Jun Maeda
After forming Key, Maeda worked on the music and scenario for their first title "Kanon" released in 1999, which proved to be very popular in the adult game market in Japan. Beside Maeda, the majority of "Kanon" scenario was written by Naoki Hisaya, but he quit Key shortly after "Kanon" was produced. Following this, Maeda wrote most of the scenario for Key's next title "Air", along with again working as the lyricist and one of the composers for the music featured in the game. After a period of four years in 2004, Key released their third and longest game "Clannad" where Maeda did a vast amount of the writing for the game; in all, Maeda put in around 75% of the work that went into the creation of "Clannad". Also in 2004, Maeda began writing his first manga entitled "Hibiki's Magic", which was first conceived as a short story he wrote as a student. In 2005, Maeda worked on the scenario and music for Key's fifth game "", followed by Key's sixth title "Little Busters!" released in July 2007 which he also worked on in regards to the scenario and music.
Kanon Pokajanen
The "eirmos" (Greek for "model" or "chain") is a paraphrase of one of the nine canticles found in Scripture, usually taking a specific verse or the general idea in the biblical song. Here are the list of the bibilical canticles with their traditional names:Normally the second ode is omitted owing to its severe nature. The most notable exception to this is in the Great Penitential Canon of St. Andrew of Crete which is chanted during Great Lent. In most canons, including the present one, there is no text written for Ode II and therefore there is not an Ode II in "Kanon Pokajanen". The numbering, however, does not change as shown in the outline below for the entire piece:"Kanon Pokajanen" exhibits characteristics of Pärt's tinntinabular style. The piece remains almost exclusively in D minor, deviating only in particularly expressive passages and sometimes final cadences (e.g. the piece ends with a Picardy third on D).Overall, the melodies and harmonies remain fairly static throughout the piece. Variation is created through alteration of the dispositions and roles of the various voice parts. The odes build toward each intermezzo section, treating it as a small climax. The Prayer after the Canon is the most intense of all the climaxes, paralleling the prayer's function.