#I think I also forgot the name of some ornaments or sth

[tonyglowheart]

Okay thinking more about Dean’s theme that plays at the end of the confession scene, it’s like... the first two phrases of a 4 phrase melody? (I’m like straining to remember back to composition exercises from when I took music theory lmao..) but okay so the first line (first two phrases) resolves on a dominant (V). Which is fine for the middle of the composition, I thiiink? If I remember correctly, it’s like.. a solid choice for to resolve a musical phrase in the middle. But. You want to bring it back to the tonic (I/i) at the end of the composition. (that’s like, one of the easiest things you can do, mark out the end chord so you know what to lead into)

And... Dean’s theme is kind of interesting bc it roughly has a 16-bar structure with 4-bar phrases, but it doesn’t quite resolve the ends of the phrases, it mostly just... holds chords and tapers off. The first 8-bar line seems to end on... a V-iv? or at least the fourth is in there with the tonic. not quite a resolution. (the leitmotif is designed to repeat, so it doesn’t actually seem to resolve in the 16-bar structure, it does like a dc al coda thing that riffs a bit and then ends on some chords that eventually resolve to the parallel major tonic)

The part that’s quoted in the Confession is roughly the first 8 bars, but without that ambiguous tonic resolution, so it just ends on the fifth. Which is a (music theoretically speaking) “unstable” way of ending a piece. Not uncommon, relatively speaking, and not unstable-unstable in a never-use-it sort of way, but definitely more unstable than resolving to the tonic. It’s a technique used for keeping suspense, or for leading into something else (like I suppose if someone is playing a set and transitioning to the next piece, or to keep the energy going). There’s other uses for it as the ending chord, but basically it leaves a sense of suspense, of something hanging... like... you know... 

(the orchestration takes over then and it teeentatively resolves it? the pitch bending tho still sonically throws it off a bit, and it’s not as defined as the piano theme was, so it all kind of... leaves it all hanging.. leaves you with just Dean alone in the bunker...)