Originally Posted by Birchwood
Hi Chay,
I agree with all others here. A very lovely melody, a well balanced song and lots of variation in it.
I became intrigued by that lady in the middle; not smiling, laughing, at 3:00 a wider smile and so on, until she was no longer alone.
Is there a purpose to doing this, or do I just think there is a meaning to doing this?
Your ending didn't sound so abrupt, just a bit. But what you replied there, let me think of a possible solution.
Have you tried to let the flute (for me it sounds like a flute, but...) play one or two more bars solo with the chord have 3 dots (like: C...)
Then you can cut it where it sounds not too abrupt.
Or maybe someone else on this forum has a brighter solution...
Hans

Hans, the images sequence (after the title one) starts off with the young Quan Yin appearing in the night and straight-faced. Next with a night background she doesn't look too happy, but then the next image is a sunrise one and she begins to smile, thereafter she smiles throughout, though I tried to give her slightly different expressions with each image. When the final 3rd begins with the thunder and tin whistle she turns the rain into flower petals, then the birds come out to greet her, after which the images change with different poses and more of her in view. The sequence was just the way I felt it should go.
Great idea to have a couple more bars at the end with just a solo instrument!

Some favourite Waoist Adages:
#1: Play on the Way.
#13: Ask not for whom the flower blooms, it blooms for you.
#58: Bring consciousness to it.
#63: On the road to effortlessness, effort must be made.
#92: Be Love Now, the rest will come on its own.