(SNEAK PEEK) In Which the Author Reveals a Bit of Her Work in Progress

ALRIGHT, YOU'VE ALL SUFFERED through my two weeks of research, so I think we're long overdue for some Actual Music. Actually, if we're going by my revised schedule, we're not really long overdue. Because I just realized that by counting the Project Pitch Week as Week 1, I technically have seven weeks before the TED talk? So this is, like, Week 2 of 6? And/or Week 3 of 7? I'm not entirely sure. Counting past four is difficult. But no one cares. SO.

This will be Hans' theme. It sounds sad, but there's also some major chords in there (B♭ and D) for maximum effect, and because these are some non-diatonic chords up a third like our good man Ryan Leach suggested. It's short and simple, and will probably be scattered in the other songs whenever I want to remind you of Hans or when either Max or Liesel is thinking of him.

This is more like a melody or an interlude in Hans' song alone. I doubt it will show up in some other song. It's interesting, because I put in some G major chords even though the theme was mostly G minor. It kind of changed the tone a lot, and I added in C minor, which I think will be the key the song will end up in. It's a lower key, which is good, because Hans is a middle-aged man, and I can probably sing down to a low D on a good day, or at least a low E♭ (which would be more prevalent in C minor, anyway).

I plan on literally ending on a high note. This fully establishes the song as to be in C minor, although the theme might have made you think otherwise. Speaking of the theme, this was largely based off the theme (no really), except I changed the B♭ major chord into a.... G♭ augmented triad. (Don't ask me why; I just moved the bottom note down and then "Whoa it sounds good" and here we are now.) And then everything kind of changed from there. I go straight to G major and then just end off with a C. I'll think about that ending more, especially as I come up with the actual melody to be sung.

Alright, now more character analysis. Here's a quote:

To most people, Hans Hubermann [is] barely visible. An un-special person. […] Somehow […] and I'm sure you've met people like this, he was able to appear as merely part of the background […]. He was always just there. Not noticeable." (1.22)

So I'm trying to go for a calm, almost elevator-music-like melody here, which might not sound very believable right now. But, I plan on a Very Aggressive piece for Max, our fist-fighter. That will definitely contrast Hans' song. Hans is quietly rebelling against Hitler, while Max just dreams of punching him in the face. So, yes, Contrast is good.

Also, you will notice that the only left hand accompaniment here is a simple waltz rhythm. It sounds nice for these parts, but there will be casualties if the entire song is just that. Worry not, I will be changing it up. I'll just have to figure out how and when...

As to what scene this song will be pertaining to, these are my ideas, in no particular order:
(1) Teaching Liesel how to read
(2) The fight with Hans Jr.
(3) Flashbacks of him as a young man in the war and how he came to hide Max 

I can think of pros and cons for all of them. We'll see.

See you on the other side of the war ~