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PROGRESS 2 i've changed the voice to a more softer one. hopefully it blends better. this progress will include stuff from the previous progress, skip to 07:23 for new stuff. new voice: Kumi (https://cubialpha.wixsite.com/kumivoice) updated analysis: -------------------------------------------------------- INTRODUCTION. (b. 1-121) > introduces the themes, containing three sections. we'll call the three intro sections 1', 2' and 3'. 1' (b. 1-44) and 3' (b. 97-121) sections are inherently the same. the 2' section (b. 45-96) is a variation/development of a motif from section 1' (the first three notes). i call it the "Look to the sky" motif, very important, appears everywhere. the oboe part of the 3rd section (b. 103) introduces the B section as a counterpoint. b. 88 piano introduces the first part of the real main theme of the piece, and b.103 oboe counter point is the second part, which appears in the B section later. basically, the whole piece is a journey to combining these parts together, just like in the OST. Furthermore, 1' and 3' are just rhythmically augmented versions of the first part (quarter notes instead of eights, added triplets), while 2' is created from the motif and exists as its own theme. TRANSITION (b. 122-136), variation of 1'. ======================================= A. (b. 137-204) > pretty much the combination of the intro's three sections. vocal entrance (b. 151). section 2' are thoroughly woven and augmented between the vocal melodies. sax part at b. 180 is the B section, again, as a counter point. the vocal part sings a lot of the motif's variation. the lyrics are repetitions of Look to the sky Don't contain me I'm not here TRANSITION (b. 205-219), same as the previous one, different instrumentation B. (b. 221-278) > b.221 is a slight variation from section 2' (b.63). pizzicatos from b. 227 onward is the motif. oboe at b.229 restates the the main theme's first part while the left hand piano keeps the same rhythm from b.221 throughout. b.232 is the same counter point as previously, albeit variated. b.237 strings and celesta form an ostinato from the main motif, leading up to the vocal entrance. on b. 238 onwards, the vocal sings the main theme with slight variation (repetition of "sky" and "me." the rest before "sky" was done to make it singable). viola scatters the motif everywhere while woodwinds variate the main theme's second part as counter point. from b. 247, a new rhythm is introduced on piano left hand, sax, and viola, depicting troubling wave-like upward motions. finally, the vocal introduces the second part of the main theme alongside a new stanza. In the dark I am free Out to sea I'm just drifting here floating the instruments try to restate the newly sung part (b.262) but immediately get interrupted on b.266 by the return of 2'. the section builds up into: TRANSITION (b. 280-292), another variation of 1', more epic. A*. (b. 293-???) > instead of the strings, the piano grandly introduces the section. the rest play out just like the previous A with different instrumentation. -------------------------------------------------------- hopefully you guys will still able to follow the piece without looking at the analyses stuff, but yeah, enjoyy

I'm sorry that I'm only just now seeing this. It has been a wild December for me this year... I've just added what little work I've done to it, most recently, above in the post. Duration wise, I hadn't gone much further but I believe you'll notice that it's much more fleshed out than it was previously, in what was already there. The playback has also (mostly) been balanced in regards to gain / volume of each part, based on their significance for each section.

it sounds like the background music of old PS2 games and brings me back to early 2000s. It sounds playful and fresh. I'm looking forward to hear the full finished track

This is by far my most fugal composition. I had today some realizations about the nature of music that really played into the unfolding of its structure:

Very fun to listen to. Something like this would need an explanation, or a scene so we can get the context behind the Christmas spirit. But I love the bass, it helps create that mischievous tone. The A section of your ABA format could be the antagonist. And the B section (the slower part), maybe is a call to the protagonist. There's a lot of information in this short piece, but the ABA structure helps keep things logical.

Here's my 3rd submission to the event!

I started this piece this morning and managed to finish it this evening! My inspiration was to write a fast Christmas piece as my pieces lately have all veered towards the same slow tempo. The form of the Scherzo is ternary and the overall form is Scherzo - Trio - Scherzo. Thanks for listening and I'd appreciate any of your comments, suggestions, critiques or observations!

Nice. Almost sounds kind of ambient.

I tried to show you something deeper not to show that skill doesn't mean anything my words was: "Music requires inspiration first and then skill, don't you think?" I already checked out your works and I appreciate them, I also said that I have completed pieces and some bigger ones but there is no must in it and this doesn't define any kind of skill, I also suggest you to listen some of my a "bit bigger" full pieces and some highlights from my Instagram to get a bigger image of how I'm thinking it, thank you for your time Henry.

Well Music is not just about skill, but it doesn't mean it do not require skill. Since you already have inspiration in the first place, so why don't you develop your skills to help inspire yourself more? Skill and inspirations are never opposing, but rather assist each other. Of course composing is always a personal thing and if you would like to compose sketches it will be fine. But if you check out my works, I am sure both inspiration and skills exist in it. Henry

Music it's not about skill Henry, I can't push for a continuation of something that doesn't inspire me to continue, and I can't push something to become bigger avoiding where my inspiration gives an end. Music requires inspiration first and then skill, don't you think? Music is not work, but a way of expression and release. I'm trying to get it done but I will never see it as a "must" or as a definition of how skilled or not I am, I hope you will do the same Henry

So maybe the next step would be to finish a longer piece, as it takes more skill to do so. Finishing 1 piece would be better than several unfinished pieces! Henry

Thank you! 🤩

Well I would say quite a number of people do this as they only post on forum but never review other members' works... So if this breaks rule a lot of members will be considered as breaking rules... Henry

That's all I had for this piece, and that's maybe an "issue" with me, I make a lot of short pieces that I can't keep them going In any possible way and pieces that I can never finish, if you go to my Instagram account I have like 200 highlights with different pieces in approximately each one and that's the half of all the pieces that I have in my phone, I have some "big" pieces but not a lot.

I did not say I do not like. I said it is too short. Flush it out. Make it longer.

I do not think so. Just expressing a concern.

Is the user breaking any of the above rules/codes of conduct?

I appreciate your opinion and it is okay if you don't like something about my music, sometimes I don't like my music too, but don't let labels lead you in the world of creativity, these are names just to introduce them not the definition of them. Thank you again for your comment Kvothe

HI, I have notice volume of uploads of rather short pieces from member. Some are old; some are new-ish. The issue I see he or she does not seem to provide active feedback on other members compositions. I want this member to flourish and learn, but...

An opus, my friend, is major work. This is too short.. This is more sketch. and there are so many ideas with in 40 secs, too. 😞

@Demertzis This etude is rather short, indeed. I can rapid scaler passages between each hands. Usually, etudes are longer what you posted. Look at what those before you. Study them. Emulate them. 🙂

@Wieland Handke I truly love the baroque instruments you have chosen for this trio. The counterpoint between them creates rich harmonies and melodies! I can see how this would be played with in a church.

@EmotionallyChargedMusic I love the textures that you use in this track. I can imagine robots marching along and humans destroying them. Overall, it is rather cyber punk. Thank you for sharing. Kvothe.

Hello my fellow composers! I bring you good cheers with this waltz. I was influenced by Woo works by Beethoven. While he has known for his large opus works, the woo works were less known. To me, they are fit with in early his period. They can be used to teach us much about harmony, form, and counterpoint. The waltz I wrote demonstrates: 1. BInary form is easy form to write with 2. T-D scheme is great approach. 3. Melodic sequences! and many more. Style: classical time: possible around early 1800's? Side note: I have not posted anything to YT. I am planning to: and those will be shared on here, with links.