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| -rw-r--r-- | album/genesis-frog.yaml | 6 |
1 files changed, 5 insertions, 1 deletions
diff --git a/album/genesis-frog.yaml b/album/genesis-frog.yaml index 9b4e56f3..ce1c827a 100644 --- a/album/genesis-frog.yaml +++ b/album/genesis-frog.yaml @@ -90,7 +90,7 @@ Additional Files: - banner.jpg - bg.jpg --- -Section: Main album +Section: Genesis --- Track: Prelude Duration: '2:03' @@ -169,6 +169,8 @@ Commentary: |- This piece is a musical retelling of the above passage. If you read it while listening to the music, the tone should match for the most part (as long as you are reading very, very slowly). This track's melody appears several more times throughout the album, and represents the "folk tale" and more legendary aspects of the Genesis Frog as seen through His followers. Because of this I tried to make it sound like a genuine folk tune, and ended up with something vaguely resembling a tune out of Eastern Europe. It's a melancholic sort of melody, which suits the grim tone of the text it is based on. It is passed through several instruments: first a solo oboe, then the violins, a soprano recorder, and a trumpet. After the main section is over, the piece shifts into a short woodwind chorale, and then into what I can only call a cadenza made up of tense suspended figures in the strings with an out-of-meter pulse underneath. I kind of wrote this last section accidentally, since it somehow started flowing out of the chorale and I just went with it. It seemed to have an air of urgency and importance to me, so I kept it in to represent "Skaia's reflection through broken glass", which is such a fascinating image. Broken glass has been a recurring motif in Homestuck and seems to hold important consequences every time it occurs, and the text implies it will be significant in the Genesis Frog's final destination. So the atmosphere of this final section felt significant and fitting to me. --- +Section: Consorts +--- Track: Consorts' Intermezzo Duration: 0:28 URLs: @@ -288,6 +290,8 @@ Commentary: |- As for the piece itself, I decided to separate it into two very distinct sections. The first depicts the Iguanas' life in the Land of Frost and Frogs before Jade stokes the Forge (which, incidentally, is the name of a later track which takes this concept even further); the second part depicts their life after the frost has melted away. Due to this structure, the first third of the piece is subdued and establishes a calm atmosphere with the strings and woodwinds, with not a single brass instrument to be found. The opening motive that continues to be used throughout the piece is an almost exact repetition of the Salamanders' main motive. All the Consort tracks are connected, but these two take it to the next level by building this piece's base off the main material of the last. The second part is where things get interesting. It is the only section of the album where I drop the orchestra shtick completely and use an ensemble of recorders, crumhorns, pipes, and an unconventional rhythm section featuring a dulcimer. I thought about what kind of music the Iguanas would make if given the opportunity. I figured they would have a lot of primitive instruments at hand and would produce simple, joyous music. This whole section is unabashedly a tribute to Kumi Tanioka's work in Final Fantasy: Crystal Chronicles. It's a sort of re-imagining of this world of ancient instruments that she created, and it was one of my earliest influences. There are also seeds of Yasunori Mitsuda in here; it is such a fun piece that I don't mind citing very strong influences here if people want to hear similar music to this. --- +Section: Frogs +--- Track: Frogs' Intermezzo Duration: 0:14 URLs: |