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Good evening, all! Apologies for being absent the past while. I recently started a new job (I love it!) but it, has taken up a chunk of my freetime. But tonight I come to you with a WIP piece. I was recently inspired to revisit one of my favorite cartoons from when I was younger, Gravity Falls. For those unfamiliar with the show it's a great, well-written Disney cartoon that was filled with hidden codes, cyphers, messages. All linking to the true hidden story within the show. It was great! So, being inspired to revisit it I wanted to do something inspired BY it. This piece is inspired by the music within the show, and hopefully, the whimsical but mysterious atmosphere the show carried. Hope you enjoy the listen!

I see you like Scriabin, you have quoted (or at least I think they are quotes) the third, fourth, fifth, seventh and ninth. The beginning with low tremolos like the fifth The first theme sounds a lot like the fourth’s second movement As you have mentioned, the arpegiated texture and even the marking etcinelant comes from the seventh The repeated notes, specially the ones around bar 74 3:00 have similar rhythms as the ones in the ninth The leading to the recapitulation of the second theme in a majestic way sounds like the reintroducing of the melody from the third movement of the third at the end of the fourth movement I think it is fine to quote composers sometimes, and specially in this case is justified because it is in most cases a different style. Are my conjectures too far from what you thought when you were composing this? Thanks for sharing Manuel

This music has a very mysterious air because of that beginning with what seems to be a celesta sound and the later harmonies, quite dark, but very interesting and beautiful. Also with certain punctual dissonances solved... I liked it a lot.

A very nice and attractive piece. I agree about the harp. In the orchestral forte it doesn't have much to contribute. It's not going to be heard. That's why many late period Romantic composers who used very large orchestras included two harps. To increase the volume, but also to be able to make impossible chromatic games with only one harp. The harp is a fascinating instrument, but you have to spend a little time to understand how it works if you want to write real things.

The glissando can still be okay if you bring down the harp in the mixer (overall, now that I think about it, the harp seems to be too loud throughout the whole track, not just the end). And you can switch the type of glissando that Musescore plays back from chromatic, to diatonic to portamento glissando. If you just switched it to diatonic, and bring down the volume it could still have a really nice effect that I think you were going for.

Ok, I just uploaded the 2nd draft of my composition with the newly modified harp section near the end. Now it plays triplet harmonies instead of the weird glissando runs. Thanks @PeterthePapercomPoser for pointing out my mistake! ~Frank

Hi @Frank Normandy! Great heroic piece! The thing that really jumped out at me and that I felt I had to comment on asap is the harp part near the end - after 1:10. Not only is the harp unrealistically loud, but from what I can tell, is playing chromatic glissandi up and down the register of the instrument. Harp can't play chromatic notes in this way as it's conceived of and constructed as a heptatonic instrument which means it can only play modifications of a 7-note scale. Because of this, this rendition sounds really unrealistic and unidiomatic. The part where the harp starts its glissando is so dominated by the harp that it seems like the most important part of the piece at that point, which sounds comical (since it clearly shouldn't be the most important and salient feature of the music at that point). I had to say something about that LoL. Thanks for sharing. Edit: I thought you were familiar with the particulars of how harp should be used owing to your Dreamscapes contest entry?