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Ah, The Picture is the Slime who play with cute rabbit. ㅋㅋㅋ not eating ㅠㅠ;; Thanks for your feedback

A delightful work with rich harmonies and lush strings. The vocals are sometimes a little buried in the mix, and hard to make out. It sounds like you're using quite a strong reverb: so it might be an idea to reduce the wetness level. Good work though. I am interested to know what the graphic means? Looks like a rabbit being consumed by a plastic apple.

guys hear me out. “ the fruit hunter award of excellence.” when I review a piece of music for a competition and it demonstrates it’s excellence then it gets the special honor of my award of excellence. This always has been something that has been in my head after listening to a really good composition so it may be a gimmick that i may picked up. in order for a piece of music to qualify there are two gates The total average of the score is 9.5 or greater If a piece of music, is that a threshold of 9.45-9.49 but the taste score is 9.75 or higher then it will also receive the score but this is just my little stupid idea that I have it kind of just rolls off the tongue and I thought it would be fun to present it to y’all

Today I present the next prelude from my 24 preludes and fugues project. I composed it during the last few weeks as the „sketch“ for the current YCF Summer Competition „From Nothing, to Something“. For those who are not familiar with that competition (yet), the task is „to take the text from Paul Verlaine’s summer poem “Donc, ce sera par un clair jour d'été,” (So, on a bright summer day it shall be) and turn it into a piece!“. So the major challenge of this competition was not only to move from “nothing” to “something,” but I also tried to find a musical form that could capture this process of “searching”: When a composer has trouble coming up with a brilliant idea for a new piece, it sometimes takes several attempts, each of which yields different individual ideas. And there are some pieces that consist of several ideas that have been “glued” together, ultimately resulting in something like a “collage song.” I’m thinking, for example, of “A Day in the Life” by the Beatles or “Band on the Run” by Paul McCartney and Wings. However, there also exists such a kind of piece in Bach’s Welltempered Clavier, the Prelude VII in E-flat major, BWV 852. That particular prelude starts with a short section with runs of 32th notes, followed by a „more serious“ part in slow motion, that reminds me at a „chorale“. The third and longest part is a fugato with two subjects that further develops the ideas from the first two sections. With this particular Bach prelude in mind, I had thus found the model for the form and structure of my own prelude: 00:00 (mm. 1-14) The first section is an „improvisation“ which introduces the warm key of B-flat major. 00:34 (mm. 15-29) The second Adagio section could be a „chorale“ and is used to set the first stanza of the poem to music. Since I don’t speak a word of French and have no idea how the syllables are rhythmicized, I looked at Gabriel Fauré’s setting of the poem in his Op. 61, No. 7 to find out which words are pronounced or sung briefly and which are longer. As an interesting fact, I discovered that Fauré had actually chosen the same key, B-flat major, that I had chosen before. 01:31 (mm. 30-90) The third and longest section is a fugato based on two subjects, interspersed by further stanzas of the poem. The first subject quotes the first four-note motif of the „improvisation“ section and develops it further, paired with the second subject, thus creating a joyful and dance-like mood. 04:22 (mm. 91-114) The prelude finishes with a coda – or better to say – with a recapitulation of the „improvisation“ from the first section. Now in a more melancholic way, meandering between minor and major. I hope, you’ll enjoy it. Wieland Praeludium-XIII-F-sharp-major-with-coversheet.pdf Praeludium-XXI-B-flat-major-piano-abbey-steinway.mp3 Praeludium-XXI-B-flat-major-with-coversheet.pdf