A curious girl eats a forbidden fruit which causes her to wake into a new world.

Dir. Liam Beazley
Written, Editing, Cinematography, Sound by Liam Beazley
Starring Bethany Ivens
Music by Jeffrey Wang 

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Musical analysis - SPOILER ALERT!
The music in this film is used to represent the new world that the girl discovers. The music starts very simply with octave intervals, but as the girl (and audience) explores and discovers more of the world, the listener is also taken on a journey to explore and discover different musical intervals and harmonies, beginning with perfect consonances, progressing to imperfect consonances and later dissonances. The music reaches its densest and most dissonant point when the Doppelgänger is discovered and awe turns to uneasiness and distress, represented by all twelve tones battling each other within a single octave. As the Doppelgänger eats the grape, the new world begins to fade and everything begins to return to reality. This is represented by the music gradually decreasing in density. The music lingers for a while after she wakes up, as the memory lingers and slowly fades, like waking up from a strong and emotional dream.

Natural harmonics in the strings and notes in the overblow register of the clarinets are used in order to obtain the purest pitch possible with instruments, emphasising the harmonic journey through the various musical intervals. These instruments are also capable of near imperceptible attack, which allows the changes to happen very gradually and makes it harder to pinpoint the exact moment that changes occur.

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