Epilogue by Today Akbo: A Classical Music Perspective
- Yeoul Choi
- Aug 29
- 4 min read
Updated: Sep 2
Have you ever imagined what the life of a composer is like? Is it walk through nature while singing the melody as it comes to mind, or long hours at the piano, pencil in hand, filling blank staves in a small, dimly lit room? In truth, it is a delicate balance of both inspiration and discipline. At times, music seems to emerge effortlessly, as if the world itself whispers it into being; at other times, it demands relentless labor, revisions, and the patience to transform fleeting ideas into lasting works. Between these moments of spontaneity and struggle lies the true rhythm of a composer’s life.
Here is a collaborated composer’s team, named ‘Today Akbo’ and they have lived in the real composer’s world. They have been uploading their beautiful piano pieces on the YouTube Channel including relaxing and ambient music, sleep-study mixes and tranquil soundscapes for nighttime listening. Today Akbo’s YouTube channel now has about 7.1K subscribers and hosts around 153 videos. They continue to work on the various genre with dedication, offering warm and comforting music that brings solace to many listeners.
Epilogue” by Today Akbo is a piano ballad released in 2025. The piece blends a gentle, song-like melody with calm, steady accompaniment, creating a soothing atmosphere. Like many of their works, the music grew out of the composer’s everyday life and surroundings. In an interview, Jinwon Kim, a composer from this team, shared that the inspiration came during a quiet afternoon at a café:
“It was a beautiful day, and I was enjoying some coffee at a café when this piece came to me. I often find inspiration in the places I visit. That day, I finally had some time to slow down, open my music notebook, and write down the melody as it flowed into my mind.”
— Today Akbo (Jinwon Kim)
In this article, I want to discuss on the several features of 'Epilogue' by Today Akbo from the viewpoint of music theory. As the composer’s career is based on classical music, she used a lot of delicate harmonic languages with an accessible piano technic.
Structure
Today Akbo’s Epilogue is written in Rounded Binary Form with a brief digression. In music theory, Binary Form is a structural design built around two main sections. It appears in two principal types. The first, Simple Binary Form, moves directly from Section A to Section B without returning to the opening. The second, Rounded Binary Form, also divides into two sections but brings back part of the opening material, producing the outline A–digression–A’. This rounded design creates a sense of balance and familiarity, and it is especially common in shorter piano works such as suites and lyrical character pieces.
A (mm.1–9)
The first nine measures can be seen as the A section. What stands out here is the melody: it begins on a low B3 and rises all the way to C♯5, spanning more than an octave. Gradually, by measure 4, the melody descends step by step, releasing the tension that had been created at the opening. In measure 5, the motif seems to be repeated, yet it is varied melodically in a subtle way. The harmonic progression also shows change: the B♭7 chord from measure 1 is replaced in measure 5 by Bm7–E7. In jazz harmony theory, B♭7 and E7 can function as substitutions for each other, with the shared tone (G♯/A♭) enabling this relationship. It appears that Today Akbo makes active use of such chord relationships in the compositional process. Another notable harmonic device is the chromatically descending bass line (A#-A-G#-G) found in measures 6–7. This descending chromatic line reappears in other sections of the piece, contributing to a sense of unity throughout. Finally, in measure 9, the cadence resolves not with a perfectly closed ending, but with a C♯9 chord. This creates an evaded resolution, leaving a feeling of partial openness and offering performers and listeners a distinctive experience.
Digression (mm.10–17)
Measure 10 through 17 form the digression, characterized by material that departs somewhat from the opening theme. Measures 10–11 and 12–13 present sequences, each employing a ii–V–I harmonic progression that reinforces a sense of coherence. While the melody does not form a strict sequence, the phrasing does change noticeably: unlike the four-measure phrases of the A section, here the music breathes in shorter two-measure units. This contrast is achieved effectively through the use of harmonic sequencing.
A’(mm.18-31)
In Section A’ (mm.18–31), the return of the opening theme is combined with harmonic substitutions, modal exchanges, and the recurring chromatic bass line. These techniques provide both unity and contrast, rounding out the form effectively.
Conclusion
Overall, Epilogue demonstrates Today Akbo’s ability to merge classical harmonic language with accessible piano writing. The piece is concise in scale but carefully constructed, balancing lyrical melody with structural clarity.
Would you like to play this sheet music yourself and experience both the charm of its harmony and the beauty of its melody? Click this link to download it and start practicing today!”
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