One day, as I had been making music just for fun (and because I was bored), I sent Samu kun some music. I didn’t know by that day that there would be a tremendous move in the air. That I would be requested this mission: compose an orchestral adaptation in the spade of three months.

Working a piece of music isn’t simple by essence, some days you have inspiration, other days not. Some people, most being music artists, singers or people playing in a band, have this desirable trait, being able to live on their hobby, to be able to comprehend emotions and pile them into a delicate assembly, a thread, a pattern of sounds, lyrics even, that resonate and engulf everything they envisioned.
Alas, I don’t think I’m skilled enough to even compare to them, but I’m trying hard to create my own musical universe.

I had some experience about composing romantic movements in short symphonies, like some sort of Russian empire feeling movement, or bed ridden melodies. It must have been when I heard about Johannes Brahms compositions, most of these being from the romantic period, the sort of music that makes you weep or languish with some nostalgia in the air.
Just the kind of things that could express love, or the feeling of some sort of eternal mind torture, when it comes to convey feelings of attachment.

The piece of music that Samu-kun handed me was a delicate composition. Really.

It reminded me about a soft touch, flowers blooming, small puddles of water echoing, but still a universe that fits close to one’s heart. Like a small lullaby, rummaging in your head, then getting out slowly, delicately, then fierce and passionate. It fit the romantic vision of Brahms quite well.
Then a progression, getting faster and faster, fiercer, until it reached a calm zone, with an evanescent reminiscence, like a night of passion being fulfilled, under a starry sky, a moment of choice for lovers who decided to take a small retreat.

So I wondered. That theme was already so expressive, so complete. Just how the hell was I to make something out of it? Sure, it didn’t have other instruments other than piano, but that piano interpretation was already a masterpiece.

I felt sick as I was about to defile it with my amateur skills.

I began quite simply. I listened to the tune, completely absorbed, until I knew about every note, every variation, every breath. It was not a matter of musicality, it was then a matter of essence. What was this song trying to express? What was I lacking as I made my way through all this?

The very first tries

To be true, Samu-kun kinda saved me that day. I had asked him in what sort of scene the song would be used, which context. It’s just like translating a text, you have to keep the main meaning and adapt it so that it doesn’t lose its original purpose, while adding additional meanings that fit the situation.

I would prefer something the conveys the strong emotional feelings of first love. I don’t want it to be a slow, melancholic theme at all. The scene where this song plays is one where two people, who are destined to be apart, realize that they’re in love. There should be a sense of passion, romance, and yet still a sense of tragedy. This is about a lot of withheld passion that finally bursts forth and comes out, like a revelation. The song is also at the climax of the story, so it should be powerful and moving enough to make the player want to cry. (which is kind of the point of the genre anyways) – Samu-Kun (with ☆ in his eyes and a apologetic smile)

To be honest, I had made several tries, none turning the way I wanted or being worse than I first thought. I decided to go with some sort of love reminiscence theme.

Nothing spectacular to be true.

The main theme was pleasant, easy to remember, so I just added some violins, but lost most of the original interpretation. I also began to create some variations, but the way it turned out, one wouldn’t have thought this was a real adaptation.

No need to say that Samu-kun wasn’t that happy about it. I would certainly have sent a Tomahawk missile if I was in his place XD

This time was actually meant for fiddling around, getting to know the themes that were to be put and most of all, how to condensate everything into it. Every week, I made myself work on several different versions, and posting updates so that I wouldn’t be tempted to work out of it.
I even went as far as trying to turn it into a rock version!
I also worked on a solo trumpet that would be played in a critical instant, special figures, like cascading piano, change of tones…

And during this phase, one of my hard drive, the one hosting the Suna to Majo project, had died. Three years of effort just went “bzz” that day. Fortunately, my music projects (that composed 66% of what I had done actually) survived. Along with this project (or you wouldn’t have been able to listen to it haha).

The MK2 series

After lots of experimentation, I finally found what was lacking. It was just about impact.
In my quest to try to return that feeling of delicacy, I lost the thought about passion. And that was the most important part! Delicacy only comes at first, then there are bodies clashing one against each other, entwining into a passionate and burning love.

I removed the nostalgia part, as it was supposed to be a reunion theme, a celebration of a final accomplishment.
So I first worked on the overture, then the strings expression, then the second part and finally the solo interpretation.

So I went on a bursting out theme, with much more expression.
As I had the objective clearly in mind, the rest came out pretty much easily, even easier than what I first thought.
Each week saw its own improvements, adjustments, volume control, and new sequences, along with concerned comments of Samu-kun, but overall, we both were happy.

Also, the main theme was introduced later, because of the emotions I wanted to pour, my own interpretation, if you could say.

My only regret might have been the fact that I didn’t really change drastically the main theme, even if I made small changes here and there, but overall, the main theme remained unchanged. Well it was a character’s theme, interpreted in an orchestral set after all.
I think I did well, considering my amateur skills were at least of use.

So, please give Samu-kun’s game a try, to listen to this theme into the right context, and also appreciate his chef d’oeuvre!

Oh, and here’s the final version.