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Hi @PeterthePapercomPoser and @Hcab5861! I've modelled the overall texture and soundscape off of the bass aria of BWV 159 (which is imo the most beautiful aria Bach has ever written). The omission of a harpsichord continuo and the strings "harmonic halo" are both completely intentional - I want the mood of the music to be gentle, warm, embracing. In addition, I'm a little bit torn on Da Capo form. I think it works well in duets but by default I tend to avoid it. From a singer point of view I don't get excited about singing the first part of the piece exactly twice, and from a compositional point of view, your ritornello theme better be REALLY good to warrant a minimum of four exact repetitions (but more typically six to eight repetitions including fragments), at least for those themes that are tonally closed. I much prefer the scheme of ABA' in these cases (e.g. see the alto aria in BWV 197), where A ends in the dominant and A' ends in the tonic.

I really like film music and in many instances, I don’t see it as a distinct genre from classical because several great classical composers also wrote music for film which is played alongside their non-film (like Prokofiev and lieutenant kije), the forces and style are often very similar and in its greatest instances I think film music can achieve the same depths and heights as great classical compositions, and furthermore, there is a very direct evolution from Wagner and incidental music towards cinematic music, as they are fundamentally the same concept. With that said, it can also be really cheesy and cliche, especially today. Nevertheless I have a lot of “highlights” from the genre…in the interest of restriction I’ll just pick one for today.