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I wrote this one back in 2014 while exploring triplets in waltz form. Ten years later, I thought it'd be fun to revise and share it with you guys. It originally had a "Waltz" in the title, but I decided to change it to Étude Scintillante (or Scintillate Etude), which roughly means "sparkling study," since the high triplets remind me of sparkly stuff. If that makes sense. Hope you enjoy it!

Hi @PeterthePapercomPoser, Many thanks for taking the time to give me your feedback. Interesting, gives me another perspective of my work, thanks! (I never looked at it like that, but indeed, your analysis makes sense!) Had to look at the definition ;-), and indeed, I used quite a lot of it in my piece. And thanks for the comment. Thanks for that, it for sure will encourage me to continue composing! Take care, Julien

Thank you! It would be a great idea to compose a metal/rock opera about the story of Faust... 😄

Hi again @olivercomposer! Wow - this is another great metal song from you! Are you planning on writing a metal rock opera? LoL I like the 3rd and 7th stanza which kind of act like the chorus of the song and also let you end on the dominant of the key giving the song a more interesting macro-tonal plan even though it stays in one tonality without modulating. Thanks for sharing and I'm looking forward to more of your music!

Hi @mazeth I personally enjoyed the section at 0:34 - I think it manages to marry the baroque elements with a more cinematic/storytelling approach to harmony. I think the Alberti bass would usually get tiring if used this much in a piece that stayed in a classical style, but since this doesn't stay in a classical style it doesn't encounter that problem. The middle section at 2:27 sounds especially tragic and melancholy and I love it (and it also comes at a time when the Alberti bass might be getting tiring if continued). The gradual way you bring back the Alberti bass by mixing it with the middle melancholy section is also great and shows great skill in transitioning. And then you return to the cinematic section from the beginning at 4:41. Very pleasing formally, melodically and overall, musically. Thanks so much for sharing this gem!

Hi @arpeggia, I quite enjoy the waltz/etude! The modulation to Ab major is quite surprising and this part reminds me the Scherzo of Chopin’s Sonata 3. Delightful modulation to tonic major before the end too. What fingerings will you give to those octaves like b.112? 1-5-1 seems quite hard for it. Thx for sharing! Henry

I think it is a beautiful composition and very well worked. I would not know how to fit it because it has many resources of baroque counterpoint, but the feeling later on is quite romantic. I think the modulations make it quite modern, but some changes are very abrupt, not only in terms of modulation but also in terms of textures and rhythm. For example the passage from the sextuplets to the following (measures 26 - 27) is a bit surprising. I think you can totally change from one section to another but something I learned (and try to apply, although it is forgotten) is that the more different the sections are, the more elaborate the transition has to be. Another thing I find is that there is a lot of material, and while there is a sense of unity, it sounds a bit "rhapsodic". Good work!

Hi @mazeth, I think the piece is quite Baroque with many sequences and similar figuration. The hand crossing is interesting. I love your attempt for the modulations, for example in b38, but I think they can be smoother rather than just having a chord! For b.90, maybe having an A#-A natural bass will be smoother. I think the Db in the first section should all be C# since it’s in d minor! I think some of the expressions can be deleted since only one is enough for each staff! Thx for sharing. Henry

This has a pretty cool heavy vibe. Black metal isn't typically my favorite style of metal but I like this. Wouldn't mind hearing some nasty growls on it (maybe there is some on the album but I haven't listened to the other tracks)