![]() ![]() Only two musicians were involved: Chagoyán and Grady. ![]() This has been all about the composition and arrangement of the piece, but the production was relatively simpler though no less arduous. The transverse flute, with its counter singing rounds, enhances her voice by subtly contrasting it. The piece is instrumental without any lyrics. They went through several sessions discussing the intention, the dynamics, the articulation, and even the appropriate vowels for different passages. ![]() Then comes the melodic part, which Chagoyán wrote especially for Grady and shows off her beautiful voice. That makes it more ethereal and rhythmically interesting. This progression takes place in 3/4 time, but it doesn’t sound like a waltz. ![]() The development of the harmonic progression and its links are the result of years of study in the field of harmonic functions. A counterpoint is created with the addition of the melody by Grady’s voice. It is important to mention that it is not a simple circle of chords but a harmonic development in which the lowest note (the bass) and the highest note (the harmonic melody of the guitar) have their own song. The first thing is the “leitmotif” that gives rise to the piece, which is a harmonic progression in D minor and the melody derived from said harmonic sequence. ![]()
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