"Source" marks what I would consider my first successful attempt at applying formal structure to a composition, although not without difficulty and headache. The work was conceived in a fugato style, alternating between soft contrapuntal sections and grande chordal sections. My intention was to follow a traditional AABA structure using the B section as a tonal and timbral shift, however, I ran into the problem of excitedly adding whatever new material I could muster to my "contrasting B section." It was much to my dismay when I came to realized my B section was a different piece entirely! I have since split the sections into two pieces. "Source" is the reduction of nearly 9 minutes of material.

jonalex.io/scores

Brass Quintet - I ("Source")

Brass Quintet - I ("Source") [score link in description]

“Exit Strategy” is the final movement of three in a brass quintet written for my graduation recital at the University of Lethbridge.

After writing the initial sketches for this piece, my composition teacher, Dr. Arlan Schultz, introduced me to the third movement of Prokofiev’s Piano Sonata No. 7 of which I instantly recognized the connections between his piece and mine. Prokofiev’s piece, which relies heavily on the repetition of a single rhythmic motive, would form the structural foundation for the final movement of my first formal concert work.

“Exit Strategy” is characterized by sharp staccato accents and off-kilter rhythms, octatonic riffs interrupted by roaring glissandi. Of the three movements, it expresses the least harmonic consonance in a collection which decays further and further into harmonic collapse. In a sense, you could say the frenzied dissonance paired with the title are apt allusions of my panicked escape from finally completing a piece over one year in the making!(~panicked is a tad dramatic—I actually quite enjoyed writing this one!)

As with Prokofiev’s Piano Sonata, the structure of “Exit Strategy” is symmetrical. In fact, the symmetrical structuring is the first example of a piece I have written using a pre-prescribed form; in this case, modified rondo: intro ABA CD[AC] ABA outro. In contrast, The first two movements were born of singular melodic cells and developed in a fugue-like or generative manner with ill-defined endpoints. Overall, pre-defining the end of the third movement seems to have bolstered my will to finish in a more predictable and timely fashion than with the first two. 

As for the sections within the structure, the thematic and emotional moods were designed more or less to alternate. Atonal discourse amongst the five brass soloists is contrasted by bouts of leaping heroism and melodic reconciliation. The middle D section functions as the main timbral shift, featuring a scurrying baba yaga-esque bass-line as muted horns jeer and caw from above.

Thus concludes my year-plus-long stint of applied study in the realms of tonal counterpoint, parametric counterpoint, formal structure, atonal writing techniques, non-functional harmony, timbral orchestration, brass instruments, and so on. Perhaps the most important lesson has been learning to commit to finishing a project in its entirety, constructing a piece of longer duration without relying on repetition but rather employing developing variation.

The first movement required six long months.
The second movement merely four.
The third, took two.
The next one?

jonalex.io/scores

Other Influences:
Anthony Plog 3 Miniatures for Tuba and Wind Ensemble
"Secure. Contain. Protect." Mvt. 3 by James M David - Jeremy Wilson & David M Rodgers
György Ligeti: Six Bagatelles (1953)
Sergei Nakariakov - Jorg Widmann: ad absurdum - Concerto for Trumpet & Small Orchestra

Brass Quintet - III ("Exit Strategy") [score link in description]

"The Valley" was written using derivative material from my previous work, a Brass Quintet. The goal was to continue writing in a contrapuntal and horizontal style and again without any regard for key signature, however, despite the lack of key and this technique's association with atonal works, my goal here was to compose a satisfylingly sing-song-ey piece––perhaps in defiance of the academic penchant towards atonality, dissonance, and serialism. The bounding arpeggiations draw much inspiration from Justin Hurwitz's work on the film "La La Land," and the opening solo and trio sprouted from my childhood recollections of watching Hayao Miyazaki's film "Kiki's Delivery Service" of which the scenes overlooking the town by the shore as well as the scene featuring a laggardly dog and Kiki's pet cat Jiji played a prominent role.

🎼Score available at:
jonalex.io/scores

Wind Quintet - "The Valley"

Wind Quintet - "The Valley" (Graduation Recital - Mockup) | 🎵score link in description🎵

Orchestral boss theme featuring choir and organ.

Sanguis Angelis

Hybrid orchestral synth music composed as a demo for a top-down rogue-like. Live violin and flute were recorded and layered in by yours truly. Synth loops and orchestral VSTs are mixed together to evoke a feeling of old meets new. Mix and arrangement focuses primarily on the higher frequencies (aiming for nice and crispy👌😌). Used voices in a folk style (reminiscent of Balkan voices, but with Logic's free South African Voices). Tremulated them in the style of River Boy of Cult of the Lamb fame—may he rest in peace.

Echoes of Relics | Hybrid Synth Orchestral, Game OST

Piano solo composed, performed, mixed, and mastered for the film "Give & Take."

Give & Take (prelude)

Final Composition project for the 2020 Spring Semester at the University of Lethbridge

No Vacancy

韻暖雲寰（雲の温もり；Verses Warming）MK6

第五版在 MK4 的基礎之上、重寫了 75% 的旋律，也做了對應的弦樂織體變動。第五版全曲作曲完成於 2020 年 2月，因當年八月底的音聲重新製作而定為第六版。
(MK5 Composition finished during Feburary, 2020. The final cello solo melody finished on 2020-07-19. Rebased as MK6 on August 30th, 2020 due to audio reproduction.)



作曲/編曲 (Composition / Orchestration)：孫志貴（Shiki Suen）；
曲式設計 (Formal Design)：駱集益（Fred Lorke）；

// 樂手（Performers）：
首席 - 小提琴＆中提琴（1st Chairs of Vlns & Vlas）：Konstantin Ilitskiy；
首席 - 大提琴（1st Chairs of Cellos）：奥村景（Kei Okumura）；
笛子與葫蘆絲（Dizi and Gourdflute）：莊士寬（Jesper Chuang）；

[Software and Instrument Samples Used]:
Steinberg Dorico Pro 3.5 (Sequencer);
PreSonus Studio One Professional 5 (Mix & Post Production);
EastWest Steinway B (Piano);
Arne Wallander NotePerformer 3 (String Ensemble)。

這是我的私人企畫《天高遠兮浮雲邈》一號女主角孫靜豪的主題曲、兼任製作人員名單配樂：強調其面對自己這段人生旅程因使命而行將結句時的坦然，加之對曾經擁有過的友情、愛情、姐妹親情的至無之信任。

天女之詩 第二卷 demo

[劣音質][2020][Op.14] 韻暖雲寰（雲の温もり；Verses Warming）MK6 Live

作曲＆編曲 (compose & arrangement)：孫志貴 (Shiki Suen).
寫於 2020 年 8 月 17-18 日。(Composed on Aug 17-18, 2020).

《天高遠兮浮雲邈》孫靜豪与九泉響的共用技藝展示主題曲，襯托二人各自專攻的技藝本領在扭轉局面時所帶來的強大氣場。

僅使用 NotePerformer 及 Dorico 內建的 HALion Sonic SE。

[劣音質][2020][Op.20] 以譜制勝（譜面で勝つ；Score to Win）MK1

韻澤雲川（韻が沢く；il Melodia di Nuvola）MK1 String Orchestral Dizi Live (Shiki Mix)
// 他の名前 (previously named as)：琴魄劍心（琴が魂、剣が心；Instrumental Soul and Swordal Heart）

作曲＆管弦編曲＆混音：孫志貴；曲式：孫志貴（中段）、駱集益（首尾）。
(composition & orchestration & Mix: Shiki Suen; Formal Design: Shiki Suen & Fred Lorke)
主旋律企劃於 2017 年 12 月 03 日、完成於 2020 年 9 月 27 日；編曲完成於 2020 年 12 月 4 日。
(Main melody drafted on Dec 03, 2017 and was finished on Sep 27, 2020; Orchestrated on December 4th, 2020)
中華笛 (Dizi): 莊士寬 (Jesper Chuang).
弦樂演奏 (String Ensemble): 北京國際首席愛樂 (Peking International Principles Philharmonik Orchestra)
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使ったVST音源は NotePerformer と「周志華氏の簫」だけ。
Dorico Pro 3.5 にて作曲と編曲と総譜とパート譜は一気に作りました。
「鳳凰たちは焔に滅び、そして新たなる自分が生み出され、新しい世界へ行く物語曲」です。
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《天高遠兮浮雲邈》的全角色總故事主題音樂，強調他們共同完成的歷史使命。
（天媛劍與天律琴經閱無數轉世，屢次浴火重生。）

除了真人演奏的曲笛與弦樂以外，僅使用 NotePerformer 及周志華老師製作的簫的音源。

[劣音質][2020][Op.24] 韻澤雲川（韻が沢く；il Melodia di Nuvola）MK1 String Ensemble Dizi Live (Shiki Mix)

This short orchestral track was composed in response to the ASTeRIX call for responses to SQ1P2 https://blogs.ulethbridge.ca/asterix/2021/01/06/sq1p2-art-reveal-reception/

Remembrance

🎵Composer | Producer | Musician
🎮Music & Sound | #gameaudio design
👇Music & Links | #vgm #bgm 🥰
jonalex.io

Give & Take (prelude)

Jonathan Alexander (蔣智海)