in the second half of section B (measures 34 to 49), building upon
the previous pattern and forming a richer texture. The beautiful progression in A major
(measures 50 to 62) forms a bridge back to section A. Section C starts off with mellow,
dissonant chords; measure 78 opens to a much brighter melody. Just like its counterpart,
"Nightmare," there is a "standing on the dominant" section in this piece, here in measures 84 to
85.

__
https://soundcloud.com/jeffrey-fong%2Fmidnight-fantasy-lost-sheep-on


----------



## Torkelburger (Jan 14, 2014)

This is really good writing. The atonal parts of the first movement make me think a little bit of Schoenberg's Op. 11, but you write much stronger themes. I see that as your strength: writing memorable and attractive "modern" melodies...something many composers either can't do or refuse to do (won't write a melody at all). I think that ability makes atonal music much more accessible to wider audiences.

The second movement is delightful. Well constructed, good flow, with great control of your ideas. Have you ever heard of the brilliant composer Colin McPhee? He was a friend of Leonard Bernstein (they were roommates in Brooklyn in the 1940s just before Bernstein's conducting breakthrough). He has ambient minimalist sentiments very similar to yours. If you haven't heard him before, you are going to love this. It is his Nocturne for chamber orchestra. Composed over half a century ago but sounds like it was written yesterday. Way ahead of its time.


----------



## SergeOfArniVillage (Feb 12, 2014)

This Midnight Fantasy is simply gorgeous -- honestly, it doesn't read as much "atonal" as it does "neo-classical/romantic", due to nice melodies and dissonant-yet-familiar progressions. Great use of harsh texture from the opening phrases, followed by delicious augmented chords. The rests amid the lovely B theme was a nice touch.

The second movement ... Minimalism is a style close to my heart, and you really did it justice. I wasn't expecting this minimalism to be mixed with Impressionism-ish ideas, but it's only a natural bond, I suppose.

I'm impressed. I have tried to find original compositions on YouTube that I can enjoy, and have had astonishingly little success, most being quite unoriginal, unimaginative! It's a pleasure to listen to such creative music. Thank you for sharing!


----------



## Crudblud (Dec 29, 2011)

In this music I hear a certain "algorithmic" quality one encounters in music composed by artificial intelligences, the material is laid threadbare such that it doesn't feel like a composition as much as a demonstration. The writing is clean, elegant, slick, very competently done, as is the realisation, and it's very pretty, but _only_ very pretty - there is something artificial and contrived about the sound that I just can't get beyond.


----------



## Jfong (Feb 9, 2014)

thankyou for you reply.
in the speak of "algorithmic" I dont think it will ever get more "algorithmic" than 12-tone.


----------



## Crudblud (Dec 29, 2011)

Jfong said:


> thankyou for you reply.
> in the speak of "algorithmic" I dont think it will ever get more "algorithmic" than 12-tone.


The 12-tone row is actually a very versatile tool, though superficially it may appear to be a musical straitjacket.


----------



## Jfong (Feb 9, 2014)

ah I see what you are talking about. 
Maybe due to my lack of musical knowledge, I just do not quite understand why you described my music as "algorithmic" while you compose using serialism(yes, I checked out Urgynes). 
Could you please tell me more about it so I can learn a bit more?


----------



## Jfong (Feb 9, 2014)

thankyou for your kind reply! 2nd movement portrays me dreaming, if that makes any sense LOL


----------



## Crudblud (Dec 29, 2011)

Jfong said:


> ah I see what you are talking about.
> Maybe due to my lack of musical knowledge, I just do not quite understand why you described my music as "algorithmic" while you compose using serialism(yes, I checked out Urgynes).
> Could you please tell me more about it so I can learn a bit more?


Sorry for the delayed response, I have attempted to answer your question here. I posted it in my thread because it is more relevant to that piece, and I didn't want to make your thread about something other than your music.


----------

