Compositions

Nostalgia Soundtrack

Individual Tracks

Slip Away

Originally written as a wedding processional, Slip Away is a piece written for string trio that is a short sound file specifically only for the duration of the aisle’s duration. G Major.

Love Eternal

An original piano compositions written for a client’s wedding, including both a bridal processional, as well as the full track for the wedding processional. Toying around with the idea of major 7 chords as countermelodies, can be heard as oscillating between the two top notes of the chord when it first accompanies the first right hand melody, until it breaks into more arpeggiated exploratory patterns. C Major.

Janet’s Indecision

Titled after another one of Bethany’s students, Janet’s Indecision explores many different keys, and never quite seems content enough to stay for very long before shifting again. A song of key exploration and searching. Bb Major - G Minor - B Minor.

Hallways

Beginning with an almost jazz-like playful melody, Hallways experiments with toying with the same notes but within a different rhythm for the first melody that is introduced. It then uses similar melodic function in the right hand to eventually slow the pace down slightly, then more noticeably, and then eventually completely as it brings the piece to a full stand-still with a “bell toll” section with the left hand. Silence is used more strongly to tear the piece down, and then build it right back up again. C Minor.

Linger

Sweeping accompanying left hand in C# minor, that was originally inspired by a song from the film Corpse Bride.

Do I Need to Repeat Myself?

Inspired by an adult student who showed some more Arabic sounding music in a piano class, which focussed on a lot more repetition in the melody. Titled after the fact that the piece is a play on purposely repeating almost every melody note that you hear twice, and deriving the melody from this. F# minor.

Chasing Past Dances

As one of Bethany’s earlier pieces, Chasing Past Dances passes through more sectioned glimpses of time signatures before finally settling into a ¾ section that brings on the strong thematic almost waltz-like pattern. It continues to build until the left hand takes on the first melody in octaves, while the right hand also breaks into octaves and then into a flourish of sixteen notes, and then eventually slowing and reducing until it brings the piece to a close. F Minor.

Nostalgia

Another sweeping left hand pattern accompanies the right hand, but with some added non-chord tones in the left hand this time. F# minor.

A Mere Glimpse

As titled, this is a shorter piece, that is focussed on surging and face paced left hand accompaniment and minimal and simplistic right hand melody overtop, that gives you a “Mere Glimpse” of the high charge of emotion that this piece may evoke. E Minor.

C Minor Waltz

Veering toward Bethany’s more classical side, C Minor Waltz may reveal how often she enjoys playing waltzes by composers such as Chopin or Brahms, as it sounds heavily reminiscent of such styles. Although it is less chromatic harmonically, there are sections of virtuosity and the use of a large span of the piano’s keys. C Minor.

Fleeting

Another heavy left hand pattern accompanies the opening melody in this piece, this time with a lot of focus on chromatic leading tones and more on pace with the right hand melody. The second section of the piece travels to a major key centre but the left hand every so often pulls back to the minor mode, and eventually does fully transition the piece back to the beginning minor theme before coming to a close. G minor - G major - G minor.

Steps

As named, the right hand melody for this song moves down in stepwise motion, creating a clear, concise, and simple theme. As the song builds, the steps are built upon with thicker harmony and rhythmical patterns, eventually transitioning into a different key, time signature, and completely different patterns all together. F# - A Minor.

You Came to Me in a Dream

Influenced by the simplicity and minimalism of the piece “Time” from Inception by Hans Zimmer, Bethany purposely kept her style as simple as possible in this composition. Again, loving word play, the piece is titled after Inception’s dream based plot. A Minor.