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VARIATION TROIS (3), is fully scored. very "tutti" variation, lots of moving parts. On the beginning bars, I contrasted the woodwinds from the previous variation with strings only.

It's really funny that you said this but I really only sketched out 2 themes: b.1 - b.35 forwards and the waltz, then, I added in the theme starting from b.36 in the middle of realizing the sketches. I kid you not, I did not add any materials outside from these themes. And you know what's even funnier? Those three themes has motifs of the first theme, particularly the first 5 notes of the first bar on left hand. In fact, it is a very very important motif. All of the other things that you heard outside from this are literally developments of these three themes, heck I could even say that the 2nd theme is a development of the first theme. The bit from b.97? That's a development of the waltz. The three 8th note figure from bar 101? That's also from the waltz. What about bar 109? Whoopsie, that's the waltz version of the first theme. What about bar 117? That's just the combination of the waltz theme and the first theme. Bar 129? That's the rhythmically augmented version of the first theme used as transition, and the bit after that? It's a repeat of the whole first theme with little variations. What about bar 151? That's a development of the transition from b.17 onwards, which is then used to transition to the repetition of the second theme. 2nd theme repetition starts from b.159, much more sweeter. Then I literally just took that theme and develop it even more on bar 175 onwards with more movements. What about bar 189? Oh look, the three 8th note figure is back but I developed it even more so that I can use it to transition to the waltz theme. Ooh the waltz theme now is a bit more calmer, more melancholic. What about the bit from bar 212 onwards? It's the Coda containing all previous materials that leads to the Risoluto section, which is again, just the development of the first theme. Bar 245? That's just theme 1 and theme 3 played together contrapuntally. Bar 250. It's bar 9-10 from theme 1 played and developed with the waltz theme. Bar 259? Sadder version of the first theme, which rises up to.....the three 8th note figure with a dissonant that eventually resolves to the tonic. And it's part of the first theme. I've added no new materials outside from these three themes. Though I get that you feel lost sometimes. I'd say the developments kinda distort the themes so it's unrecognizable on a couple of listens. But trust me that I only use the same themes throughout. I don't play the piano but honestly I don't mind if a player would execute some passage differently than my own intentions. If it works, it works. I'd probably revise though If I were given feedbacks on that. Before :30, that's a transition to a repeat of the first theme. Then at :47, I mean I used that second theme to contrast the much more rhythmically heavy third theme. I could also argue that the lost of the drive is worth it cus literally the next section is a build up to a climax and it's so much more exciting. No. 2 and No. 4 are like, 20% done, No. 3 is 40% done. Hopefully I get enough motivation to actually finish this suite too! Thanks for the feedbacks! Really appreciate it.

yeah, just a wacky modulation to G-flat major tonic they're actually the mood that I'm trying to achieve, thus "whimsy." so, it's great that you felt that way! yeah I could see that, I guess the harmony is similar to debussy, and the carefree-ness of both music, is similiar. well, this is actually my attempt at that since I've been working with existing materials and wanted to actually go back to composing original stuff so, there ya go. i guess i could try with the no variations. i'll keep that in mind. Thanks for commenting!

hello been taking a break from working on the variations, thought I'd continue working on this piece. if you had already read my catalogue, then you'd have probably known the other planned movements already. movements planned: No. 1 : Whimsy No. 2 : Home (Omah) No. 3 : Scherzo No. 4 : Affection No. 5 : Festive i'll continue to work on the variations after this as always, enjoy the piece. lemme know what you all think!!!

I always love ragtime pieces, and yours is really charming! I especially like how some of the cadences are a bit ambiguous and unpredictable. I think it keeps the piece fresh with the repetition. I also like how you combine both theme from A and B in the Coda. Overall, I think the piece is pretty solid and I enjoy listening to it. Thanks for sharing!

In terms of structure: Introduction (b.1-8) A (b.9-24) B (b.25-40) C (b.41-64), I combine and develop both melodies from previous materials, while adding a new dance-like melody. Clarinet melody of b.41-42 and b.48-50 are from A, the ascending 5th motion of b.50-51 is from B. Clarinet theme gets repeated on the piano starting from b.53. B* (b.65-78), with the ostinato and thirds from the intro. Cadenza (b.79-100), contains materials from A and B. A* (b.101-120), I develop the theme a bit more with a climax at the end. B** (b.121-128), B theme with imitative counterpoint between piano and clarinet, transition to the Coda. Coda (b.129-142), the first part of which is the Introduction section paired with the B theme on the clarinet, b.137-142 is the beginning of A but more conclusive, b.141-142 on the piano is the B theme.

Yeah, this is my own original material, just inspired by Medtner (as I've put it in my catalogue) Really appreciate the feedback, thanks for commenting!

@therealAJGS so far i've finished 9 variations, theme, 1 - 5 is the first section, 6 - 9 is the 2nd section (9 is just an orcrhestration of "The Legend"), and after is the finale, which i haven't started anything yet. the whole piece currently sits at 17 minutes. i plan to do 3 - 5 rapid ones after the 2nd section.

Also some description of Variation 3: It's in 3/4. Tempo will be a metric modulation: the quarter note will be the same length as the 8th note from the 2nd variation.

Yeah I really want to emphasize the note repetitions and use the toms again, also the motif at the end with the xylophone is the transition towards the next variation. I'll be using that motif a lot (comes from the first 5 notes of the theme, and is the first 5 notes of "The Legend," whose materials appear a lot in "Dark Sanctuary," makes sense in the context of chapter 4). Dude you've been consistently commenting on my progress and I appreciate every single one of 'em!!!!

VARIATION 2 has been fully scored!!! yipiieeee much more rhythm heavy, orchestration is much more heavier, theme is still very much recognizable, just under different context

Yeah honestly your analysis is gonna be so much better than mine cus I'm not really familiar with the themes (even though I did try to check out the mock-up beforehand), and there are so many of 'em I kept hearing and seeing the similarities but ended up overwhelming myself. That's why I put "Random things I've noticed" since it's really not a full in-depth analysis, more like "oooooohh this section is from that section but some things are different" You've read me. It sounds weird but like it's much more easier for me when it comes to working with pre-existing themes. I did start another piece in the middle of working on my variations. It's a fully original solo piano suite to contrast the tons of orchestration that I have to do, and it's for me to actually compose my own themes. But yeah, you're welcome!

Man the woodwinds writing on this is insane, heck I think the woodwinds are the spotlight of this movement (and the horns too). You've managed to really use all of the family's characteristics to their fullest. Love the canon woodwinds-only section on b.42 for contrast, followed immediately by another color contrast on b.58 by the string quartet and the horn for pedal tones. It's really dense with the variety of themes playing counter-points with each other. The harmonies are so colorful, also really like the transitions between the variations. Random things I've noticed: brass fanfare interruptions on b.228 are from the beginning (b.17), the upward fourths figure from the cellos on b.72 gets a lot of variations after this as foreground (starting b.89), middleground (tremolo strings from b.101), background (b.97), and cadence (b.86 violins, b.126-127 clarinets and oboes, b.135 strings, b.142-145 strings), figure from b.81 by string and oboes gets variated on b.166 (love this section) and b.258, the arpeggiated power chord figure on the harp gets used a lot until the end. Overall, I really like it. Thanks for recommending me your piece! This really motivates and inspires me to continue my own symphonic variation.

The passage is indeed an english horn solo, mimicking the OST. Glad you liked the added counterpoint on the clarinet. On the OST, it's just a repetition with thickened accompaniments and more emphasized drums, but I wanted a slight variation. I had to add 2 bars (b.9-10) to wind down the dynamic for the eng.horn solo, which is different from the OST (goes straight for it, doesn't build up to a climax), glad you like the reorchestration! Yeah I noticed the use of tom-toms on the OST and immediately picked up the importance of it, since it provides a unique hemiola rhythm kind of thing. Thanks for the comments!