vocal Rhapsody on devText | from The Interloper Series | scoring progress

hello

wow another WIP?? and you havent even finished that symphonic variations and the piano suite??

well thankfully this piece is done, and i just need to fully score the thing and do some finishing touches.

this is a vocal work for soprano, oboe, tenor sax., celesta, piano, violin, viola, and cello.

the song is from an internet ARG/webseries, called Interloper, based around the Source game engine.

i took the song's original melody and just develop the ever living fck out of it.

vocal is from a voice synthesizer, singer: Sonata (http://utau.wikidot.com/utau:sonata)

the form is....eh...yeah. but hopefully it's coherent.

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INTRODUCTION. (b. 1-121) > introduces the themes, containing three sections: 1st (b. 1-44) and 3rd (b. 97-121) sections are the same. the 2nd section (b. 45-96) is a variation/development of a motif from the previous section (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.

TRANSITION (b. 122-136), variation of intro first section.

A. (b. 137-204) > pretty much the combination of the intro's three sections. vocal entrance (b. 151). 2nd section of the intro are 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. 

TRANSITION (b. 205-219), same as the previous one, different instrumentation

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and that's the end for this WIP. lemme know what ya think! (ost starts at 29:50, lyrics appear at 30:09)

Hi @ferrum.wav!

On 12/9/2025 at 2:21 PM, ferrum.wav said:

lemme know what ya think!

I thoroughly enjoy this one! This combination is fascinating and I especially love the celesta throughout the whole piece, it really gives an imaginative sound here! The motives are very apparent and coherent in the whole piece. 

Really the only thing I am less agreed with is the introduction of the voice at near the end of the piece. When I am listening to this, I am truly shocked when a female voice appear and sing the lyrics! Maybe it's just the poor AI generated sound, but I do think you can just remain instrumental music here since it's so well developed and colorful before the voice emerges. Or if it's a real voice it will be much better, but I think instrumets alone would be enough.

Thx for sharing!

Henry

2 hours ago, Henry Ng Tsz Kiu said:

Really the only thing I am less agreed with is the introduction of the voice at near the end of the piece. When I am listening to this, I am truly shocked when a female voice appear and sing the lyrics! Maybe it's just the poor AI generated sound, but I do think you can just remain instrumental music here since it's so well developed and colorful before the voice emerges. Or if it's a real voice it will be much better, but I think instrumets alone would be enough.

since i've only shared this part, i could see why it is jarring to hear the voice. the voice is just kinda there at the end with no resolution. however, the whole completed piece, which is 17 minutes, was built with voice in mind so i don't think i could substitute it. there are still ways to go with this piece.

i also could see why the voice-synth is poor sounding. i've tried mixing it to better blend with the instruments but it's still way too thick. i'll try finding another voice bank/singer for the program that i use (openutau) orrr a real singer, which is unlikely cus i don't even know where to start with that

2 hours ago, Henry Ng Tsz Kiu said:

I thoroughly enjoy this one! This combination is fascinating and I especially love the celesta throughout the whole piece, it really gives an imaginative sound here! The motives are very apparent and coherent in the whole piece. 

glad you think the motives are very apparent! though we'll see when i finished scoring the whole thing

thanks for the feedbacks ! i'll keep those in mind 🙂

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:

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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'.

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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.

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hopefully you guys will still able to follow the piece without looking at the analyses stuff, but yeah, enjoyy