music4lifebycc

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Hanae (はなえ / 花恵) Final Piano Arrangement + Instrumental Phase Begins, 22 June 2025

Today, I began by experimenting with several new musical ideas, some of which I decided to save as drafts for future use. A short break halfway through helped refresh my perspective.

Through repeated takes and layering (resulting in around 72 tracks, many of which are drafts), I gradually shaped a bridge section, which was not originally planned. This section developed quite naturally and allowed me to connect earlier motifs to the closing section of the piece. I then completed a full recording of the piano arrangement, applying my usual mix of ChromaVerb, Space Designer, warm piano EQ and studio compression. I also spent some time on a new original artwork for my second piece, and a video to accompany the track and uploaded the final version.

I have decided to name this second piece Hanae (花恵) because it represents grace, transformation, and peace. Where my first piece, Tsubaki, explored the act of letting go, Hanae represents what comes after, a soft, breathing moment of simply being. It is about presence, subtle beauty and the quiet grace found in simplicity. Although the original concept for this piece was to create a contrast to Tsubaki by aiming for a more joyful sound, the piano arrangement took on a more serene and neutral tone. Rather than forcing a specific mood, I chose to follow the natural emotional flow that emerged during the process. As a result, the piece now holds a sense of quiet peacefulness with an underlying bittersweet quality.

Next, I will focus on instrumental layering. I have already opened a new session and made slight adjustments to the piano track to support additional instrumentation. I began exploring a few timbres, including some returning instruments from my first piece such as Liquid Breath Flute and Dream Voice, to maintain consistency. I will continue this process over the next few days.

####### Side Note #######

Today I spent approximately nine hours working on the development of my second piece. The first part of the session was dedicated to finalising and recording the piano arrangement, followed by the initial stages of exploring instrumental layering. I also spent time developing the original visual artwork for my second piece.

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Feel free to share your thoughts on the piano arrangement. I would love to hear how it resonates with you. All feedback is welcome, and I may adjust the piano arrangement in line with your comments during the layering phase. More updates on the instrumental layering coming soon, so stay tuned ^_^

[music4lifebycc]

Fine-Tuning The Piano Arrangement For My Second Piece, 21 June 2025

Today, I experimented with a few improvised ideas in certain sections. While I enjoyed this part of the creative process, I ultimately chose to return to the original structure I had planned. Improvising helped me understand what the piece is trying to say, even if those variations were not included in the final draft version.

After several playbacks, I found myself becoming more drawn to the simplicity of the arrangement. It has a gentle, tranquil quality that creates a sense of calm. I began to see this simplicity not as a limitation, but as an intentional choice. The repetition feels soothing rather than too bare, and the piece invites the listener into a reflective state of stillness and peace.

Overall, this piano arrangement acts as a continuation of the narrative explored in my first piece. While the first piece carried a sense of conflict and the struggle of letting go, this second one represents what comes after that moment of release. I decided not to include a traditional cadence at the end. Instead, the music gradually fades, giving the impression that it is gently moving forward. I wanted the listener to feel that the story does not end here, but continues into the unknown. For organisational purposes, I colour-coded the arrangement in light blue or turquoise, which reflects the calm and clarity I associate with the piece.

Let me know your thoughts!

I am curious to hear how you usually structure your pieces. Do you follow a traditional song form, something more narrative-based, or even classical structures like sonata form? I often shape mine intuitively, but I enjoy learning from how others approach their arrangement. Feel free to share your preferred structure or method in the comments below.

Similarly, when starting a new composition, what comes first for you? For me, it usually begins with a repeating bass pattern, and then I improvise melodies based on what I hear internally or the other way round. I know some people start with a melody, others with chords or even by developing a variation from a familiar piece first. I would love to hear how you begin your own process, so please share your approach in the comments! ####### Side Note #######

Today I spent around six hours on refining the piano arrangement for my second piece, working on smoothing transitions and practising the performance to ensure it flows naturally and feels cohesive. I also reviewed the overall shape of the composition and made small adjustments to the phrasing where needed.

####### End of Side Note ####### Thanks so much for reading and following along with my process. I will upload the final piano arrangement for my second piece and start the instrumental layering phase in the coming days, so stay tuned for more updates as the piece continues to take shape!!

[music4lifebycc]

Chasing Tranquillity in My Second Piece, 19 June 2025

Today I worked on the musical ideas for my second piano arrangement. After reviewing my previous improvisation session, I selected a few musical ideas to develop further. For this piece, I am using broken chord patterns in the bass line. The chord progression remains similar to that of the first piece, but this time the bass has a more open and spacious quality.

My intention with this second piece is to create a lighter and more tranquil mood. This piece is connected to the continuing story of my first piece, Tsubaki.

I began by creating a new blank canvas. I then spent time familiarising myself with the draft material, improvising to see where each idea might naturally fall within the structure. This part of the process took around two hours. I felt that my ideas developed more freely compared to when I first began my earlier piece.

Once I had a general sense of what I wanted the piece to sound like, I started arranging the material in a chronological order that felt intuitive and emotionally balanced. This part also lasted around two hours, during which I experimented with the melody and recorded several versions. The slower pace of this piece allowed me to reflect and enjoy the music as it unfolded through my playing.

For the remaining four hours, I practised and improvised further to solidify the structure. This led to new discoveries, particularly in the chorus section. I began shaping the overall form of the piece, moving from the introduction to the verse, into the chorus, back into the verse, and finally into a repeated chorus. This final chorus is accompanied by a gentle background layer that resembles the verse, acting as an embellishment. I am still leaving space for changes, in case I decide to remove or replace certain sections that do not flow as naturally as I would like.

To help with organisation, I used colour coding within the session. This method has been helpful in giving me clarity and making the arrangement feel more like a score in progress, similar to working with notation software where accuracy and intention are both important. My next step will be to record the full version of the piece and begin preparing it for the instrumental layering phase. ####### Side Note #######

Today I spent around 8 hours working on finalising the musical ideas for my second piano arrangement. I spent 2 hours improvising and familiarising myself with selected motifs, 2 hours arranging them in a rough structure with re-recordings, and 4 hours practising, refining, and shaping the structure of the piece. ####### End of Side Note #######

Thank you so much for reading and accompanying through this journey! Stay tuned for the next session ^_^

[music4lifebycc]

Melodies and Bass Patterns: Foundations of My New Pieces, 17 June 2025

Today, I spent several hours improvising and developing new musical ideas for my second piece.

I began by exploring different chord progressions, melodies, and bass patterns through improvisation. This phase lasted around three hours and allowed me to freely test ideas without any pressure to commit to a specific direction. I recorded and labelled the bass line experiments, which are shown in the attached screenshot. These names helped me keep track of each idea, as everything was improvised live during the recording process.

After the initial round of experimentation, I spent a further four hours working with the ideas I had created. I explored how the melodies and bass lines could fit together more cohesively. In particular, I was drawn to a broken chords bass line that emerged from the earlier ostinato material. I also developed a descending ostinato bass line during the session, which evolved naturally alongside the drone bass. Both ideas stood out to me as strong options.

As a result, I have decided to use the musical ideas highlighted in yellow, particularly the broken chords bass pattern and the descending ostinato bass pattern, for my second and third pieces respectively.

I ended today’s session with a finalised draft of how I would like my second piece to sound, as well as a separate finalised draft for my third piece, both marked in pink. Over the coming days, I will begin working on creating the full piano arrangement for the second piece. This provides a clear starting point for the next phase. Once the piano arrangement and instrumentation phases for my second piece are complete, I will move on to developing the third piece using the other musical idea marked in pink.

####### Side Note #######

Today, I spent seven hours improvising and refining musical material. I finalised the bass line direction for both my second and third pieces, and prepared a rough draft of the structure for my second piece, ready to begin arrangement work in the next phase.

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Thank you for your support and stay tuned!

[music4lifebycc]

The Birth of a Neutron Star: Tsubaki's Story Unfolds, 10 June 2025

Today I spent three hours finalising the instrumental arrangement of my first piece, following the recent poll in which many of you participated. I followed the poll result and proceeded with option one, incorporating all five layers as originally planned. During the session, I experimented with several mixing options but ultimately decided to leave the mix in its original state, as it best captured the intended mood and clarity.

I am delighted to announce that the instrumental layering phase has come to an end, and the current arrangement is now complete. The piece lasts for approximately four minutes and forty-six seconds, featuring smooth transitions between sections, with each layer supporting the central theme played by the piano.

Here is the first release of my original composition, Tsubaki (つばき / 椿), for my mini album, uploaded to YouTube and SoundCloud.

#YouTube

#SoundCloud

This piece is primarily a reflection of my thoughts about strength, transformation, and letting go. The music tells the story of the birth of a neutron star that resembles a camellia flower (Tsubaki) in the cosmos. The narrative explores how Tsubaki, after descending to Earth and experiencing human life, ultimately finds her true strength by choosing peace and simplicity over chaos and attachment.

I would like to extend my heartfelt thanks to all of you who followed along and participated in the recent poll. Your support and engagement were invaluable in helping me make a decision about the direction of this piece. I truly appreciate your input and encouragement.

Stay tuned for more updates on my music-making process, including behind-the-scenes content and sneak peeks of upcoming tracks! Thank you ^_^

[music4lifebycc]

Finalising Instrumental Layers and a Quick Poll for Your Ears, 7 June 2025

Today I spent approximately three hours on the first half of my session, focusing on refining instrumental arrangements and exploring alternative sonic textures.

I began by adding a second version of the Chinese string instruments. I liked the idea of multiple "instrumentalists" performing the guzheng and ruan moon guitar simultaneously, as this gives the impression of a fuller ensemble, similar to a live performance. It increases the perceived volume naturally and gives the section a more immersive quality.

I also experimented with a new instrument: Peruvian panpipes. I considered using them as a potential substitute for one of the existing piano layers from a previous session (specifically, "Special Layer Piano 2.3"). I manually adjusted the length of each note on the MIDI track to enhance realism. I intentionally left small gaps between notes to simulate a performer’s natural breathing rhythm.

After several versions, I selected one final take, which I marked in bright pink for clarity. I spent some time experimenting with the Peruvian panpipes alone.

Following this, I refined the string and cello arrangements. I made slight changes to their phrasing and layered new material, using dark pink to differentiate these from earlier arrangements.

Before taking a short break, I revisited the harp part. Despite previous unsuccessful attempts, I gave it another try as a possible replacement for the Chinese strings. The harp has a gentler presence, and I felt it could blend better with the overall texture. However, I am still keeping the guzheng in consideration for future sections, as its unique tone quality is something I do not want to lose unless I am certain it no longer fits.

After an hour of restful break, I came back reenergised and spent eight hours straight reworking multiple sections. One major task was revising the Celtic harp and Kalimba Space layers. I split their presence into two parts --one introduced at full volume and one softened later -- to prevent them from overpowering other instruments. I also adjusted the Chinese guzheng zither to play more subtly in the background, helping it to act as a gentle bridge between the verse and chorus.

This section now features five layers. I am currently undecided about whether these additions suit the overall vibe, so I would appreciate some feedback! I have uploaded two versions of this section: one with the five layers and one without. Feel free to vote or comment after listening!

Option 1 - Audio with the five layers

Option 2 - Audio without the five layers

Further, I explored a variety of MIDI synth sounds and discovered one called "Ethereal Mallets". It immediately stood out as a strong candidate to replace the Peruvian panpipes. The tone was dreamlike and light, fitting the atmosphere I aimed for.

As I continued working, I tried to step into both the audience’s and the performer’s perspectives. I imagined how it would feel to perform each part, and that helped me determine the right instrumentation. Although I love the unique qualities of the panpipes and guzheng, I realised that their soloistic nature made them difficult to balance within this layered setting. For now, it feels more appropriate to reserve them for sections where they can shine individually.

Next, I added two new layers: Shimmering Glass and Ambient Synth Piano. The shimmering glass synths replaced an older organ arrangement that had previously felt too overpowering. I preserved the rhythmic patterns from the original version, as I found them musically engaging. I believe Shimmering Glass strikes the right balance between clarity and texture.

Throughout the session, I focused on refining instrument layers and making substitution decisions. I deleted outdated drafts and reorganised the arrangement to make each instrument’s role clearer. I found this organisational step refreshing and helpful in making future edits more manageable.

I also cleaned up the mix using only two main effects for the reverb: Chromaverb and Space Designer Reverb. I made minor refinements to the string parts and reordered a few layers to ensure smoother transitions. After all these adjustments, the piece now runs for 4 minutes and 45 seconds. I also recoloured each track to reflect their updated status.

Finalised Instrumental Arrangement (Refer to Picture below)

Piano remains constant throughout the piece.

Intro:

Waterfall (nature)

Hard rain (nature)

Songbird (nature)

Breathy vox (ambience)

Chimes (ambience)

Kagura bells (tempo guidance)

Main Sections (Verse and Chorus):

Dream voice

Liquid breath flute

Studio strings

Studio cellos

Ethereal mallets

Second Half (Repetition of Verse and Chorus):

Celtic harp (to be polled)

Kalimba space (to be polled)

Chinese guzheng zither (to be polled)

Bridge (Before Outro):

Shimmering glass

Ambient synth piano

Outro:

Softened waterfall

Breathy vox (ambience)

I organised the tracks based on the order of instrument entry rather than by instrument type. I find this approach more intuitive for tracking the structure and timing of each instrument. It also helps with last-minute edits and keeps the creative process flowing smoothly.

Finally, I did consider adding drums but chose not to include them at this stage. I was concerned that they might alter the tone of the piece too dramatically. I may experiment with orchestral percussion in upcoming compositions for this mini-album, where it might feel more appropriate.

####### Side Note #######

Today, I spent a total of 11 hours working on this session. The first 3 hours were focused on instrumental experimentation and early refinement, followed by a longer 8-hour session later in the day, where I made more substantial progress on arrangement, layering, and mixing decisions.

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Thank you very much for taking the time to follow my progress! I really appreciate your support and would love to hear your thoughts or suggestions. Your input genuinely helps shape this project. Please feel free to leave a comment or vote in the poll—I look forward to your feedback!

[music4lifebycc]

No More Tempo Changes (I Swear), 5 June 2025

Today, I began by revisiting the tempo variations throughout the piano arrangement, as I felt the original pacing was not fully aligning with the mood I am aiming for. In order to preserve the earlier version, I opened a new project file, essentially starting with a blank canvas. This allowed me to experiment with the instrumental layering freely without affecting the previous session. I spent about three hours experimenting with various tempos to find one that better suits my musical intentions. Through this process, I found that altering the tempo helped extend certain sections, especially the transition from the bridge to the outro, which had felt a little too short before. As a result, the updated piano arrangement is now slightly longer than the previously uploaded version. I am much more satisfied with this version and have committed to keeping the tempo as it is from now on.

Following the tempo adjustments, I spent two hours refining the piano layers and instruments. I explored several variations, but in the end, I chose only a few that I felt complemented the new structure most effectively.

I then revisited some orchestral instruments, including the harp, oboe, French horn, and trombone. I had attempted to include the harp in a previous session but had not been satisfied with the result. I decided to give it another go, along with the other instruments, but I still could not find an arrangement that worked well with the piano. For now, I have set them aside.

Over the next three hours, I worked with the string drafts from a previous session and brought them into this updated version. I refined these parts and marked them in bright pink to help with visual clarity. I also introduced some dream voice textures and continued developing a new layer called the liquid breath flute. These elements have added a gentle, atmospheric character.

Additionally, I experimented with the Chinese Guzheng Zither and Ruan Moon Guitar. I focused particularly on the second chorus and bridge sections, making sure each added layer entered at the right moment and served a distinct musical purpose. I also reorganised the tracks slightly during this stage to help me focus on the structure of that particular section.

As I continued adding layers, the session became noticeably more crowded. To keep things manageable, I added visual markers above the tempo track, labelling each section clearly: "Intro Verse > Pre-chorus > Chorus > Verse > Chorus > Bridge > Outro Chorus + Verse". I also colour-coded these sections for visual clarity and to reinforce the idea that the piano arrangement is now final. From here on, I plan to focus solely on instrumentation.

I spent the final hour reorganising the tracks, removing older drafts, and compiling the selected layers into a cleaner session layout. All the solidified tracks are currently marked in bright pink, which for me signals that they are strong candidates for the final version, though not fully finalised just yet. I plan to update the colour coding once the instrumentation phase is complete. I also made some minor adjustments to the tempo and re-recorded a few layers to improve clarity and timing.

####### Side Note ####### Today I spent around nine hours refining various elements of my arrangement, focusing mainly on tempo adjustments, instrumentation, and overall structure. ####### End of Side Note ####### Next, I plan to continue exploring instrumentation, particularly in the bridge to outro section. My aim is to build more depth and introduce a stronger sense of space, similar to the kind of atmosphere heard in fantasy film music. I am excited to keep pushing this forward. As always, please feel free to comment and stay tuned! Thank you ^_^

[music4lifebycc]

Building the Chorus One Layer at a Time, 4 June 2025

Today, I spent approximately three hours focusing on the strings section, particularly in the chorus where all the instruments work together to create a sense of build and intensity. My main goal was to develop an arrangement that felt cohesive while also experimenting with mixing techniques to ensure the strings sat naturally alongside the piano. It proved to be quite challenging, as I tested multiple arrangements and applied different mixing approaches, adjusting volume levels and compression in an attempt to make the strings blend more effectively with the existing piano part.

After much trial and error, I arrived at a draft that I am reasonably satisfied with. It is not yet final, but it provides a solid base to continue from in the next session. Wanting to keep the momentum going, I decided to explore additional instrumental layers and returned to a familiar sound--Dream Voice, a synth I have used in previous projects and always enjoyed working with.

I spent another two hours developing the additional layers below, and I now have a version that feels more complete for the time being. At this point, I have selected a group of instruments that I believe work well together: Kagura bells, Chimes, Studio Strings, Studio Cello, and Dream Voice Synths. I have chosen to include these before moving on to other sections of the piece.

To stay organised, I colour-coded all current layers in bright pink, as shown in the screenshots below. I also muted one section that no longer felt necessary within the arrangement, allowing me to focus only on elements that contribute to the overall sound.

Although nothing is fully finalised, I plan to revisit everything tomorrow with fresh ears to evaluate how each part interacts with the piano. It is possible that I will remove or replace some instrumental layers depending on how the arrangement feels after a break.

####### Side Note #######

Today, I spent a total of five hours on the project: three hours working on the strings section, particularly the chorus and its blend with the piano, and two hours exploring and layering additional instruments such as Dream Voice and Chimes. I aim to finalise the arrangement in the coming days, after reviewing how the current elements sit together with a fresh perspective.

####### End of Side Note #######

Feel free to leave any thoughts or suggestions in the comments. I really enjoy hearing what people think. I will keep tweaking things and plan to post the full version in a few days once it feels right. Thanks for sticking around, more coming soon!

[music4lifebycc]

Navigating Piano Layers and Embellishments, 3 June 2025

Earlier today, I spent approximately fifteen minutes re-recording the piano arrangement, this time without using a metronome. I wanted the phrasing to feel more natural and fluid, as the previously uploaded version sounded somewhat awkward in terms of timing.

During this process, I realised that the transition into the bridge section was rather quiet and made it easy to lose track of the tempo. To improve this, I immediately connected this section to "Piano Layer Idea 2" (as shown below), which I had developed during a previous session. I then spent a further fifteen minutes refining this piano layer and ensured that the final note landed precisely on the beat that leads into the bridge. This helped create a smoother and more grounded transition.

Following that, I turned my attention to "Embellishment Idea 2". I spent about thirty minutes experimenting with the organ as a possible instrument for this idea. I created two versions, both of which brought a certain warmth and depth to the sound. However, I was aware that the organ could easily dominate the arrangement if not mixed carefully. For this reason, I have muted both versions for now, as I would like to explore other instrument options before making any final decisions.

The above work altogether took approximately one hour. After taking a short break, I resumed working for another four hours and explored several more aspects of the piece.

Within that time, I spent about two hours attempting to integrate a previous embellishment idea into the arrangement. Unfortunately, it began to feel rather chaotic and did not sit well within the overall flow of the music. I experimented with several other sounds, including a "Watery Piano" and "Glass Bells", but none of them felt quite right. For the time being, I have decided to set this section aside and will return to it once the other parts are more fully developed.

I also revisited "Piano Layer Idea 2" again, spending around one hour exploring different phrasings and placements to see if I could create a version that worked better within the context of the full arrangement. Following, I spent about one hour working with the harp instrument but realised that I still could not find a satisfying arrangement that complemented the piano. Therefore, I decided to pause this part and move on to other sections.

I plan to continue refining the piano elements and exploring other instrumental textures in my next session.

####### Side Note #######

Today, I spent approximately five hours experimenting with instrumental layering, particularly on piano layers and embellishments. I began with a one-hour session, took a one-hour break, and then continued with four more hours of focused work. Nothing has been finalised yet, but it does feel like a step in the right direction. I am looking forward to exploring further tomorrow.

####### End of Side Note #######

Please feel free to drop any feedback or suggestions in the comments. I really appreciate hearing your thoughts! I will keep refining this piece and plan to upload the full version once it is finished in a few days. Stay tuned!

[music4lifebycc]

Tsubaki (つばき / 椿) – Piano Arrangement for My First Piece, 26 May 2025

Today I began with a two-hour session focused on designing the artwork for my music piece. I experimented with a few brushes — Nebula, Cloud, and Studio Pen — to achieve a soft, dreamy texture that aligned with the overall mood of the composition. The final result felt visually connected to the atmosphere of the track. After completing this stage, I took a short break before moving into the main work session of the day.

Following the design of the art cover, I was planning to work on just mixing and then uploading. However, I ended up making a significant change to the tempo and time signature, which had been a recurring challenge in previous sessions — particularly when practising with the metronome.

As I reached the bridge, it became clear that this section transitioned most naturally into 4/4 time at 80 BPM, capturing the shift in energy I had been aiming for. Later in the piece, when the chorus and verse return, I reverted to 6/8 time but maintained the slower tempo of 80 BPM to give the ending a greater sense of calm and finality.

Once I had mapped out the tempo and time signature changes, I re-recorded each section individually to assess whether the transitions worked as intended. Thankfully, they all flowed smoothly (I coloured them in green as below). With the structure clarified, I proceeded to refine and record a complete take (highlighted in bright pink) in preparation for the next phase.

Previously, I had used 65 BPM in 4/4 time. Now, the final tempo structure has now been defined as follows:

Section before the bridge – 100 BPM at 6/8 time,

Bridge – 80 BPM at 4/4 time;

Outro – 80 BPM at 6/8 time.

This discovery has enabled me to produce a piano arrangement that more closely reflects my original musical concept.

During the mixing phase, I initially explored both Chroma Reverb and Space Designer. Although I recalled a recommendation to use Space Designer for more realistic reverb, after conducting further research and careful listening, I ultimately chose Chroma Reverb for this stage. I felt that its more virtual, lush sound better suited the solo piano part at this point in the creative process.

As I am currently working with piano alone, my plan is to introduce Space Designer during the next phase — when I begin layering additional instruments — to help create a more natural and cohesive spatial environment across the entire mix. For now, however, Chroma Reverb provides the dreamy and expressive quality that I am seeking.

I also applied a warm piano EQ preset and added light compression to help round out the tone and ensure a balanced, warm sound that is ready for sharing.

This entire process took around six hours, from tempo changes to mixing and video creation. Here is the finished piano arrangement for my first piece:

With the structure now finalised and the piano mix at a solid draft stage, I am preparing to move into the instrumental layering phase next—adding soft textures, background harmonies, and possibly some string elements.

####### Side Note #######

I have put the name Tsubaki (椿) for my first piece because it means strength. Like the camellia flower that blooms fiercely in the cold of winter, Tsubaki feels like the steady, powerful core of a neutron star—unyielding and full of energy. It is my way of capturing that cosmic strength that anchors everything in the vast universe, both delicate and unstoppable.

Today I spent a total of eight hours working across several areas of the project: two hours designing the artwork for the music piece, and six hours focused on resolving tempo and time signature issues, mixing, and video editing.

####### End of Side Note #######

I hope you enjoy this piano arrangement, and I would greatly appreciate any feedback, particularly regarding the tempo and transitions, as I continue to develop both the musical and production aspects of the piece.

Thank you all for reading! ^_^

[music4lifebycc]

Creative Milestone: Finalising My Piano Arrangement for My First Piece, 25 May 2025

Earlier today, I spent a few hours (from 9am to 1pm) connecting the different drafts of my piano arrangement. I played through the full piece several times, improvising in parts and experimenting with new ideas, with the aim of stitching the various sections into one coherent arrangement.

From 2pm to 4pm, I focused more intentionally on this process of linking the drafts together. It was during this session that a new musical idea came to me quite unexpectedly, and I decided to incorporate it into the full arrangement. It added a fresh dynamic that seemed to naturally bridge some of the earlier material.

Later, from 5pm to 7pm, I finalised the structural flow—deciding exactly which old and new elements to keep. With this in place, I attempted to play the full arrangement at a consistent tempo. This turned out to be more difficult than expected due to changes in feel and implied time signatures across different sections. I experimented with several tempos—60bpm, 65bpm, 55bpm, 80bpm, and 73bpm—to see which one best preserved the original intention of the piece. In the end, 65bpm felt the most natural and expressive overall, even though I briefly considered switching time signatures between sections. As I was not entirely sure how to notate that, I chose to follow a single tempo throughout.

After numerous re-recordings and adjustments, I finally reached a version—Draft 28—that holds a stable tempo with the metronome and maintains the musical integrity I was aiming for. With that in place, I moved on to recording a more polished version in preparation for the next phase.

I then spent about an hour refining and recording this version. Some of that session was not captured, as I was experimenting with a few outro ideas and comparing different versions of the ending to decide which one to use. I have kept those alternate endings saved separately for reference.

I am pleased to say that I now have a complete version of the piano arrangement ready for the next stage, which will involve layering in additional instruments. As will be seen below, I have created several versions of the complete arrangement for internal reference, but version five is the one I will be developing further.

Today I spent around 9 hours working on this piece, and I am genuinely pleased with how it has come together. I am planning to upload the full piano arrangement for my first piece tomorrow. I have also come up with a few possible titles and hope to share the name along with the music.

Thank you so much for reading—once the recording is up, I would love to hear your thoughts!

[music4lifebycc]

Between Verses and Bridges for My First Piece, 24 May 2025

After a tough week recovering from a viral infection, I was finally able to return to my project. I began working a little after 3:00pm and continued until around 7:00pm.

To start, I listened through the full arrangement to get back into the flow and identify areas for improvement. I made notes on sticky tabs to mark sections I wanted to develop. These included:

Adjusting the pre-chorus so it moves from the upper register to the lower, creating more shape and variety,

Adding fast, repeating figures in the bass for the chorus,

Returning to a slower, simpler bass line for the verse,

Inserting rests in the piano part before the bridge, allowing space for soft ambient instruments to subtly fill the texture.

Once I had a clear plan, I focused on reworking the bridge section, which I had not been satisfied with in the previous version. I spent around two hours testing different approaches until I landed on an arrangement that felt more balanced and musically clear.

By 5:00pm, I shifted focus to the transition from the repeated verse into the chorus — a section I especially enjoy. I added embellishments here, using fragments from earlier drafts (now colour-coded purple) to create extra layers. These will likely be performed by a second piano or another instrument. I trimmed the section slightly to clarify the phrasing and added a rough “Embellishment” track to help link the verse, chorus, and bridge together. This process took about an hour.

I paused for dinner at 6:00pm but made a quick note of my plan for the bridge section — which includes two instruments alternating and imitating each other, supported by descending figures and repeated patterns in both low and high registers.

At 7:00pm, I reorganised the session files to make them easier to navigate. I updated my colour coding:

• Bright pink = Unchanged original parts played by the main piano,

• Yellow = New edits and ideas added today,

• Purple = Additional layers and embellishments for possible use by other instruments or a second piano, especially for sections involving imitation or “call and response”.

####### Side Note #######

By the end of the session, I had a clearer and more refined arrangement. My next step is to record the full main piano part, which will serve as the base for adding further instrumental layers and textures.

3PM–8PM. 4 hours of music, 1 hour of not-music. Progress made. Still rough. Direction feels right :D

####### End of Side Note #######

Thank you all for reading. I will take some time to find the right name for my first piece — I will share it here soon. Can’t wait to give it a title that fits the sound. ^_^

[music4lifebycc]

From Improvisation to Arrangement: The Beginning of My First Piece, 12 May 2025

Today I’m starting the arrangement of my pieces, with piano as the main instrument—since that’s my area of focus. For the first piece, I’m creating a full piano arrangement. I’ll start by improvising around a chord progression or bass line that I choose, and then build the instrumentation for each section based on the themes that develop. I’m following a structure similar to pop music: intro, verse 1, pre-chorus, chorus, then a repeat of the verse and pre-chorus, another chorus, and finally the outro. While the overall form is pop-inspired, I’m incorporating classical techniques like repetition, pedal points, and imitation to give the piece more depth and character.

I started experimenting with my arrangement by improvising different sections first, picking out ideas that stood out to me. I used the Steinway Grand Piano MIDI as the base sound while playing on my 88-key Yamaha digital piano with fully weighted keys. This session lasted around 50 minutes and involved lots of trial and error—stopping, replaying, and revisiting ideas. I took breaks between recordings to listen back to each draft before deciding which parts were worth keeping or building on for the final arrangement.

I spent about 40 minutes recording the rough arrangements I’ve chosen for my first piece, assigning each part to a specific section of the structure. It’s still mostly improvised, but I have a clearer idea now of the thematic material I want to develop as the piece builds. To keep things organised, I used colour-coding to differentiate between the initial improvisation drafts and the versions I’ve selected for the actual arrangement. I’m planning to use the bottom row of colours in my final output when I start layering in other instruments, with the first colour representing the piano. The rough length of the piece is about 5 minutes. Now I’m moving on to editing and refining the arrangement to establish it as the foundation for my first instrumental piece. Before adding any layering or background sound effects, I’ll be adjusting the structure—removing or adding certain parts to help the transitions between sections feel smoother and more cohesive. After listening back multiple times, I noticed that the intro and verse felt too long, while the chorus—usually the most prominent section—was too short. So I’ll be making some adjustments to improve the flow of the arrangement and, ideally, bring the total duration to under 5 minutes. While tidying up and organising the selected drafts, I decided on a tempo of 65 BPM and a 2/4 time signature. With that in place, I recorded a full version of the piano arrangement at tempo to lock everything in more clearly.

Since the arrangement was still a bit messy, I went through and refined each section one by one. Time check: 9PM. I spent a total of 3 hours (from 5PM to 9PM, with a 1-hour break in between) working on cleaning up the structure and starting a smoother version of the arrangement. It now flows much better and is sitting at around 4 minutes and 39 seconds. I’ve marked the refined version in bright pink for clarity. I’m planning to record the full version in one take tomorrow.

This section with the added piano layer turned out to be one of my favourite parts of the arrangement. At first, I wasn’t sure where it would fit, but it ended up working really well in the most intense part of the piece—where the music flows continuously from the repeated verse into the pre-chorus and then into the chorus, without any breaks. I’ve named the region “favourite part” for now, and I’ll figure out exactly how to fit it in tomorrow. (See below.)

####### Side Note ####### Piano Arrangement Approach: I always begin my compositions by creating a full piano arrangement as the foundation. Some of my musician friends prefer to start with lyrics, but for me, it always begins with an original, recurring musical theme that I want to carry throughout the piece. I usually follow that by writing a repeating bass line with only minimal changes, which allows more space for the right hand to move freely. From there, I start improvising until something clicks—something I feel is strong enough to include in the final version.

Interestingly, one of my lecturers once mentioned in class that we should always build a foundational arrangement first before layering in MIDI or audio instruments. That advice really aligned with my process. Starting with a solid piano arrangement gives me a clear structure to build on and opens up more creative freedom to experiment with layering, textures, and background sounds. It also helps me stay connected to the musical ideas that come to me more intuitively or subconsciously. ####### End of Side Note #######

Today, I spent around 5 hours working on my piece from 3 PM to 9 PM, with a 1-hour break in between. While the work is still in progress, I’m feeling good about the direction it’s taking. I plan to upload the finished track in the coming days. I would appreciate it if you could share any feedback or thoughts on my methodology. I’m always looking for ways to improve and grow as a musician!

Thank you all~