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It's.a huge work. Surely some people will tell you it's a mix of styles. It sounds jazzy i the beginning, classical and romantic afterwords. To speak the truth, I hav no problem with that. Even the beautiful "dolcissimo e cantabile part" has its place for me. I only have some observations: -The thick chords at the bottom f the piano (measure 10) are always "dangerous", but you go up quickly and they seem to play a role there -I'm not very fond of so many octaves (right and/or left hand). It's, perhaps, my particular taste, but I always try to look for other solution avoiding the octaves.

Hey SilverWolf, Yeah I wanted the orchestra to not sound too crowded and rather to be contemplative, as the journey to the Moon must have been. Thank you for listening to the piece and taking the time to write here. Hi Monarcheon I definitely have a lot to learn when it comes to harmonies and music theory. I try to sensibly build my harmonies but I also try to follow my feelings as much as possible while I write music since I feel this is what will make a piece interesting. Thanks for the feedback, I'll try to analyse my piece a bit deeper. Hey Luis, That is really nice of you that you've taken the time to see the video. I tried my best but I'm in now way an editor. I had a lot of fun doing it though. And yeah I had to resolve the tension in some ways around the 4 minute mark. Hey Guillem, So I used mostly Cinematic Strings for the sustains, and the cello legato you hear is Tina Guo Legato Cello. I think I layered an extra double bass/Cello for the low part of the orchestra from Metropolis Ark 1. And the wind instrument you hear is a duduk I played for the project. Thank you for listening, it was a really interesting and fun project to work on from the basic idea to the editing of the video. Wishing you all the best, Nicolas

Hi Juan, Thanks for this interesting post. Wish I had seen it earlier. First of all, you have the right ideas and you have made it into something quite nice. There are, however, inconsistencies in certain motifs that you have applied. For example, the opening 6 bar phrase follows a do-re-mi pattern (that is, the upper voice by convention should rise from the 1st degree to the 3rd). In your example, the entire motif is over 6 bars with an irregular rhythm, and the upper voice does not commence on the tonic but instead the dominant, falling to the mediant. The emphasis on the mediant at the beginning is unconventional for the reason that that the emphasis should be place towards the end of the pattern. To help illustrate, I have adapted your opening idea and it should be apparent how such phrases might appear in classical works. After the do-re-mi pattern, I developed some of the ideas that leads to a perfect cadence, after which your shift to second subject might occur. One final point I would make is that you should refrain from changing the meter immediately after the first subject. I would be interested to hear your underlying reasoning for this as is quite unusual, that is within the confines of common practice. Hope this helps.