Recycle bottle song

I went to return bottles. The return machine at Lidl was broken. It played a discouraging yet beautiful melody: D-C.
As I stood there, this descending whole-tone melody began to feel absolute. That’s probably its intention. It’s like the end of everything. D-C sounds like a V-I cadence (G-C) because D can easily be heard as a G chord. However, the message of the bottle return melody is heavier than G-C. Where G-C moves like a knight on a chessboard, D-C strips away hope. This is the end, my only friend. The end.

The melodic line can also be interpreted as a modulation, a change in key. In past Eurovision Song Contests, modulations always moved upward, lifting the mood. Why should the mood be lifted? Is there something wrong with the starting point? Sergei Prokofiev (1891–1953) did the opposite: in his first piano concerto, the orchestra hammers the main theme into your consciousness in D-flat major, grandly and at length. The piano then picks it up immediately in C major, a step lower. Prokofiev understood the same thing as the composer of the bottle return machine's melody. Why go upward? What’s even there? Higher notes, and that’s all.

I wasn’t able to return the bottles. I went to my studio to play the descending melody, D-C. This might come off as an attempt at eccentricity, some kind of joke. But it’s not always so easy to know what to play. I can’t play pieces anymore; there are many days when I long for a small hint of where to start. Still, I have to keep practicing piano. It’s my destiny.