![]() ![]() But to me at least it does seem like it would have been better if you used flats in this variation even if it does lead to Cb's in certain places. If you're going to be consistent with using sharps you should spell your F's as E#'s to make it apparent at a glance that it's the 3rd of a C# major chord (meas. Another notation nitpick: in variation X basically throughout the whole variation, you use sharps as opposed to flats pretty consistently, but there are weird enharmonics and misrepresentations of intervals (such as the augmented 2nd in meas. 119, I felt like it would have been more logical to have that C# chord as a Db since you have an F natural and are using flats in that measure. There is definitely a logical progression going on between the different variations, but I thought the transition between I and II was kind of sudden. You've made me a fan of your writing, and I admire your skill in composition it far outweighs my own. This is truly a wonderful work of art, you should be very proud. Like I said though, I don't want to detract with how much I enjoyed this one. How many people will listen intently all the way through, then listen again to really grasp or get it. But was it because I knew what I was looking for? It's hard to tell, but my point is, this is 30 minutes long. On the second listen, I didn't feel that way as much. Maybe that's what you were going for, but I would have eased my way into a thicker language. For instance, right away with the first variation, I'm hit with thick chords and a jaunty rhythm. Even though you dispersed the theme throughout very well, and most of the time it's easily recognizable, I felt like there were other times it gets buried under an assault of complexity. I really love the theme (never played the game before :P). There is such charm in the theme, which I'm guessing you attached to that too. It wasn't until the second time I listened that I figured out what it was. The first time I listened, I really liked it, but knew I was missing something. I only have a few criticisms, and just know they're probably subjective and minor. ![]() It was fun to follow along the journey the whole way through. It's pristine, and crystal clearly shows how much time you put into it. I have to commend you on your score as well. You did a tremendous job taking the listener back and forth between so many different ways of presenting the theme. For the most part, it's like you knew right when I was getting bored of a thick texture, or bored of a slow one. But the key for me is to make it a piece of music, rather than have "pieces" of music.Īwesome changes in texture too. I really enjoy fitting each piece together seamlessly so many of the style sound blocky to me.like here's a variation, then another, then another. That's my favorite thing in writing a theme and variations. Some were woven into the next variation, while other's had a more cadential ending. I really admire the care you took in your transitions. You could have maybe drifted away from a C tonal center a bit more if you were worried about it, but it didn't really bother me. I'd disagree about the sameness in harmony, I think you needed that to keep it coherent for the variations that went off into space (although it did wear on me a bit, probably because it's 30 min. Your variations were clever and definitely had a wide range of difference. I could go on and on about how much I love this. I needed some time to process such an immense piece lol, and I relistened tonight.įirst off, wtf dude. ![]() So I listened to this when you first posted. And of course, before the big coda, I toned down the variations with less movement and build up from there. But as time went on, I wanted for the ending theme to be from a previous variation, like a predictable ending or some sort? So I picked Variation 13, and kinda scattered it through out the piece (I think you can hear 2 echoes of this before the coda). I was composing as much variations as I could. To answer your question, yes and no? In the beginning stage of my process, I did not arrange the variations with a plan. I should probably consider that in the future.Īlso, it was planned to create more variations that variate the texture and harmony, but I already had so much variations composed. You could tell that the harmony aren't my focus in this piece. But the cons to that, the harmony are slightly repetitive. Oh yeah definitely! I wanted to keep the original harmony of the theme so when it got to like the later variations, you would be still able to tell the theme. ![]()
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