theme and variations Variations on Alula's Theme | From the game OneShot

Here's a big piece for ya'll. I think this is the first Theme and Variations that I have ever finished, so that's something. I was so addicted to this theme that I decided to make variations out of it. 

Anyways, there are 25 Variations, and it's 30 minutes long. Yes, it's that big. It was a challenge to compose this piece because I didn't know how big it could get, and pacing the different variations between the loud, fast, and slow was also tough. But the most frustrating of all was, of course, creating the score. It was painful!! Took me 3 weeks!!! Arghhhh

I hope you have time to listen to this one but if you don't, I understand. Put a lot of effort into this one and I feel like I need a break lol. Hope you guys enjoy the piece!

Wow, that is a comprehensive diaplay of variation skill. Nice job!

That's not my preferred style, but I admire your skill. The opening falling third motive and iambic rhythm is kept throughout the piece with rich variety.

Do yoi arrange the variations in a planned way or not? Just curious about that. I only slightly dislike the texture and harmony of the work. Most of the variations are thick in texture and harmonic content is quite similar. Maybe some more thin texture and simple harmony can be added?

3 hours ago, Ferrum said:

It was painful!! Took me 3 weeks!!! Arghhhh

That's already a speedy achievment! For me I require 3 years to do so! I just take 6 years to complete my first clarinet quintet 🤣.

15 minutes ago, Henry Ng said:

Wow, that is a comprehensive diaplay of variation skill. Nice job!

That's not my preferred style, but I admire your skill. The opening falling third motive and iambic rhythm is kept throughout the piece with rich variety.

Do yoi arrange the variations in a planned way or not? Just curious about that. I only slightly dislike the texture and harmony of the work. Most of the variations are thick in texture and harmonic content is quite similar. Maybe some more thin texture and simple harmony can be added?

That's already a speedy achievment! For me I require 3 years to do so! I just take 6 years to complete my first clarinet quintet 🤣.

 

Oh yeah definitely! I wanted to keep the original harmony of the theme so when it got to like the later variations, you would be still able to tell the theme. But the cons to that, the harmony are slightly repetitive. You could tell that the harmony aren't my focus in this piece. I should probably consider that in the future. 

Also, it was planned to create more variations that variate the texture and harmony, but I already had so much variations composed. So like, I'll keep this simple, I guess.

To answer your question, yes and no? In the beginning stage of my process, I did not arrange the variations with a plan. I was composing as much variations as I could. But as time went on, I wanted for the ending theme to be from a previous variation, like a predictable ending or some sort? So I picked Variation 13, and kinda scattered it through out the piece (I think you can hear 2 echoes of this before the coda). And of course, before the big coda, I toned down the variations with less movement and build up from there.

36 minutes ago, Henry Ng said:

That's already a speedy achievment! For me I require 3 years to do so! I just take 6 years to complete my first clarinet quintet 🤣.

Oh man, I thought I was the slowest one to create a score!!! I admire the dedication and motivation. I felt like I was gonna throw up looking up the same score every day lol.

Yknow, I did not expect a quick response of this one, but I hella appreciate it!!!

32 minutes ago, Ferrum said:

Oh yeah definitely! I wanted to keep the original harmony of the theme so when it got to like the later variations, you would be still able to tell the theme. But the cons to that, the harmony are slightly repetitive.

Maybe you can pick different elements from the thema to vary in different variations, e.g. melodic/motivic content (descending third), harmonic, rhythmic(iambic), the sixteenth note flushing, etc. I remember in Beethoven's Diabelli Variation, he picked the openimg turn figure, the G-C upward fourth bassline, E-F-A melody, the monotomous repeated chords, harmonic content, melodic contour etc to develop in each of the variations, rather than having all the elements appear in different variations to make it recognizable. The elements are cut, transformed and transfigured throughout the piece.

32 minutes ago, Ferrum said:

To answer your question, yes and no? In the beginning stage of my process, I did not arrange the variations with a plan. I was composing as much variations as I could. But as time went on, I wanted for the ending theme to be from a previous variation, like a predictable ending or some sort? So I picked Variation 13, and kinda scattered it through out the piece (I think you can hear 2 echoes of this before the coda). And of course, before the big coda, I toned down the variations with less movement and build up from there.

Yes I feel like at the beginning it freely develops, but later on there is some progress making. I have to re-listen that echo once more, since I could not recognize that in my first listening.

32 minutes ago, Ferrum said:

Oh man, I thought I was the slowest one to create a score!!! I admire the dedication and motivation. I felt like I was gonna throw up looking up the same score every day lol.

I nearly give up the piece since I think I don't have the skill and motivation to finish that. Unfortuantely I didn't have time to look up to the same score. Even though it took me 6 years to finish it, the time on real composing is much less since I can only compose in rare free time in weekend. But that definitely helps purifying the content. It helps me plan every detail of the piece and make it as flowing and reasonable as possible.

32 minutes ago, Ferrum said:

Yknow, I did not expect a quick response of this one, but I hella appreciate it!!!

Yeah because I want you to know how much I appreciate your work asap! I admire your quick progress and skills! Great Job!

So I listened to this when you first posted. I needed some time to process such an immense piece lol, and I relistened tonight.

First off, wtf dude. This is some serious composing. I could go on and on about how much I love this. Your variations were clever and definitely had a wide range of difference. I'd disagree about the sameness in harmony, I think you needed that to keep it coherent for the variations that went off into space (although it did wear on me a bit, probably because it's 30 min. long). You could have maybe drifted away from a C tonal center a bit more if you were worried about it, but it didn't really bother me. 

I really admire the care you took in your transitions. Some were woven into the next variation, while other's had a more cadential ending. That's my favorite thing in writing a theme and variations. I really enjoy fitting each piece together seamlessly; so many of the style sound blocky to me...like here's a variation, then another, then another. But the key for me is to make it a piece of music, rather than have "pieces" of music. 

Awesome changes in texture too. For the most part, it's like you knew right when I was getting bored of a thick texture, or bored of a slow one. You did a tremendous job taking the listener back and forth between so many different ways of presenting the theme. 

I have to commend you on your score as well. It's pristine, and crystal clearly shows how much time you put into it. It was fun to follow along the journey the whole way through.

I only have a few criticisms, and just know they're probably subjective and minor. This was truly a masterwork.

The first time I listened, I really liked it, but knew I was missing something. It wasn't until the second time I listened that I figured out what it was. There is such charm in the theme, which I'm guessing you attached to that too. I really love the theme (never played the game before :P). Even though you dispersed the theme throughout very well, and most of the time it's easily recognizable, I felt like there were other times it gets buried under an assault of complexity. For instance, right away with the first variation, I'm hit with thick chords and a jaunty rhythm. Maybe that's what you were going for, but I would have eased my way into a thicker language. 

On the second listen, I didn't feel that way as much. In fact, maybe hardly at all. But was it because I knew what I was looking for? It's hard to tell, but my point is, this is 30 minutes long. How many people will listen intently all the way through, then listen again to really grasp or get it. Possibly, I'm dumb lol. But that was just my impression. 

Like I said though, I don't want to detract with how much I enjoyed this one. This is truly a wonderful work of art, you should be very proud. You've made me a fan of your writing, and I admire your skill in composition; it far outweighs my own. 

59 minutes ago, Thatguy v2.0 said:

First off, wtf dude. This is some serious composing. I could go on and on about how much I love this. Your variations were clever and definitely had a wide range of difference. I'd disagree about the sameness in harmony, I think you needed that to keep it coherent for the variations that went off into space (although it did wear on me a bit, probably because it's 30 min. long). You could have maybe drifted away from a C tonal center a bit more if you were worried about it, but it didn't really bother me.

Thank you for the kind words!!!!! Again, I feel like I could vary the harmony more on some of these variations looking on how long the piece is. Also, yeah, I should've moved away from a C tonal center a lil more.

1 hour ago, Thatguy v2.0 said:

That's my favorite thing in writing a theme and variations. I really enjoy fitting each piece together seamlessly; so many of the style sound blocky to me...like here's a variation, then another, then another. But the key for me is to make it a piece of music, rather than have "pieces" of music. 

Literally the same thought when I was composing.

1 hour ago, Thatguy v2.0 said:

There is such charm in the theme, which I'm guessing you attached to that too. I really love the theme (never played the game before :P).

Originally, I really don't remember the theme as much as today. But one day when I was listening to the whole OST album, this theme kinda resonates on me. It's very different from the other OST, and as you said, very charming. 

1 hour ago, Thatguy v2.0 said:

I felt like there were other times it gets buried under an assault of complexity. For instance, right away with the first variation, I'm hit with thick chords and a jaunty rhythm. Maybe that's what you were going for, but I would have eased my way into a thicker language. 

Oh yeah, most certainly! First variation I feel like should just be simple, then slowly go to complexity. I just have this weird thing over thick chords. Probably listened to Rachmaninoff and Scriabin a lil too much.

1 hour ago, Thatguy v2.0 said:

On the second listen, I didn't feel that way as much. In fact, maybe hardly at all. But was it because I knew what I was looking for? It's hard to tell, but my point is, this is 30 minutes long. How many people will listen intently all the way through, then listen again to really grasp or get it. Possibly, I'm dumb lol. But that was just my impression. 

As I uploaded this piece, I knew very well that a lot of people would not even bother a 1 movement 30 minutes piece.  That's why I put a warning of "This piece is 30 minutes long" and "I hope you have time to listen to this one but if you don't, I understand" lol.

1 hour ago, Thatguy v2.0 said:

Like I said though, I don't want to detract with how much I enjoyed this one. This is truly a wonderful work of art, you should be very proud. You've made me a fan of your writing, and I admire your skill in composition; it far outweighs my own. 

I'm always looking for feedbacks and I still have sooo much to improve in term of my skill in composition. I appreciate you for replying and giving me feedback! 

There is definitely a logical progression going on between the different variations, but I thought the transition between I and II was kind of sudden.  Notation nitpick:  in variation V, meas. 119, I felt like it would have been more logical to have that C# chord as a Db since you have an F natural and are using flats in that measure.  Another notation nitpick:  in variation X basically throughout the whole variation, you use sharps as opposed to flats pretty consistently, but there are weird enharmonics and misrepresentations of intervals (such as the augmented 2nd in meas. 190 between the D#'s and F's).  If you're going to be consistent with using sharps you should spell your F's as E#'s to make it apparent at a glance that it's the 3rd of a C# major chord (meas. 196).  But to me at least it does seem like it would have been better if you used flats in this variation even if it does lead to Cb's in certain places.  Also - I noticed a mistake in your score - in meas. 208 you label that variation as variation X even though the previous variation was variation X (I think this one should be XI because the one that follows it is XII).  In variation XIII, meas. 258 - 263 it seems like that spot would have been really well suited to be displayed on multiple staves like you did earlier in the piece, for clarity.  As is that part has a ridiculous number of ledger lines below the left hands treble clef.  Yet another notation nitpick:  in variation XIV, meas. 272, I would have used Eb's instead of those D#'s you employ because it organizes the pitch classes into more neatly stackable tertian chords (an Eb, G, B and D makes a really nice Eb augmented major 7th chord btw - nice).  In 274 I can understand why you might want to use a D# there because in that case it's a #11 of an A minor 9 chord.  In meas. 283, that D7 b9 doesn't have a 5th in it so it might be preferable to spell it as D, F#, Ab, C, Eb instead of using sharps like you did - that's also a really cool chord.  Some really colorful sonorities you use in this!  In meas. 289, 293, and 303 you might consider using Bb's as well instead of A#'s.  It seems like you're borrowing those from D minor.  I couldn't actually sustain this level of detailed reviewing throughout the whole piece, but overall I think you did a great job with these variations!  I've listened to this piece multiple times now all the way from beginning to end and find each hearing more enjoyable than the last.  Regarding the different tonalities you visit throughout these variations, I personally didn't see you clinging to C major too much at all.  You start in E major, visit Db major, Eb major and D mixolydian, among, I'm sure, many others.  As far as favorites go, I liked variations VI, XIV, and XVI the best.  Towards the end I felt like the variations took on a "really long winded preparation for an end that never comes" kind of quality.  Bartok always tried to end his pieces succinctly by abbreviating his recapitulations and such.  Not sure if that's really applicable in this piece though.  Thanks for sharing this gargantuan piece!  Great job!