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| author | Lilithtreasure <62890895+Lilithtreasure@users.noreply.github.com> | 2024-10-27 11:12:36 -0400 |
|---|---|---|
| committer | (quasar) nebula <qznebula@protonmail.com> | 2024-12-11 18:52:34 -0400 |
| commit | 6b58a3decf28bfd10ebfa4f9dba6e2cb69a40040 (patch) | |
| tree | b8d03537f5433233d1e707711200762614537dee | |
| parent | f80c9ac2ef086352289eb3a5d9c527728afe66c9 (diff) | |
big frog (thanks Makin)
split up the Frogs section into Frogs (first four tracks) and Big Frog (last four tracks, thanks Niklink, sorry if i'm very emotional today, it feels like my mask has slipped off hard)
| -rw-r--r-- | album/genesis-frog.yaml | 2 |
1 files changed, 2 insertions, 0 deletions
diff --git a/album/genesis-frog.yaml b/album/genesis-frog.yaml index ce1c827a..2976b38c 100644 --- a/album/genesis-frog.yaml +++ b/album/genesis-frog.yaml @@ -371,6 +371,8 @@ Commentary: |- It opens with a solo horn call to signify the beginning of the hunt. Normally these sorts of calls are based around perfect fifths, but I totally broke the rules like the rebel I am and used it as a way to introduce the main theme. After that, the piece is split into three sections, the first being a march featuring a piccolo playing a variation on the Pondsquatter theme. The orchestration gradually fills in, and an ostinato is introduced in the xylophone and santoor (a string instrument native to India) that is used throughout the piece. After the march, we dive into the undergrowth, represented by the next section. The music makes a shift into 7/8, though no true pulse is really established. As a result, many different lines of counterpoint come in at disjointed intervals, lending to the image of a lot of different frogs hopping around in the depths of the forest. The pace picks up again when the music shifts back to simple meter and the march rhythm is brought back. There is more counterpoint here with the main motive of the piece; it is overlayed with itself in several different rhythmic rhythmic transpositions over the march ostinato. Then, after a brief interlude, the piece shifts back into 7/8 with more of a pulse, and the Pondsquatter theme is repeated in full followed by a coda based on this piece's motive. This is one of the few pieces on the album that ends on an unambiguous tonic chord, which I thought was very refreshing at this point. Especially in light of this piece, which I promised would be overkill thanks to all the ridiculous directions it manages to go in for its duration of five minutes. --- +Section: Big Frog +--- Track: The Temple's Withered Bloom Duration: '2:55' URLs: |