#flute trio

[lesser-known-composers]

Leonardo De Lorenzo (1875-1962) - I tre virtuosi, for three flutes, op. 31

Arete Trio : 1st Dabeen Kim 김다빈

2nd Eunbi Baek 백은비

3rd Misol Byun 변미솔

[automaticfrenchhorn]

Small piece today, another exercise in three-part harmony. As I have done before, most of these chords are built around having a strong consonance (fourth or fifth), colour consonance (third or sixth) and a dissonance (second or seventh).

As always, these pieces are welcome for anyone and everyone to play! All I ask is that you share it with me, because I'd love to hear it done by live players!

[mikrokosmos]

Mozart - Masterpost

For his birthday today (1/27) I compiled all of the blog posts I've written about his music over the years on this blog. There's so much more to write about for a composer with as significant an output as Wolfgang...I hope you enjoy anything you haven't heard yet!

Opera

Abduction from the Seraglio

Masses

Requiem in d minor

Symphonies

Symphony no.25 in g minor

Symphony no.36 in C Major, “Linz”

Symphony no.38 in D Major, “Prague”

Symphony no.41 in C Major, “Jupiter”

Concertos

Piano Concerto no.15 in Bb Major

Piano Concerto no.20 in d minor

Piano Concerto no.24 in c minor

Piano Concerto no.25 in C Major

Violin Concerto no.1 in Bb Major

Violin Concerto no.3 in G Major, “Strasbourg”

Violin Concerto no.5 in A Major “Turkish”

Clarinet Concerto in A Major

Double Concerto for Flute and Harp in C Major

Horn Concerto no.1 in D Major

Piano

Adagio in b minor

Piano Sonata no.8 in a minor

Piano Sonata no.11 in A Major

Piano Sonata no.18 in D Major, “The Hunt"

Sonata for Two Pianos in D Major

Sonata for Piano, Four Hands in F Major

Chamber Music

Clarinet Quintet in A Major

Clarinet Trio in Eb Major, “Kegelstatt”

String Quintet no.1 in Bb Major

String Quintet no.2 in c minor

String Quintet no.4 in g minor

String Quintet no.6 in Eb Major

Piano Quartet no.1 in g minor

Piano Quartet no.2 in Eb Major

Serenade no.10 in Bb Major, “Gran Partita

Divertimento for 2 Horns and String Quartet, “A Musical Joke"

Violin Sonata no.21 in e minor

Misc.

17 Church Sonatas

[savior-of-the-ink]

Bungie got tired of confirming my headcanons, so they decided to be dicks and deny my baby the traverse flute that is rightfully hers smh

[aroadamparrish]

the orchestra teacher comes into the band room to select the winds to complete her ensemble. “i’m going to want-“ *checks list* “trumpet, tuba, and flute.”

[strawberrystainedd]

i love flute so much i hate how unappreciated it is :(:(:(

[haylessa]

they're cute :((( [X]

[migueldelaguila]

🎶 Excited to invite you all to a special concert also tonight! 🎶

📅 **Date:** Thursday, September 26, 2024 

🕗 **Time:** 8 PM 

📍 **Venue:** Pickman Hall, Longy School of Music  Cambridge, MA

Miguel del Aguila - It will be an evening of beautiful music featuring **SUBMERGED**, my piece inspired by Alfonsina Storni’s surrealist poem.  🌊✨    Program also includes works by Debussy, Milhaud, and Valerie Coleman.

It’ll be a wonderful way to kick off Radius Ensemble’s twenty-sixth season. Hope to see familiar faces in the audience! 💖

[richardoburdick]

Richard Burdick's #1 best selling - September Summer, 2013, Op. 155b for flute, clarinet and horn

Learn more at https://i-ching-music.com/opus155b.html

Find the Sheet music here: https://www.musicaneo.com/sheetmusic/sm-191110_september_summer.html

[lesser-known-composers]

Eugene Walckiers (1793-1866) : Flute Trio No. 2, Op. 93: 1st movement

Slovenian Flute Trio:

Brina Kafol Zust, Marko Zupan, Boris Bizjak

[literaryvein-reblogs]

Writing Notes: Classical Music Eras

Classical Music - describes orchestral music, chamber music, choral music, and solo performance pieces, yet within this broad genre, several distinct periods exist. Each classical era has its own characteristics that distinguish it from classical music at large.

Eras of Classical Music

Musicologists divide classical music into historical eras and stylistic subgenres. One way to examine classical music history is to divide it into 7 periods:

Medieval period (1150 to 1400): Music has existed since the dawn of human civilization, but most music historians begin cataloging classical music in the Medieval era. Medieval music is known for monophonic chant—sometimes called Gregorian chant due to its use by Gregorian monks. In addition to singing, Medieval musicians played instrumental music on instruments like the lute, the flute, the recorder, and select string instruments.

Renaissance period (1400 to 1600): Renaissance-era music introduced polyphonic music to wide audiences, particularly via choral music, which was performed in liturgical settings. In addition to the lute, Renaissance musicians played viol, rebec, lyre, and guitar among other string instruments. Brass instruments like the sackbut and cornet also emerged during this era. Perhaps the most notable Renaissance composers were Giovanni Pierluigi da Palestrina, John Dowland, and Thomas Tallis.

Baroque period (1600 to 1750): During the Baroque era, classical music surged forward in its complexity. The Baroque era saw a full embrace of tonal music—music based on major scales and minor scales rather than modes—and it maintained the polyphony of the Renaissance era. Many of the instruments used by today's orchestras were common in Baroque music, including violin, viola, cello, contrabass (double bass), bassoon, and oboe. Harpsichord was the dominant keyboard instrument, although the piano first emerged during this era. The most renowned composers of the early Baroque era include Alessandro Scarlatti and Henry Purcell. By the late Baroque period, composers like Antonio Vivaldi, Dominico Scarlatti, George Frideric Handel, and Georg Philipp Telemann achieved massive popularity. The most influential composer to come from the Baroque era is Johann Sebastian Bach, who composed extensive preludes, fugues, cantatas, and organ music.

Classical period (1750 to 1820): Within the broad genre of classical music exists the Classical period. This era of music marked the first time that the symphony, the instrumental concerto (which highlights virtuoso soloists), and the sonata form were brought to wide audiences. Chamber music for trio and string quartet was also popular during the Classical era. The signature classical composer is Wolfgang Amadeus Mozart, although he was far from the only star of the classical era. Joseph Haydn, Franz Schubert, and J.S. Bach's sons J.C. Bach and C.P.E. Bach were also star composers during this period. Opera composers like Mozart and Christoph Willibald Gluck developed the operatic form into a style that remains recognizable today. Ludwig van Beethoven began his career during the Classical era, but his own innovations helped usher in the next musical era.

Romantic period (1820 to 1900): Exemplified by late-period Beethoven, the Romantic era introduced emotion and drama to the platonic beauty of Classical period music. Early Romantic works like Beethoven's Symphony No. 9 set a template for nearly all nineteenth-century music that followed. Many of the composers who dominate today's symphonic repertoires composed during the Romantic era, including Frederic Chopin, Franz Liszt, Felix Mendelssohn, Hector Berlioz, Robert Schumann, Johannes Brahms, Anton Bruckner, Gustav Mahler, Peter Ilyich Tchaikovsky, Richard Strauss, Jean Sibelius, and Sergei Rachmaninoff. Opera composers like Richard Wagner, Giuseppe Verdi, and Giacomo Puccini used Romanticism's emotional power to create beautiful melodic lines sung in Italian and German. The Romantic era also saw the creation of a new instrument in the woodwind family, the saxophone, which would gain special prominence in the century to come.

Modern period (1900 to 1930): The Modern era of art and music came about in the early twentieth century. Classical composers of the early twentieth century reveled in breaking the harmonic and structural rules that had governed previous forms of classical music. Igor Stravinsky defiantly stretched instruments to their natural limits, embraced mixed meter, and challenged traditional notions of tonality in works like The Rite of Spring. French composers like Claude Debussy and Maurice Ravel led a subgenre of twentieth-century music called Impressionism. Others like Dimitri Shostakovich, Paul Hindemith, and Béla Bartók stuck with classical forms like the piano concerto and the sonata, but challenged harmonic traditions. Perhaps most radical was the German composer Arnold Schoenberg who, along with disciples like Alban Berg and Anton Webern, disposed of tonality altogether and embraced serial (or 12-tone) music.

Postmodern period (1930 to today): The art music of the twentieth century shifted starting in the 1930s and continuing into the post-World War II era, ushering in a style of music that is sometimes called postmodern or contemporary. Early purveyors of postmodern music include Olivier Messiaen, who combined classical forms with new instruments like the ondes martenot. Postmodern and contemporary composers like Pierre Boulez, Witold Lutoslawski, Krzysztof Penderecki, Henryk Górecki, György Ligeti, Philip Glass, Steve Reich, John Adams, and Christopher Rouse have blended the lines between tonal and atonal music, and they’ve blurred the lines between classical music and other forms like rock and jazz.

Source ⚜ More: Notes & References ⚜ Writing Resources PDFs

[fictfrenzy]

assigning the "batfam"* instruments bc im bored. sidenote idc if you disagree make your own post ^__^

Alfred: French Horn. idk man i almost gave him saxophone but didnt wanna give bruce french horn. so here we are. hes still more of a piano guy but this isnt abt that

Bruce: Saxophone. i think it still works with him! smooth andd cool. works for me, works for him

Barbara: Euphonium. sorry i fucking love the euphonium, its a great instrument. shout out euphonium players. i think it fits barb because its like, deep and Important when its in a piece. usually. and makes great background!

Dick: Trumpet. hes as loud and annoying as one <3 additionally a piece thats on the rougher/faster lol end of the musical spectrum will feel kinda empty without a trumpet.

Cass: Flute. im a flute player + i love cass. the flute is an instrument that you have to really strain to hear in any given piece, which really matches her thing of just Appearing Out of Nowhere. but if you give the flute a solo, it usually slays rly fucking hard, and cass is the same as a character!

Jason: Tuba. he has the vibe of a tuba player. i dont actually know much about the tuba itself, but like its genuinely a rly cool instrument solo or not. and i think that just matches jason

Steph: Clarinet. matches the flute, but still has its own spotlight (in fact usually the favorite instrument of the 2, like goddamn bitch why are there so many clarinets!!!!). I really like how the clarinet sounds in solos, specially some of the lower notes, and i just ghergjhh. matches the flute. stephcass. youre welcome

Tim: Trombone. hes tiny. trombone big. hes probably the type of player to stand/lean on his case. not only is tim being a trombone player comical, but like, i think it works for him. specially given the genre range of the trombone!

Duke: Oboe. matches flute & clarinet (they are my fav trio eat shit & die!!!!), but also has its own theme— i think its quite versatile in the way that a mix of a trombone & a clarinet would be. duke also just has that vibe man idk

Damian: Triangle. "the triangle is the easiest instrument out there!!" "triangle’s so easy" "the triangle is like for little kids" damian decimates three entire audiences with a triangle solo. bows out. the triangle is NOT easy and i fully believe he’d be given the triangle bc of people underestimating him and surprise, surprise, the triangle's quite difficult!!! but not for dami of course, hes gonna excel at it. duh.

anyways. queue clapping. youre welcome

*not everyone, one day maybe !! but i wrote these on a whim during class & could only cover so many people lmao

[newfoundstateof]

but she fell in love with an english man | b.b. x reader

summary: Academy friends drag Benedict to a tavern to watch Irish fiddle player!reader perform. He buys her a drink. But who can play a fiddle and drink a pint at the same time?

word count: 1.2k

warnings: suggestive but none

a/n: definitely not inspired by those tiktoks of dirty talk bar maids at ren faires, who said that???

“They are spectacular,” Rupert Norton declared with an arm slung over Benedict’s shoulder.

The rest of the Royal Academy students hummed in agreement. Already drunk from the party they left minutes ago, a small group of them stumbled down the cobbled streets of Soho. Earlier that night, news broke that a band that visited a few weeks before Benedict enrolled at the Academy had returned to much anticipation. In an instant, pipes were dropped, coats were gathered, and boots were marching to The Intrepid Fox tavern.

“They’re from Ireland,” someone said.

“I’ve never danced so much in my life,” another added.

“And the fiddle player is quite easy on the eyes,” Rupert slurred into Benedict’s ear. “Try and buy her a drink if you can. That usually gets her attention.”

Benedict laughed. “I’m just here to enjoy the music. As should all of you scoundrels.”

Once inside the tavern, a few of the men beelined to the bar to order whiskey shots for the fiddle player despite the empty stage in the corner. Benedict simply took a seat at the bar, observing the growing crowd. The band’s reputation must have preceded them, as he was soon shoulder to shoulder with the eager fans. But for the next twenty minutes, only chatter filled the room.

“They always like to keep you waiting,” Rupert grumbled into his ale. “But it’s worth it, I promise.”

“I don’t mind,” Benedict smiled. “It’s good people watch-”

The room erupted into cheering, and he turned toward the stage. Sure enough, two men climbed the small wooden platform. One carried a fiddle, the other a flute. The room roared even louder when you emerged with your fiddle, waving a good-natured hand to the audience. Your smile was wide and disarming. Your gaze was equally piercing. Looking at the gleam in your eyes, Benedict knew just how aware you were of your control over the room. Soon the clapping died down, and every soul waited with bated breath to what you would say.

A scrawny kitchen hand hurried up to you and set a tray of shots down on a small barrel.

“Wow,” you breathed. “All this for little old me?”

Benedict found himself chuckling with everyone. As you threw a shot back, his stomach dropped. You were certainly not like the young ladies of the ton. 

“This crowd is mighty impressive, isn’t it, boys?” you asked your bandmates as you all started tuning your instruments. “We appreciate you for coming out. If you don’t know us already, the lad on the flute is Johnny. My fellow friend on the fiddle is Patrick. And I’m Y/N. I have a favor to ask of you all… From now until the last of you sorry lot leave this building, I hereby decree this an Irish pub! That means we will be clapping along to the songs, singing if you know the words, and if you are so inclined, I would love to see some dancing tonight.”

Someone in the audience whistled, evoking more cheers.

“Let’s get started, shall we?” you grinned.

The trio launched into Seven Drunken Nights, a popular jig even Benedict knew. Though his classmates were rowdily singing along, he could only stare at you. Johnny and Patrick generally kept to their places on stage, but you swayed across, drawing your bow theatrically compared to Patrick’s controlled movements. He was the main vocalist, but during the wife’s lines in the song, you sang with the crowd. 

“Ah, you’re drunk, you’re drunk, you silly ol’ fool. Still, you cannot see, that’s a lovely tin whistle that me mother sent to me!”

Benedict couldn’t decide if you were a better fiddle player or singer, you were impeccable at both. But without a doubt, you were the best at simply putting on a show. You encouraged people to dance along as you skipped across the stage. Benedict could only imagine how taxing it was for you. Dancing, singing, and playing an instrument all while not breaking a sweat. He eyed the tray of shots, turned to the nearest bartender, and ordered something more refreshing for you.

As you strung out the last note of Seven Drunken Nights, the same kitchen hand ran the mug of beer up to your tray. You sighed to yourself.

“Which one of you did this?” you cried out, lifting the mug high.

Heads spun every which way. Benedict froze. Was liquor the only appropriate drink to tip a musician? He wasn’t sure, he’d never been to something like this. Awkwardly, he coughed and raised his hand.

Your eyes found him in the sea of faces, and you smirked. “Don’t be shy, come here!”

 Rupert clapped Benedict on the back. “Don’t screw this up, Bridgerton. She might go home with you tonight.”

Though he had been with many women and dangerously close with a few men, you still intimidated him somehow. Nothing intimate had been on his mind before Rupert’s comment, but now his heart skipped a few beats at just the thought of it. Benedict snaked through the crowd, trying to read the expression on your face. But all you looked was smug, and he wouldn’t be surprised if you poured the ale on his head. 

“Finally,” you breathed as he stood before you. “One of you buys a lady a real drink!”

He exhaled in relief.

“I’m afraid I’m quite thirsty though,” you pout, getting down on one knee. The stage was barely a foot off the ground, putting your face directly in front of Benedict’s wide shoulders. “And we need to get on with the next song, but I don’t have enough hands. Would you help me, good sir?”

Without waiting for his response, you shoved the drink in his hands and looked up to the ceiling. Before Benedict could blink, you were poising your instrument and drawing out a note with your bandmates following suit.

“We’re lucky I don’t sing in this one,” you smile, giving him a pointed look. “Get on with it, now. I’m parched.”

Never one to argue with a lady, Benedict slowly tilted the rim of the glass to your lips and poured the liquid steadily down your throat. You looked up through your lashes at him, daring him to look away. But he didn’t. Only when some of the ale dripped down your chin and onto your bodice did his gaze break yours.

“Should I stop?” he asked.

You shook your head, “No,” as much as you could with your lips around the glass.

As you neared the last dregs, your head tilted back more and more to get it all. The eroticism of it all was not lost on Benedict, especially as you swallowed the last gulp and moaned audibly. The growing friction in the front of his pants was no help. But once the glass was finished, you rose to your feet and sent him off with a wink. As you spun to the other side of the stage, the hem of your skirt brushed his groin and he mindlessly reached for the fabric. But you were gone. In a trance, Benedict walked backward to his friends at the bar, adjusting himself. 

“Has she done that before,” he coughed.

“I’ve never seen that before,” Rupert crowed. “And I’ve seen them perform at least five times since I started at the Academy.”

“You’ve got to talk to her after, Bridgerton,” someone urged.

“Can I come along?” a voice teased.

“You’re the luckiest bastard on earth right now,” another sighed.

Across the room, you caught him starring and blew him a quick kiss.

“Yes,” he murmured. “Luckiest bastard on earth.”

[sassenach77yle]

THE YEAR ENDED clear and cold, with a small, brilliant moon that rose high in the violet-black vault of the sky, and flooded the coves and trails of the mountainside with light. A good thing, as people came from all over the Ridge—and some, even farther—to keep Hogmanay at “the Big House.”

The men had cleared the new barn and raked the floor clean for the dancing. Jigs and reels and strathspeys—and a number of other dances for which I didn’t know the names, but they looked like fun—were executed under the light of bear-oil lanterns, accompanied by the music of Evan Lindsay’s scratchy fiddle and the squeal of his brother Murdo’s wooden flute, punctuated by the heartbeat thump of Kenny’s bodhran. Thurlo Guthrie’s ancient father had brought his pipes, too—a set of small uilleann pipes that looked nearly as decrepit as did Mr. Guthrie, but produced a sweet drone. The melody of his chanter sometimes agreed with the Lindsays’ notion of a particular tune, and sometimes didn’t, but the overall effect was cheerful, and sufficient whisky and beer had been taken by this point in the festivities that no one minded in the least. After an hour or two of the dancing, I privately decided that I understood why the word “reel” had come to indicate drunkenness; even performed without preliminary lubrication, the dance was enough to make one dizzy. Done under the influence of whisky, it made all the blood in my head whirl round like the water in a washing machine. I staggered off at the end of one such dance, leaned against one of the barn’s uprights, and closed one eye, in hopes of stopping the spinning sensation.

A nudge on my blind side caused me to open that eye, revealing Jamie, holding two brimming cups of something. Hot and thirsty as I was, I didn’t mind what it was, so long as it was wet. Fortunately it was cider, and I gulped it. “Drink it like that, and ye’ll founder, Sassenach,” he said, disposing of his own cider in precisely similar fashion. He was flushed and sweating from the dancing, but his eyes sparkled as he grinned at me. “Piffle,” I said. With a bit of cider as ballast, the room had quit spinning, and I felt cheerful, if hot. “How many people are in here, do you think?”

“Sixty-eight, last time I counted.” He leaned back beside me, viewing the milling throng with an expression of deep content. “They come in and out, though, so I canna be quite sure. And I didna count the weans,” he added, moving slightly to avoid collision as a trio of small boys caromed through the crowd and shot past us, giggling. Heaps of fresh hay were stacked in the shadows at the sides of the barn; the small bodies of children too wee to stay awake were draped and curled among them like so many barn kittens. The flicker of lantern light caught a gleam of silky red-gold; Jemmy was sound asleep in his blanket, happily lulled by the racket. I saw Bree come out of the dancing and lay her hand briefly on him to check, then turn back. Roger put out a hand to her, dark and smiling, and she took it, laughing as they whirled back into the stamping mass.

Hogmanay ~The fiery cross

[reva-lution]

Moonfam Music Analysis

This took a lot longer than expected, but I have finished a full analysis of Rayla, Runaan, and Ethari (a little bit of Tiadrin and Lain for specks of screentime they had) up till the end of season 6! Truth be told, I still need some time to begin analyzing season 7, especially since I wasn't expecting the direction they took with this narrative thread.

ENJOY!! Let me know if I missed anything, what you noticed in season 7, or what you would like me to analyze next! Thanks for your support!!! FULL ANALYSIS AT THE LINK BELOW ----------------------------------------------------------------------------

Thematic Foundations: “Heartbloom” as Rayla’s Family (popularly referred to as the Moonfam) Theme

“Heartbloom” emerges as a musical representation of Rayla’s connection to her found family (Runaan, Ethari, and by extension, herself). The theme’s tender, layered orchestration—featuring strings, piano, and flute—speaks to the deep emotional bonds within the Moonshadow elf family.

Instrumentation and Tonal Qualities: The consistent use of plucked strings in “Heartbloom” and its structural similarities to “Silvergrove” underscore its ties to Moonshadow culture and Rayla’s heritage. These instruments evoke the delicate yet resilient nature of her family, highlighting their fragility and strength amidst conflict.

Parallelism with “My Heart for Xadia”: The cello’s introduction in “My Heart for Xadia” mirrors “Heartbloom,” connecting the Moonfam’s story to larger themes of love and sacrifice. Both pieces resonate in F major, a key often associated with warmth and tenderness, grounding the emotional moments between characters.

“Because She’s Rayla”: A Personal Identity Theme

“Because She’s Rayla” is closely tied to Rayla’s individual growth and her struggle to balance familial expectations with her own sense of self. Its instrumentation (violin, cello, piano, and flute) aligns closely with “Heartbloom,” suggesting that her identity cannot be separated from her family.

In Season 6, Episode 5, as Rayla sings to Esmeray, the melody’s shifts between major and minor keys echo the interplay of hope and sorrow—a hallmark of both “Heartbloom” and “Because She’s Rayla.” This moment underscores Rayla’s emotional journey and her attempt to reconcile her familial connections.

Fast-Paced Themes: Action vs. Reflection

The fast-paced sequences in Rayla’s confrontations with Runaan highlight their strained relationship. The absence of “Heartbloom” in these moments reinforces the emotional distance and unresolved conflict between them. However:

In the moments when Runaan recalls Ethari or Rayla appeals to him directly, the music shifts—slowing and softening to reintroduce emotional intimacy. For example, in Season 6, Episode 9, Rayla’s plea (“I’m your daughter”) is underscored by “Because She’s Rayla,” signaling a breakthrough in their relationship.

Selective Use of “Heartbloom”

The sparing use of “Heartbloom” in scenes involving Tiadrin and Lain (e.g., Season 6, Episode 9) suggests that this theme is not tied to all familial bonds but specifically to Runaan, Ethari, and Rayla. This distinction highlights the lingering narrative significance of the Moonfam trio, leaving space for future exploration. Specifically, when Rayla is giving her final goodbyes to her parents in Season 6, Episode 9 the Heartbloom theme is completely absent, replaced by melodic vocals and a touch of Rayla’s personal theme.

Key Transformations: Death and Renewal

In Season 3, Episode 3, the minor key version of “Heartbloom” following the Ruthari kiss reflects themes of loss and transformation. This tonal shift parallels Runaan’s trajectory—his grief over Ethari and the Moonfam’s sacrifices. Similarly, in Season 4, Episode 8, as Rayla gifts the butterfly blades to Rex Igneous, “Because She’s Rayla” evolves subtly, mirroring her growth and the ongoing influence of her family’s legacy.

Moonshadow Elf Themes Across the Series

“Silvergrove”: The theme captures the essence of the Moonshadow elves’ homeland. Its reliance on plucked strings and sparse instrumentation reflects their stealth and detachment from the world. Yet, this detachment also signifies the loneliness and isolation that pervades Rayla’s story.

Scene Highlight – Season 3, Episode 3: The melancholy yet serene tone of “Silvergrove” mirrors the emotional weight of Rayla’s departure from her home and her sense of exile.

“My Heart for Xadia”: The opening strings of this piece resonate with “Heartbloom,” linking the broader struggle for Xadia to the personal sacrifices of the Moonshadow elves.

Scene Highlight – Season 6, Episode 9: Subtle echoes of “My Heart for Xadia” can be felt in the mystical glockenspiel tones during Rayla’s reunion with her parents, tying their personal sacrifices to the greater fight for Xadia.

Moon Nexus Motifs: The Moon Nexus themes feature gentle, cyclical melodies on flute and strings, symbolizing the perpetual cycles of the moon and the elves’ adherence to duty and time. These motifs subtly appear in moments of reflection or decision, such as Runaan’s imprisonment and Rayla’s moments of doubt.

Musical Motifs Across Episodes... link below :D

[skyfire-the-pokemon-biologist]

// new thread with @alolaveralabs and @time-travel-trio since the other one was getting long and since the tw should be over//

"I didn't think your's would work. But I guess any of those flutes would work. And I forgot you had to go through all of hisui to get the azure flute. I just found mines when I went to sinnoh randomly. But looking back I think Arceus wanted me to find it." Skyfire shared "I really have a lot of stories to share. Maybe it's best if we head back now. Despite how beautiful this place is I can't stand it here. Also I need to wash the blood off myself."

"having ichor for blood is weird, like why is my blood gold. " They added

// @/alolaveralabs