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Over the past half a year or so, I have been working constantly on these pieces, it taking the highest priority out of all the projects I had been working on. Throughout these pieces, I explored and pushed the boundaries of my own style, experimenting with conventional and unconventional harmony, and attempting to embody some of the composers I most idolize. This is the first time I've ever undertaken a multi-movement project and truly experienced what it's like, and it has been such a satisfying and rewarding 6 months. I've written, rewritten, and rewritten again many of these pieces, but it's all worth it. Presenting, Obscurity.

Hi Peter. Thanks for listening and your thoughts. You are right in what you say. Even though the cello ascend for a short time, I always kept the pizzicato accompaniment low. I have a hard time preventing sounds from mixing when I expand the range, I think this may be related to my inability to go beyond basic harmony knowledge. I need to improve myself in this regard, thanks again

Hello Peter, This is a very surprising comment! I would lie if I said it was an aesthetic will... Simple Random is at stake here unfortunately ! The cut was planned to be about 2/3 of the piece, since it is a strophic form with variants. And chance places this gap in this place... And now you have piqued my curiosity since: by applying the same calculation to another vocal piece (Hantise) I find about the same results with a gap also around the golden ratio! I am like the vain Mr. Jourdain of the "bourgeois gentilhomme" in Molière's play, who does prose without knowing it... (I do golden numbers without knowing it Haha) In any case, I would be curious to know what motivated you to make these calculations about my piece! Have a good day

To me the pizzicato accompaniment and the key of the piece in general seem too low. I think being so low the pizzicato strings sound overly wet although I don't know if lowering the reverb will necessarily address the problem I perceive. I think the piece also stays in the same range for too long I think it would be a nice respite if there was somewhere a place in the music that ascended to a higher tessitura for all the instruments. With the whole piece in the same range it cries out for a contrast either by making a different contrasting section or by letting the instruments play in a different key or range at some point in the music. But that's just my perception of this piece. Thanks for sharing!

I have exactly the same problem. My works are either too repetitive; or too wide ranging, with disunified motifs!