STORY:____"A little girl in a garden in Japan in the early 1950's. She is picking the flowers when a businessman comes into the field and talks to her. After that, she eventually falls, motionlessly into the into the flowerbed and the flowers she was collecting fall out of her hand. After that you don't see her anymore, all you see are her flowers."__________________________________________________DESCRIPTION OF THE MUSIC_________"It all started with last Thursday. A Taiwanese composer called Kueiju Lin showed her music in a workshop and I guess I found it very easy to connect with her for some reason. I looked at her music and her process and it was so sophisticated, and she had perfect pitch as well! So i have started thinking about using my ears more and not just focusing on conventional Japanese game and anime conventions and even not focusing on just the harmony at all, but more the produced sound itself. So I'm not focusing on what specific notes I am hitting, but more, what an approximated hit on the piano can do for the texture, color and the feeling produced. I am trying to create a spectrum where I can control what my listeners are feeling. So it's still based on what i like to focus on, which is emotions, but trying to go deeper into that spectrum. This is a subject I feel I could probably take to a PHD level, eventually, and I am slowly turning towards that idea. But that's why i want to put emphasis on this new piece, because it's combing those emotional conventions I like about BGM music, but then you can mess around with things. Example at 2:29. i just focused on the approximated sound parameters, not the actual notes, and used my perfect to bounce new ideas out of what sort of "surprise" my hands created when i played that chord. I've come up with a formula for my style. Well, at least one of them. I create a solid ground using a convention like melody or chord progression, but a decent one like the ones you find in my preferred genre of music (Japanese BGM), then when i feel i have the listener captivated I break down that convention. Using methods such as approximated chords take the listeners psyche on a spin (so to speak). Then when i truly have their minds, bring them back with the same convention, but played better and variated in a way where it sounds like you have known it your entire life. Or something like that ><. But some of it, like this new piece with a name that's way too long, can just be pure improvisation, and for a score, all i can write down is the source material, and approximations on how it can be played and a blueprint on how the piece can be evolved."show less