اسف لك غيم💙💙💙💙💙💙💙

روحي من بينهم، لكنني اعرفها جيداً تشتعل بلهيب حزين و كئيب

ارغب في الهروب من هذا العالم. 

اتمنى الرحيل الى وطن النائمين طويلا

‏أسند ثقل رأسي على طرف موسيقى.

المرات الاولى من كل شيء ، لا تُنسى 

هههههههههههههههههههههههههههههه

لكن زمان الحنين انتهى ومات الكلام الجميل ...فماذا أقول ؟

روح هائمه ونفس مُهتزة وشخصيه مكسوره ...

Let it hurt. But let me Survive.

ثُّـكْل — Sarah

Composed by: Sarah 
Orchestrated by (Instagram) : @loayhai

ثُّـكْل (Orchestra Version by Loay)

Check out my music here: https:\\konrad-spittelberg.carrd.co

This track has been baptized by my 10 year old daughter “Not in this world”. I like it, it suits its special atmosphere. 

Compositionwise, the track follows an AABAB structure. It starts in part A with monophonic lines in the left and the right hand (the first chord of the track is used @0:29) and the track does not shift to polypohony until 0:45. The left hand has a rigid rhythmic pattern of a half followed by two quarters (occasionally another half) that is broken the first time by an eight at 0:41, increasing the tension just before the switch to polyphony (part B). 

Left and right hand in part A are interwoven in that they only rarely have notes played simultaneously. Rather they mostly complement each other in that when one hand plays a note, the other rests. This is done by shifting the left and the right hand by an eight note – the basic 4/4 rhythm is maintained by the left hand while the right hand dances around this pattern with a shift of 1/8. Notationwise this requires tons of ligature bows to depict the notes that lie across the bars (see youtube video for scores). The shifting by 1/8 allows the two hands to complement each other and creates a melodic carpet by intertwining the two melodic threads.

With the start of part Bs polyphony around 0:45, the track falls into a melancholic downward melody interrupted by brief glimpses of hope. While the right hand underlines now the melody with chords, the left hand is now deviating from the strict rhythm to more playful accompaignment with eights. 

The track then repeats the initially monophonic melody of part A, yet now with a bit more chord texture in the right hand and an arpeggio-like quarter pattern in the left hand. Afterwards a more intense variation of the melancholic part B fades finally out into the oblivion of the universe. 

Some explanatory videos to underline this:
Youtube with Scores: https://youtu.be/73IXNheVlDw
The intro: https://youtube.com/shorts/i0oeK5_pct0?feature=share

The track has been recorded via a pianoTeq Steinway. However, I used four mikes in the virtual setup, two of which I put very close together. I guess, each sound recorder who understands something of his affairs would condemn me for that, but to me, the resonances give a very peculiar feel to the piano tone which suits nicely the mood that I wanted to express.

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