beautiful violin and choral work my friend

Link to Book (English):
getinkspired.com/pt/story/520449/…english-version/

Link to Book (Portuguese):
getinkspired.com/pt/story/414704/aequus/

Context: (Contains Story Spoilers)

“Reckoning” portrays the moment when Loufric Vertere faces the consequences of persecution, loss, and betrayal. After fleeing the Inquisition, he manages to save his daughter, Liza, but arrives too late to save Eleanor. The treachery of former allies follows him when Magno is accused of sheltering a mage, leading Vertere into a decisive confrontation with Lord Damian, charged with grief, fury, and reckoning.

Dialogue:
Vertere: "Lord Damian?"
Damian: "Well, well... if it isn’t our runaway mage, Loufric Vertere. Those who are alive always show up."
Vertere: "Where is Count Magno?"
Damian: "I am now the new Count of Límia... Magno has been sent to Vicídia."
Vertere: Where is Liza?"
Damian: "Your daughter is fine...I’m taking care of her for now."
Vertere: I want to see her."
Damian: "Of course, Loufric... why not come inside?"
Vertere: "So, what are you waiting for?"
Damian: "Nothing... just that you come in. Your daughter isn’t here."
Vertere: What trick is this?"
Damian: "When the Inquisition began, Count Magno summoned me that night and tried to convince me to help him in his plan to hide your daughter."
Damian: "I had great respect for Magno... until I discovered he counted you as a friend. A Verberaque..."
Vertere: "You’d better watch your words."
Damian: "I’m saying it’s better for you not to try anything. I have four guards around the house."
Vertere: "Where is Liza?"
Damian:  "I don’t know. As soon as I reported Count Magno to Chancellor Eldric for hiding your daughter, he found out before me and had her flee."
Vertere: "I’ll wipe that insolent smile off your face, you pathetic little lord."
Damian: "Guards! Seize him!"
Guard 1: "Yes, my Lord!"
Vertere: "GLAMÚRUS!"
Damian: "What is this abomination you’ve made?"
Vertere: "Are you blind? It’s a wall of ice, you fool."
Guard 1: "My Lord, we’re trying, but we can’t get through."
Vertere: "Well, MY LORD, let’s see if you’ll be smiling now."
Damian: "Wait, Loufric... Calm Down, I’m unarmed... No... PLEASE"

(Português)
Diálogo:

Vertere: "Lorde Damian?"
Damian: "Ora, ora... se não é o nosso mago fugitivo, Loufric Vertere. Os vivos sempre acabam aparecendo."
Vertere: "Onde está o Conde Magno?"
Damian: "Agora eu sou o novo Conde de Límia... Magno foi enviado a Vicídia."
Vertere: "Onde está Liza?"
Damian: "Sua filha está bem... estou cuidando dela por enquanto."
Vertere: "Quero vê-la."
Damian: "Claro, Loufric... por que não entra?"
Vertere: "Então, o que está esperando?"
Damian: "Nada... apenas que entre. Sua filha não está aqui."
Vertere: "Que truque é esse?"
Damian: "Quando a Inquisição começou, o Conde Magno me chamou naquela noite e tentou me convencer a ajudá-lo em seu plano de esconder sua filha."
Damian: "Eu tinha grande respeito por Magno... até descobrir que ele o tinha como amigo. Um Verberaque..."
Vertere: "É melhor medir suas palavras."
Damian: "Estou dizendo que é melhor não tentar nada. Tenho quatro guardas ao redor da casa."
Vertere: "Onde está Liza?"
Damian: "Não sei. Assim que denunciei o Conde Magno ao Chanceler Eldric por esconder sua filha, ele descobriu antes de mim e a fez fugir."
Vertere: "Vou arrancar esse sorriso insolente do seu rosto, seu lordezinho patético."
Damian: "Guardas! Agarrem-no!"
Guarda 1: "Sim, meu lorde!"
Vertere: "GLAMÚRUS!"
Damian: "Que abominação é essa que criou?"
Vertere: "Está cego? É uma muralha de gelo, seu tolo."
Guarda 1: "Meu lorde, estamos tentando, mas não conseguimos atravessar."
Vertere: "Pois bem, MEU LORDE, vamos ver se ainda estará sorrindo agora."
Damian: "Espere, Loufric... acalme-se, estou desarmado... Não... POR FAVOR!"

Reckoning (With Audiobook)

Link to Book (English):
getinkspired.com/pt/story/520449/…english-version/

Link to Book (Portuguese):
getinkspired.com/pt/story/414704/aequus/

ADVICE: MUSIC — ESPECIALLY ORCHESTRAL MUSIC — SHOULD BE LISTENED TO THROUGH SPEAKERS WITH A GOOD BALANCE OF BASS AND TREBLE. IF YOU LISTEN TO THESE PIECES ON A CELLPHONE, YOU’LL LOSE AT LEAST 40% OF THEIR QUALITY.

Context:
“The Day Everything Changed” begins with a majestic burst of sound, as if ancient horns were finally tearing through a veil the world no longer knew existed. There is no gentle prelude, no lament for the past, the music is born already in glory, like a sudden blaze erupting after centuries of unremembered, yet ever-felt darkness.The first notes proclaim a singular event: the rise of the first mage since the forgotten ages. The seventeen hundred years of absence are never spoken of, yet they are felt, in the breadth of the sound, in the force of the rhythm, in the vibration carried by each chord, as if something grand and impossible has just taken place. The melody rises like a freshly unfurled banner, announcing that the world has just shifted its course."

(Português)
“O Dia em que Tudo Mudou” inicia com uma explosão sonora majestosa, como se trompas ancestrais finalmente rompessem um véu que o mundo nem sabia mais que existia. Não há prelúdio suave, nem lamento pelo passado, a música nasce já em glória, como um clarão que irrompe após séculos de escuridão não recordada, mas sempre pressentida. As primeiras notas proclamam um acontecimento único: o surgimento do primeiro mago desde as eras esquecidas. Não se fala dos mil setecentos anos de ausência, apenas se sente, na amplitude do som, na força do ritmo, na vibração que percorre cada acorde,  que algo grandioso e impossível acaba de acontecer. A melodia ergue-se como um estandarte recém-desdobrado, anunciando que o mundo acaba de mudar de rumo."

The Day Everything Changed

Link to Book (English):
getinkspired.com/pt/story/520449/…english-version/

Link to Book (Portuguese):
getinkspired.com/pt/story/414704/aequus/

ADVICE: MUSIC — ESPECIALLY ORCHESTRAL MUSIC — SHOULD BE LISTENED TO THROUGH SPEAKERS WITH A GOOD BALANCE OF BASS AND TREBLE. IF YOU LISTEN TO THESE PIECES ON A CELLPHONE, YOU’LL LOSE AT LEAST 40% OF THEIR QUALITY.

“Cloistered” depicts the self-imposed isolation of a mage who, after his fall, withdraws from the world to shield it from the darkness awakened within him. Written as a concerto for violin and piano, supported by orchestra, the piece explores the weight of sacrifice, the silence of solitude, and the quiet resolve of choosing exile so that others may remain safe.

Aequus Book Soundtrack

Cloistered

Link to Book (English):
getinkspired.com/pt/story/520449/…english-version/

Link to Book (Portuguese):
getinkspired.com/pt/story/414704/aequus/

ADVICE: MUSIC — ESPECIALLY ORCHESTRAL MUSIC — SHOULD BE LISTENED TO THROUGH SPEAKERS WITH A GOOD BALANCE OF BASS AND TREBLE. IF YOU LISTEN TO THESE PIECES ON A CELLPHONE, YOU’LL LOSE AT LEAST 40% OF THEIR QUALITY.

“Transmutatio” is a rock symphony that blends orchestra and metal into a vigorous yet never overwhelming dialogue, as if ancient forces were waging a quiet battle within a single being. The piece rises from the meeting of solemn strings and sharp guitars, each melodic layer evoking the sense that something deep within is shifting, reshaping itself, longing to break its own boundaries.

The music portrays, without direct words, the enigmatic process a mage undergoes when his essence is touched by a strange power, beautiful and terrible in equal measure. The orchestral arrangements embody magic, vast, luminous, almost ceremonial. The controlled weight of the rock elements suggests a darker pulse, the visceral force awakening, the growing thirst, the inner flame that refuses to be mastered.

As the composition unfolds, these two worlds collide. The brilliance of the melody attempts to contain the shadow, the shadow strives to shape the brilliance. Nothing is entirely harmonious, yet everything is hypnotic, as if we were hearing blood itself dueling with a spell.

At its peak, the music unveils a solitary voice. It does not explain; it wonders, hesitates, marvels, and fears. Its lines, simple, almost childlike, yet heavy with sorrow, echo the confusion of someone awakening in a new body, more beautiful and stronger, but consumed by a thirst no power should ever carry.

“Who am I?
What am I?
Prettier?
I have hair.
I'm strong.
I'm thirsty.
So thirsty.”

Thus, “Transmutatio” does not describe a transformation, it is the transformation itself, a sonic rite where beauty and loss walk side by side, leaving behind the lingering sense that any power too great demands a price no soul is truly ready to pay.

Original Transmutatio Song: https://soundcloud.com/emersonmarshall/transmutatio

Transmutatio – A Rock Symphony

Night blooming

Link to Book (English):
getinkspired.com/pt/story/520449/…english-version/

Link to Book (Portuguese):
getinkspired.com/pt/story/414704/aequus/

ADVICE: MUSIC — ESPECIALLY ORCHESTRAL MUSIC — SHOULD BE LISTENED TO THROUGH SPEAKERS WITH A GOOD BALANCE OF BASS AND TREBLE. IF YOU LISTEN TO THESE PIECES ON A CELLPHONE, YOU’LL LOSE AT LEAST 40% OF THEIR QUALITY.

“Flaming Hairs” is the theme of Virna, the woman with a gentle soul and fiery hair who stood beside Nathan through his darkest years. After Aila’s disappearance, she remained close to him, caring for Dilem as if he were her own child, while quietly carrying a love she dared not confess.
The melody mirrors the constancy of her affection, the warmth of her presence, and the tenderness with which she slowly broke through the walls around Nathan’s heart. Within its soft notes lies the weight of longing and the sweetness of hope, as the theme swells like a flame that refuses to fade.
There is a serene, almost maternal lyricism that gradually transforms into something deeper , a love both patient and steadfast, born from shared sorrow and unwavering devotion. “Flaming Hair” is the portrait of a woman who loved in silence, yet whose warmth was enough to rekindle the heart of a weary warrior.

(Português)
“Flaming Hair” é o tema de Virna, a mulher de alma terna e cabelos de fogo que acompanhou Nathan em seus anos mais sombrios. Após o desaparecimento de Aila, ela permaneceu ao lado do Guardião, cuidando de Dílem como se fosse seu próprio filho e sustentando, em silêncio, um amor que parecia impossível.
A melodia reflete a constância de seu afeto, o calor de sua presença e a delicadeza com que, pouco a pouco, foi quebrando as muralhas do coração de Nathan. Nos acordes suaves, sente-se o peso da espera e a doçura da esperança, enquanto o tema cresce como uma chama que se recusa a se apagar.
Há um lirismo sereno, quase maternal, que aos poucos se transforma em um sentimento mais profundo — um amor maduro, paciente e real, nascido da convivência, da dor e da fidelidade. “Flaming Hair” é, assim, o retrato de uma mulher que amou em silêncio, mas cujo calor foi suficiente para reacender o coração de um guerreiro.

Flaming Hairs

Link to Book (English):
getinkspired.com/pt/story/520449/…english-version/

Link to Book (Portuguese):
getinkspired.com/pt/story/414704/aequus/

ADVICE: MUSIC — ESPECIALLY ORCHESTRAL MUSIC — SHOULD BE LISTENED TO THROUGH SPEAKERS WITH A GOOD BALANCE OF BASS AND TREBLE. IF YOU LISTEN TO THESE PIECES ON A CELLPHONE, YOU’LL LOSE AT LEAST 40% OF THEIR QUALITY.

An epic and deeply emotional piece, “No One Left Behind” follows the Trio Vertere, Luci, and Akrios, through their arduous journey across the Desert of Tennura. The music intertwines the defining elements of each member: Luci’s vibrant fire and natural resistance to heat, shadowed by her quick exhaustion; Vertere’s affinity with cold and mastery over water and ice, contrasted with the mysterious pains that sometimes overwhelm him; and Akrios, the unwavering warrior known as the “Scorpion,” whose skill with the spear and seasoned experience make him the trio’s guide, provider, and steady anchor.

In the blazing passages, Vertere is the one who struggles beneath Tennura’s merciless sun, relying on Luci when the heat grows unbearable. Yet when the desert night turns bitter and perilous for the mage of flames, Vertere becomes her shield against the cold, while Akrios keeps the group united, vigilant against enemies, privation, and the emotional burdens each one quietly carries.

The theme reflects the silent weight of longing: Akrios and Vertere, both wounded by the absence of their daughters, walk forward with guarded hope; Luci, shaped by all she has lost, finds in the trio a new purpose. The music swells as their bond deepens, celebrating every moment in which one must support the other, Luci’s fatigue, Vertere’s pains, Akrios’s invisible wounds.

The climax rises like a vow: they will cross Tennura because none of them walks alone. No one, absolutely no one, is left behind.

Related Songs: https://soundcloud.com/emersonmarshall/crossing-the-desert-no

(Português)
Uma peça épica e profundamente emocional, “Ninguém Fica Para Trás” acompanha o Trio Vertere, Luci e Akrios, em sua árdua travessia pelo deserto de Tennura. A música entrelaça os elementos que definem cada um dos três: o fogo vibrante e a resistência de Luci, seu cansaço que chega rápido; a afinidade de Vertere com o frio e seu domínio sobre a água e o gelo, contrastando com as dores que o assolam; e a força incansável de Akrios, o “Escorpião”, cujo domínio da lança e experiência de estrada o tornam o guia natural do grupo, capaz de garantir alimento e direção.

Nas melodias mais quentes, Vertere é o que sofre sob o sol de Tennura, encontrando em Luci apoio quando o calor se torna cruel demais. Já nas noites geladas, quando o frio ameaça a magiadora das chamas, é Vertere quem se torna seu amparo, enquanto Akrios mantém o trio unido, atento às sombras, aos inimigos e ao peso emocional que cada um carrega.

O tema revela o silêncio das saudades: Akrios e Vertere, marcados pela ausência de suas filhas, caminham com esperanças cautelosas; Luci, devastada por perdas que a moldaram, encontra no trio uma nova razão para continuar. A música cresce à medida que a união deles se fortalece, celebrando cada momento em que um precisa carregar o outro, seja no cansaço de Luci, nas dores de Vertere, ou nas feridas invisíveis de Akrios.

O clímax se ergue como uma promessa: atravessar Tennura só é possível porque nenhum deles caminha sozinho. Ninguém, absolutamente ninguém, fica para trás.

Músicas Relacionadas: https://soundcloud.com/emersonmarshall/crossing-the-desert-no

No One Left Behind

Link to Book (English):
getinkspired.com/pt/story/520449/…english-version/

Link to Book (Portuguese):
getinkspired.com/pt/story/414704/aequus/

ADVICE: MUSIC — ESPECIALLY ORCHESTRAL MUSIC — SHOULD BE LISTENED TO THROUGH SPEAKERS WITH A GOOD BALANCE OF BASS AND TREBLE. IF YOU LISTEN TO THESE PIECES ON A CELLPHONE, YOU’LL LOSE AT LEAST 40% OF THEIR QUALITY.

“The Journey (Estended and Alternative Version)”

The song follows Nathan and the Magnamean company as they march eastward. Its grand, steady cadence echoes the firm steps of the travelers and the faint rise of trust amid lingering doubt. Nathan, taken as a prisoner, rides his horse thanks to Rhinos’ intervention, a simple act that breaks the coldness of duty with a quiet spark of compassion.

As the melody unfolds, the rhythm swells with a sense of hope. There is something within the sound that hints at change, perhaps along the road, perhaps within the hearts, as if every note whispered that the path to Magnamea holds more than a single destination.

The Journey - Extended and Alternative Version

Link to Book (English):
getinkspired.com/pt/story/520449/…english-version/

Link to Book (Portuguese):
getinkspired.com/pt/story/414704/aequus/

ADVICE: MUSIC — ESPECIALLY ORCHESTRAL MUSIC — SHOULD BE LISTENED TO THROUGH SPEAKERS WITH A GOOD BALANCE OF BASS AND TREBLE. IF YOU LISTEN TO THESE PIECES ON A CELLPHONE, YOU’LL LOSE AT LEAST 40% OF THEIR QUALITY.

Shared Looks is an instrumental piece born from a single moment: the instant when two glances meet for the first time amid the glow of the royal court. Dilem watches almost unintentionally, allowing himself only brief, timid looks, as if afraid of being discovered. When he realizes that Liyenne returns his gaze, he quickly turns his eyes away, feigning interest elsewhere, as though he did not wish her to know what had already been revealed. It is a futile gesture, for she knows. And knowing, she answers with quiet joy, welcoming his look with a soft, luminous smile.

Amid lights, footsteps, and the gentle murmur of the celebration, that brief encounter repeats itself, now charged with intention. The melody follows this subtle exchange, at times restrained, at times expansive, as though each musical phrase were a new crossing of eyes between dances, laughter, and unspoken gestures. Without urgency or weight, the music celebrates the simple magic of beginnings, when nothing has been promised, yet everything has already been felt.

Shared Looks translates into sound the discreet joy of a romance still learning how to exist, sustained only by the lightness of glances that seek and recognize one another.

(Português)

Shared Looks é uma peça instrumental que nasce de um único instante: o momento em que dois olhares se encontram pela primeira vez em meio ao brilho da corte real. Dílem observa quase sem querer, permitindo-se apenas breves olhares tímidos, como quem teme ser descoberto. Quando percebe que Liyenne corresponde, ele muda rapidamente a direção do olhar, fingindo desinteresse, como se não quisesse que ela soubesse do que já foi revelado. É um gesto perdido, pois ela sabe. E, sabendo, responde com alegria silenciosa, acolhendo aquele olhar com um sorriso discreto e luminoso.

Entre luzes, passos e murmúrios da festa, esse breve encontro passa a se repetir, agora carregado de intenção. A melodia acompanha esse jogo sutil de atenção, ora contida, ora expansiva, como se cada tema fosse um novo cruzar de olhos entre danças, risos e gestos não ditos. Sem urgência e sem peso, a música celebra o encanto simples do começo, quando nada foi prometido, mas tudo já foi sentido.

Shared Looks traduz em som a alegria discreta de um romance que ainda aprende a existir, sustentado apenas pela leveza de olhares que se procuram e se reconhecem.

Shared Looks

Link to Book (English):
getinkspired.com/pt/story/520449/…english-version/

Link to Book (Portuguese):
getinkspired.com/pt/story/414704/aequus/

ADVICE: MUSIC — ESPECIALLY ORCHESTRAL MUSIC — SHOULD BE LISTENED TO THROUGH SPEAKERS WITH A GOOD BALANCE OF BASS AND TREBLE. IF YOU LISTEN TO THESE PIECES ON A CELLPHONE, YOU’LL LOSE AT LEAST 40% OF THEIR QUALITY.

Let the Sunlight In is a song that follows a soul marked by thirst and exiled from the light, someone who learned to walk at the edge of day, believing the sun would always remain a distant enemy. It speaks of letting in what cannot be created by oneself, and discovering that, sometimes, true freedom begins when one accepts no longer fighting against the light.

(Português)
Let the Sunlight In é uma música que acompanha uma alma marcada pela sede e pelo exílio da luz, alguém que aprendeu a caminhar à margem do dia, acreditando que o sol sempre seria um inimigo distante. Ela fala sobre deixar entrar aquilo que não pode ser criado por si mesmo e descobrir que, às vezes, a verdadeira libertação começa quando se aceita não lutar mais contra a luz.

Let The Sunlight In

Hello, my name is Emerson Marçal and I live in a world of dreams. I've always loved music. Since I was little, I listened to classical music that my father loved and I learned to love it too. However, my passion began with movie soundtracks, where from a young age I would whistle and hum melodies I created in my mind. I've always had a lot of difficulty with memory. It was hard to learn music theory, but somehow the music would appear in my mind without me having to put it on paper. When I bought my first keyboard, a Roland Prelude, I composed some harmonies and, using editing programs, I made my first instrumental song called "Sea Serenade" which you can listen to here on SoundCloud in the "Made in Roland" section. Even as a beginner, I played several separate parts and then put everything together with an editing program. I didn't create sheet music; it was just the bass clef, and the rest came from memory and through many repetitions to remember it, since, as I said, I had a lot of difficulty. After more than a decade, other tools came along that allowed me to create music with incredible timbre and performance quality. Although I can create something like that in my mind, I couldn't transcribe it into sheet music or anything like that, and even if I could, I wouldn't be able to afford an orchestra to play for me. Therefore, I use all the technology available to me to realize this dream. However, I don't expect technology to create everything. I edit, many parts and parts, until I get what I really want. I've spent almost a month editing a song. Therefore, my music does contain a good part of what I thought and wanted, and not just something I requested in a prompt. There's a whole process of verification, alteration, until I actually post the final result. I don't care if it's easier or not. Life has never been fair to me. I live in a country that, for the most part, doesn't encourage good music. There are a large number of people who only appreciate noise and drumming with horrible lyrics made solely to promote wrong and immoral behaviors. That's what's successful here. I have absolutely no means to study music theory as I would like, and there are no fair opportunities for me to dedicate myself to it. Even if I did, it would be extremely difficult to get any return from it, because in addition to that, I need to work to have at least a decent life where I can eat and have some things for myself. So, I'm just sharing this work, this dream, which I couldn't do any other way. However, the songs were created to inspire me in what I'm really doing. A story. This one is my own creation without any creative technological input, just my imagination and that of my co-writer Rafael. It's a long work that should take about five years to complete. The songs are for the book. I have no intention of selling them or becoming successful, just to add emotion and inspiration to what I'm creating. Although I managed to distribute some, my intention was only to share them. I pay for these tools and still haven't earned anything financially. I'm just using the resources I can afford. If you wish to appreciate it, you’re most welcome, and you’ll see that my work was not done carelessly.

Contact:
Email: emersonmarshall@gmail.com

Cloistered

Emerson Marshall

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