“Glitch’s Theme, Alternative”

Reflection by: Markus

“Glitch’s Theme, Alternative” spawns from the experiment of “Glitch’s Theme” which lasted
3 movements and 11 minutes, aimed at testing the capabilities of Musescore’s new
MuseSounds instead of focusing on score visualisation. This project was made in between
Semesters1:1 and Semesters1:2 to further maintain my skill.
Now I am more confident in my skills and have found ‘the sound of ‘Glitch’’ through working
with chromaticism in my Semesters 1:1 and 1:2 pieces, I have chosen to update this project,
giving one of the main villains of the story (especially since it is named after them) their
own theme that can be more professionally played. Speaking of professional integrity, may I
invite you to wonder why I chose to use the octobass, since there are only seven
worldwide?
This is where I come in again. Even if I cannot access an octobass for the performance of the
piece, I will be able to achieve a similar sound by micing up a contrabass and turning it
down the two octaves and amping it up due to the octobass’ increased size and thus
projection.
This through-composed piece with a recurring motif is the theme of the character in my
story, “Glitch.” Indeed, his name is ‘Glitch’ which you would think it use a lot of electronics
to convey the ‘glitchy nature’ of what you’d expect from the name? But really, the realm in
which he travels to and from is just a part of him, which is why I chose a hybrid orchestra.
There is a reason why this is so in the series but I cannot explain as it would spoil some of it
;).
Instead, I will explain who he is fundamentally. He is Death in the main story’s universe, but
not Satan. He was born of the Amenglusian who is more like Satan, despising good in any
way he can. But Glitch has at least some heart, he decides to become Dominion, keeping
the balance of life and death in his hands, but still deciding when an animal’s time is, for he
is Death in the absence of Death, that is, Amenglusian.
The sound of Death in my story more or less aligns with most people’s expectations of dark,
low-end frequencies, but the glitch element takes low and makes it extreme (octobass) just
like it takes colour and makes it extreme (‘ultra-black’ ‘skin’).
Some instruments, like the trombone, will not have much to play, but when it does, it builds
the score’s atmosphere much.
I also use the ‘n’ dynamic marking here and there. This is to notate to the player to play
either from or to ‘nothing’.