This piece of music was probably the first one in my bag of tricks I'd consider mature, and shows mastery in a variety of skills, though still very flawed in itself.

I managed to use my weakness of structure to my advantage here and take on a more programmatic development, a stream of consciousness that comes in, what I feel is 3 distinct parts.

Part 1, 0:00 - 3:00

This is a chaotic 'tempest' which explores both bitonality and atonality, something I was growing great affinity to beyond the traditional forms of classical music you might think in the direction of Chopin or Beethoven. I made conscious effort to steer away from these repetitive musical junkyards and explore what the new world has to offer. Influences came from John Adams, Charles Ives, Stravinsky, Schoenberg and more.

I attempt to use various extended techniques such as cluster harmonics and a lot of stuff that doesn't sound out in this cheap midi or virtual instrumentation.

Anyway this first section I suppose sets up the role of each instrument in some inexplicable way.

Part 2, 3:00 - 5:45

Here, what is sounded is not what was written exactly. The repeating bass line in the electronic synth bass and piano was written out to have the given notes played randomly at the discretion of the performer, with various ornamentation instructed. meanwhile, the violin is established as the solo instrument that we would now follow in its journey to the end of the piece, dancing around the woodwinds.

A bitonal thematic motif will now be heard and repeated, giving the ears something to cling onto and feel like the song is actually connected with some continuity, unlike the previous tracks I've shown. The motif you can first hear around 3:02, again at 3:24, and then modified throughout slightly starting from 3:54 to fit more subtly into the piece. I still feel quite proud of how I mastered the harmony of bitonality in a way that, to me, sounds nice.

Bitonality, for those who don't know, basically means two keys playing at the same time, so the notes of C major might play at the same time as F major to create some interesting melodies and harmonies you wouldn't hear in traditional classical music. Atonality means there are no keys at all.

part 3, 5:45 - End

I could never decide which part was my favourite out of part 2 and 3, they both tell a totally different perspective of the 'story', but the piece on the whole has now transitioned from chaos to order and serenity with a much more stable tonality that feels more comfortable to the listener, as if finding some kind of peace, or escaping some prior pain.

Happy endings all round, basically.

The underlying piano repetition here is also meant to be randomized notation in the piano but I couldn't program that in at the time. The effect is more or less the same.

Overall i set out to do something and I think I achieved it here. i became much more fluid rhythmically, exploring time signatures and rhythmic flow that feels more natural and doesn't stick to a regimented 4 beats on the beat for 6 minutes, the piece has a story to tell whatever that may be to you, and I got to play around with a whole bunch of weird sounds and techniques. Another weakness I feel I managed to overcome was using too many separate ideas in a single piece. In this case I managed to spread out a small handful of ideas over a large piece, quite a substantial accomplishment for me!

I was very excited to get this performed but alas, it was far too ambitious and could not be done, and I've long since lost the sheet music so it will always just be my little n00b university project, a memory and an MP3 file. Ahhh well.

I might show a couple of fun things I just did in my spare time tomorrow, but until then, G'night!