Oneshot alula4/29/2023 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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