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Hello @PeterthePapercomPoser, thanks for your comment. I have almost everything already composed in my mind. I will be superposing teme and variation and sonata form. Being the part shared the theme and the introduction to the sonata simultaneously (kind of like Valle d’oberman) I will share here my plan: Bells Theme/Introduction “Cadenza” Exposition First subject: Var 1 (Eb min) Bells (I will use pedal points and dissonant chord extensions as unsettling elements Var 2 (A min) River (I will use uneven bars 11/8 or 13/8 and dissonant chord extension, but this time in arpeggios as unsettling elements) Transition Var 3 (Atonal/ quiasi whole tone/mystic/a lot of French sixths) Forest with bats and birds (high tremolos and a constant state of modulation over a whole tone or something accompaniment, misplaced accents) Second subject Var 4 (Cb “”Major””, lots of whole tone) mystical spirit (whole tone runs, French sixths resolving to first inversion half finished chords, chromaticism and the melody itself is kind of unsettling)(this will not feel like a variation at all, since it uses the high pitch motif used in the introduction and combines it with a twisted version of the melody) Codetta: Ending of var 4, (Gb “Major”) Development: Not fully structured yet Recapitulation: (Ebm/Am) “First Subject” Variation 5 (though it will be a different number because there are more variations in the development)(a variation on variation 2 itself) River (Apart from all what I said before about this variation, tritone (petrushka) politonality in minor modes is added) Transition Variation 6, birds and bats and the forest, (really similar to variation 3 but shorter) Second subject: Variation 7, a mystical driving spirit ( really similar to variation 4, but what was before a languid melody is now driving and maintaining tension to end the recapitulation First subject: Variation 8 bells (like variation 1, but fortissimo and the bells are now polytonal, growing intensity) Coda: Variation 9: birds and bats petrify and hit the monastery bells (another version of the transition, the tremolos done to represent birds and bats freeze into repeated chords) Variation 10, the driving force of the spirit intensifies and encourages the possessed monks to burn the monastery (like variation 4, but much stronger in character Polytonal mess that builds up to a climax Restatement of the theme, now polytonal, being played simultaneously in Am and Ebm. Devil’s laugh As you can see, I have almost everything in my mind, and there is a program, which I will not share in its entirety until the piece is finished

Hi @Frank Normandy! I used to participate in a monthly music competition website called midi-contest.com (it is now defunct). The submissions to that contest were required to be at minimum 1:30 in duration so your piece would just barely pass the requirement! This piece starts off with a wonderful melancholy and moves to a slightly more uplifting and optimistic middle section (or rather, an answer, to the first phrase I guess). I can easily imagine this piece as a programmatic background music to some kind of story told in silence. Thanks for sharing!

Nah, our notes live forever