# The Butterfly Suite



## Samuel Kristopher

So in between working two jobs and studying full-time, I've somehow still found time to ride the romance roller-coaster and use the residue to fuel my compositions. So, thanks to my incontrovertible ardour, I'm able to present 3 Waltzes for Piano, titled "The Butterfly Suite".

If you aren't interested in the context of the music, you're more than welcome to listen and leave it at that - I'll put the link directly below and continue my explanatory dribble afterwards, for those who'd like to follow my train of thought 

Note: The third movement is a waltz in barely more than name. Only the main subject is a waltz, with the extended central section in duple meter.






*Context*
Many months ago I met one of the most amazing young ladies I've ever met, with whom I discovered an immediate mutual attraction.

Of course, she was married. 

We've maintained a close but platonic friendship since. We usually meet on weekends (her husband is always away except for about 3-4 days in a month).

*I. Waltz in E major "Ambiguous Situations"*

A few months ago we were sitting on a park bench talking about our relationships (my past and her current). Her unhappiness was clear, and we explored the idea of "ambiguous situations", what constituted betrayal and where the moral line is drawn through such issues.

For the waltz, I wanted something almost blissfully happy to reflect my happiness when I spent time with her, so for the main subject I chose a playful and cheery tune to begin and close the piece.

The central section starts out with a descending 4-measure melody in F# minor, a motif that I like to think of as some kind of warning or threat about the dangers of ambiguity. Indeed, after this warning motif is stated in a very clear tonality, a secondary motif appears that dares to cross the line, an attempt to escape. The warning motif returns, but this time the legs are kicked out from underneath it - the escape motif bursts free of F# minor and sort of wanders freely through various chords and changes before arriving in A-flat minor.

Before one has a chance to realise the consequences, the waltz swings back into the main subject and concludes in the home key at last.

*II. Waltz in C major "Walk in the Park"*

Our friendship/relationship thickened, though we controlled ourselves and only met in public with other people and avoided conversation topics that were too personal or inappropriate. That was until we took a midnight walk in a park here in St. Petersburg with a bottle of wine, and sat on a park bench together till the very wee hours.

The main subject of this waltz is still cheery, but tinged with irony and mischief - we were both frustrated at the situation, forced to have a wall between us, yet on the surface we maintained innocent smiles and trivial conversation.

For the secondary subject, I borrowed the theme from "Teddy Bears' Picnic", but with a slightly more plodding tone. This theme appears first in its standard innocent form, but it is quickly followed by a mocking series of chords, as if to laugh at the idea that our "wine in the park" could be as innocent as the teddy bears' picnic.

The main subject returns again, but increasingly frustrated and sarcastic. Eventually it gives way to a dark version of the teddy bears' picnic in minor, throwing off the veil of innocence and showing the truth of our desires and inner thoughts.

Finally, the main subject returns once more with more stress and anxiety than before, and ends abruptly, as if going on any further is too frightening or troublesome.

*III. Grande Valse Brilliante in E major "The Butterfly"*

A few weeks ago, after getting a taxi home from a bar (we live on the same block), we stopped as we sometimes did to chat a bit before turning in. We were a little drunk but we were still very much in control. We sat on our usual park bench and talked for an hour or so. Then we kissed.

Several days later we met over a coffee in the city to discuss what had happened, and she informed me that it could go no further, to which I assured her that I understand and wouldn't push the matter. Even so, we returned to our conversation about right and wrong and where this supposed moral line is. She confessed to being torn: she yearns for some intimacy now and again, but she can't offer anything. To which I answered "...it's not like I can offer you anything either, but that's not the point. It's more like catching a butterfly in a desert, and just admiring it for as long as it sits on your hand, and when it flutters away you have nothing but a good memory, and then the desert becomes just a little bit nicer."

This idea really blossomed in my mind and became the third waltz in the suite.

The main subject is in E-major, but when it's restated, it appears in E-minor, before concluding back at E-major. The transitions between these two states are supposed to evoke a little bit of awkwardness - a cloud of doubt and despair lingering over the romantic melody.

This major/minor subject repeats once before taking a surprising departure from the waltz into duple meter. What follows is my musical illustration of pursuing a butterfly through a desert, which grows blacker and more satirical as I start to realise the foolishness of what I'm doing. Not that I can help it - I want that butterfly, and I don't care how dark that valley of the shadow of death is! I've caught her once, and in my heart I know I'll catch her again if she comes within my reach.

And there she is again! I leap into action - there's a chase that builds, that grows as I get ever closer, but butterflies have unpredictable motion and it's hard to know where they'll go next. But at last it sits there, peaceful.

The main waltz subject returns: I admire the butterfly on my hand, knowing it won't stay there forever, but I seal the good memory in my mind.


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## Pugg

Samuel Kristopher said:


> So in between working two jobs and studying full-time, I've somehow still found time to ride the romance roller-coaster and use the residue to fuel my compositions. So, thanks to my incontrovertible ardour, I'm able to present 3 Waltzes for Piano, titled "The Butterfly Suite".
> 
> If you aren't interested in the context of the music, you're more than welcome to listen and leave it at that - I'll put the link directly below and continue my explanatory dribble afterwards, for those who'd like to follow my train of thought
> 
> Note: The third movement is a waltz in barely more than name. Only the main subject is a waltz, with the extended central section in duple meter.
> 
> 
> 
> 
> 
> 
> *Context*
> Many months ago I met one of the most amazing young ladies I've ever met, with whom I discovered an immediate mutual attraction.
> 
> Of course, she was married.
> 
> We've maintained a close but platonic friendship since. We usually meet on weekends (her husband is always away except for about 3-4 days in a month).
> 
> *I. Waltz in E major "Ambiguous Situations"*
> 
> A few months ago we were sitting on a park bench talking about our relationships (my past and her current). Her unhappiness was clear, and we explored the idea of "ambiguous situations", what constituted betrayal and where the moral line is drawn through such issues.
> 
> For the waltz, I wanted something almost blissfully happy to reflect my happiness when I spent time with her, so for the main subject I chose a playful and cheery tune to begin and close the piece.
> 
> The central section starts out with a descending 4-measure melody in F# minor, a motif that I like to think of as some kind of warning or threat about the dangers of ambiguity. Indeed, after this warning motif is stated in a very clear tonality, a secondary motif appears that dares to cross the line, an attempt to escape. The warning motif returns, but this time the legs are kicked out from underneath it - the escape motif bursts free of F# minor and sort of wanders freely through various chords and changes before arriving in A-flat minor.
> 
> Before one has a chance to realise the consequences, the waltz swings back into the main subject and concludes in the home key at last.
> 
> *II. Waltz in C major "Walk in the Park"*
> 
> Our friendship/relationship thickened, though we controlled ourselves and only met in public with other people and avoided conversation topics that were too personal or inappropriate. That was until we took a midnight walk in a park here in St. Petersburg with a bottle of wine, and sat on a park bench together till the very wee hours.
> 
> The main subject of this waltz is still cheery, but tinged with irony and mischief - we were both frustrated at the situation, forced to have a wall between us, yet on the surface we maintained innocent smiles and trivial conversation.
> 
> For the secondary subject, I borrowed the theme from "Teddy Bears' Picnic", but with a slightly more plodding tone. This theme appears first in its standard innocent form, but it is quickly followed by a mocking series of chords, as if to laugh at the idea that our "wine in the park" could be as innocent as the teddy bears' picnic.
> 
> The main subject returns again, but increasingly frustrated and sarcastic. Eventually it gives way to a dark version of the teddy bears' picnic in minor, throwing off the veil of innocence and showing the truth of our desires and inner thoughts.
> 
> Finally, the main subject returns once more with more stress and anxiety than before, and ends abruptly, as if going on any further is too frightening or troublesome.
> 
> *III. Grande Valse Brilliante in E major "The Butterfly"*
> 
> A few weeks ago, after getting a taxi home from a bar (we live on the same block), we stopped as we sometimes did to chat a bit before turning in. We were a little drunk but we were still very much in control. We sat on our usual park bench and talked for an hour or so. Then we kissed.
> 
> Several days later we met over a coffee in the city to discuss what had happened, and she informed me that it could go no further, to which I assured her that I understand and wouldn't push the matter. Even so, we returned to our conversation about right and wrong and where this supposed moral line is. She confessed to being torn: she yearns for some intimacy now and again, but she can't offer anything. To which I answered "...it's not like I can offer you anything either, but that's not the point. It's more like catching a butterfly in a desert, and just admiring it for as long as it sits on your hand, and when it flutters away you have nothing but a good memory, and then the desert becomes just a little bit nicer."
> 
> This idea really blossomed in my mind and became the third waltz in the suite.
> 
> The main subject is in E-major, but when it's restated, it appears in E-minor, before concluding back at E-major. The transitions between these two states are supposed to evoke a little bit of awkwardness - a cloud of doubt and despair lingering over the romantic melody.
> 
> This major/minor subject repeats once before taking a surprising departure from the waltz into duple meter. What follows is my musical illustration of pursuing a butterfly through a desert, which grows blacker and more satirical as I start to realise the foolishness of what I'm doing. Not that I can help it - I want that butterfly, and I don't care how dark that valley of the shadow of death is! I've caught her once, and in my heart I know I'll catch her again if she comes within my reach.
> 
> And there she is again! I leap into action - there's a chase that builds, that grows as I get ever closer, but butterflies have unpredictable motion and it's hard to know where they'll go next. But at last it sits there, peaceful.
> 
> The main waltz subject returns: I admire the butterfly on my hand, knowing it won't stay there forever, but I seal the good memory in my mind.


The story and the music makes my heart melt. :tiphat:
Most of all "modern music" doesn't have to be pain in the a##. Thanks for sharing.


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## Samuel Kristopher

Thanks Pugg! I was hoping you'd like it


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## Alon

They're beautiful!


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## Guest

It sounds ( reminds me) like music from an old movie without sound.No offense intended.:tiphat:


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## Alon

The first one is so catchy...I've been listening to it all day! I really like the third one too.


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## Samuel Kristopher

> The first one is so catchy...


I think that's what I love about waltzes and other dance-themed forms like Polkas, Mazurkas, and Polonnaises! They are very conducive to accessible, melodic, and catchy tunes, and without too much effort.

I want to give waltzes a rest for a while and start working in other genres for a while - I have some sketches for a second Sonata coming together and a Suite for String Quartet on the way, but I think I'll keep coming back to these dance forms for a bit of light-hearted fun and experimentation 

I think I also love the idea that these "dance" forms have really lost all context for actual physical dancing, but rather have become sort of a "dance for the mind". Certainly the mind is much more lithe than our bodies, giving us a greater range of expression and uniqueness


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