(0:00–0:25 Introduction) The track opens calmly with a reversed piano sample to ease the listener in, the first note being quite strong. I introduce some key parts here, establishing the atmosphere and main melody. This melody acts as a familiar anchor, providing a ‘home’ the listener can return to later in the track.

(Piano) I layer a standard piano (SoundIron Emotional) with a softer one (LABS) to add warmth. The blend of LABS’ felt-like textures and the standard piano’s hammer noises felt just right, so I used this combination throughout the track, coming back to the idea of intimacy.
(Strings) The strings play gentle tremolo swells to add subtle tension without overwhelming the section. As this is just the introduction, I leave out the double basses to keep the low end clearer, creating a narrower sound that allows for a more impactful expansion later.
(Vocals) A soft ‘la-la’ hints at the upcoming vocals and sets the tone for the female voice. I applied heavy hi- and low-cuts to mimic an old microphone, removing brightness and narrowing the frequency range. I give the lower end of the voice a small boost to add some extra warmth to the tone, which was taken away with the low-cut.
(Dizi, 0:14) The alto dizi adds an airy timbre, adding a human touch with its slight flattening at the end. It lingers longer than the other instruments to help smoothly bridge the two sections.
(Synths) Two warm pads layer with the strings to enhance the cinematic feel. They linger just after each swell, subtly and subconsciously drawing the listener deeper into the atmosphere.
(Triangle, 0:17, 0:50, 1:45) Used sparingly throughout the entire track, the triangle adds subtle sparkle to highlight impactful moments in the high end.

(0:25–0:55, Section A1) This section centres on the vocals, with a soft piano counter-melody. I aimed for a clearly sad tone in the lyrics (“Lay by my side, tell me a story, darling love me.”) and melody, but provided little to no context, keeping it open to interpretation for each listener. A few additional instruments expand the range slightly while preserving the intimate feel.

(Piano) This part was fully improvised after writing the rest of section A, allowing me to naturally accompany the vocals and respond in the moment. Even though it was written to accompany the vocals, subtle chromatic flairs add character, making the accompaniment feel distinct and beautiful on its own regardless.
(Vocals) The main vocal is layered with soft backing ‘ahhs,’ adding stronger body and depth while smoothly leading into the next section, more centred around the ‘ahhs’.
(Strings) Violin I maintains tremolo to preserve tension, while the others shift to legato for smoother swells. Double basses enter periodically, adding low-end power to each swell.
(Clarinet) The clarinet mirrors the vocal melody, adding a creamier tone that softens the brightness of the vocals.

(0:55–1:24, Section A2) Modulating from C minor to A major creates a haunting effect, intensified by the rising vocal line. The section then transitions into the buildup for the more powerful section that follows.

(Vocals, 1:05) Returning to C minor, the secondary vocals take over—quieter but equally strong, with a more ethereal quality compared to the main singer.
(Strings) The double basses and violas mimic the vocal line in a bird-song style, subtly driving the track forward while filling out the low end.
(Dizi, 1:15) The alto dizi returns briefly to reintroduce its airy texture before the transition into the epic section.
(Clarinet) Growing louder during the vocal transition, the clarinet bridges the two singers, smoothing the shift between them.