I’ve always admired the oboe.

“Don’t judge a book by its cover” does well when examining the voice of this instrument which could mistakingly be used as a cudgel rather than an instrument. For some reason, I get this delightful surprise every time I see one played live.

That delightful surprise is the basis for this piece, and as such its lead will be the oboe.

Or in this case, a delightfully surprising selection of trump card.

Movement One: Intentions

“I’m going to kill your father.” Words that don’t go away from someones mind very quickly. A strings can set the tone with a subtle wave of cautious preparation. (I want the feeling that you need to look over your shoulder…location will count for everything when this piece is played.)

Focus is found again with the intent to target the Black Road. The Weirmonken (all the bass) were defeated in Lara’s Earth, so now we need to focus our efforts on the road into Amber. A much more difficult task than the previous. We’d need more information to proceed.

We’re tasked with our duties: mine are to prepare a spell to track the source of the road. Not a small task, I have decisions to make on the approach (the oboe, elusive, soft in the background. The strings need to dominate this movement). Shall I attack the road with a hammer, forcing it to reveal its secrets?

The road has too much power for that. Any sprite, small or large, would be overwhelmed by the roads antitheses of the pattern, or magics from an Amberite Prince.

(The piece gets rushed at this point, ideas, indecision all thrown about. Mess with the timing, still to a pace but almost overwhelming…that would link nicely with Sioned)

Assistance is provided from Sioned, both protective and a welcome distraction from the task. (Piccolo?) What starts as a tin foil hat (artistic or not, a tin foil hat is a tin foil hat…however the suggestion may have been my fault) becomes a set of headphones which should help to keep my mind safe while the rest of it channels power into this spell.

Why can’t I stop thinking of butterflies? (There is that oboe again)

Movement Two: Unintended Diversions

(…no matter whenever I compose music for Remba, it feels wet. Sometimes, when a little too much power is drawn into the composition it can take weeks to dry out the recording studio. This time, we’ll focus on a person, rather than a place…Random, or the violin that doesn’t notice, or doesn’t care when it should stop…)

We divert to Remba. I believe it was on the plans, to speak to Deirdre, and Sioned may have brought that schedule forward a tad. (Bring on that piccolo, just a tad)

I could focus the piece on another uncomfortable party, as if dinner with Erica wasn’t enough (note to self: challenge to compose death metal suite on Awkward Dinners) but instead two elements will make up this movement: Random and a Pattern Walk.

First, Random. (Two themes, the first violin with his usual overture, the second with his real self, in the background, trying to be heard.) At first it seemed like he’d just gone native a little, but no. Inside that head is a wall which the real Random is behind. I’m not sure I mind that much, but introducing a little crack in the wall might give him a small chance. I like the idea of people being in charge of their own minds, but it’ll be good to see him work for it.

The Pattern Walk. I walked the pattern again, this time with Sioned. (With this there can only be silence from the other instruments, and a quiet, lost little oboe, wondering where the world has gone) Sudden waves of regret, of the past. I can’t really say too much of what happened, it’s not really for me to say. The pattern did show me one thing, I think, I’m a little uncertain. But maybe it might have been trying to teach me that I need to learn a little more, stop making certain assumptions about the past.

All that seems irrelevant though when you end up face to face with a unicorn.

The Unicorn. (How the hell do you theme the unicorn? Angelic choir? …nope, a single note from every instrument. A very low octave C…going for that sense of overwhelming power…that really wants to sleep)

He showed me what I wanted, Brand, locked somewhere unable to speak, to move, gesture. Inside the perfect trap for a sorcerer. I ask to be sent there.

Who cares about being careful what you wish for, when you get what you wish for.

A tower, a hurricane of swirling rocks, and Lara.

Movement Three: Dragons, Luck, a Trump Artist and Home.

Not much can be said here. (A flurry of instruments, showcasing Sioned’s battle, Lara’s quick thinking, the oboe in the background, hopeful but in this place, powerless) Sioned slew a dragon, Lara provided our escape, and I have what I’ve looked for for quite a while: Father.

Home is where the real piece starts. (Adagio would be the keyword here, this is where we try to be hopeful but somber). Coming home. Hagan convinces me that the castle is the best place for Brand. I worry about Erica, but I know I have more to worry about with Luce. Hagan doesn’t seem to think so (a small clash), but Luce’s statement is hard to forget.

Mother is summoned, we arrive. Brand is taken to the infirmary, Erica is as hard to read as always.

In comes Luce. (the bass again, different from the Weirmonken, similar to the Unicorn’s underlying threat).

A gesture, clear intent.

Erica stays his hand. “There have been enough curses already.”

Luce leaves. A difficult conversation…negotiation even, in the future is born.

Mothers always soft and soothing words try to convince me to sleep. (Need to be careful with mothers theme…)

Despite how hard it tries, the oboe doesn’t get the last word.

(Notes: …this piece needs a lot of development. Revisit: Luce’s theme / Remba, Random’s piece, I’ll need to look closer at the First Violin

…and how the hell do I compose Father?)