When composing the melody my basic idea was to start with something very similar to the beginning of Beethoven’s melody (measure 1-2 as well as measure 5-6), since the (social) function of the song should remain the same and be understood without much explanation. Nevertheless I modified Beethoven’s beginning into an (almost) pentatonic version. Measures 3 and 4 are quoting one of the love song l melodies from the Tao repertoire. Measures 7 and 8 – where the text gets rather serious – are slightly connected to the Tao’s Anood melody style, although in order to suit to the rest of the song, the relation to Anood was kept barely noticeable. In order to keep the song stylistically coherent, I did not use microtones nor the typical Anood ornamentations in this section.
Even the connection between the beginning of the song and Beethoven’s “For Elise” is probably not obvious for listeners unless they are explicitly pointed at it. The last two bars are again connected to the love song melody and provide an open end for endless repetitions.
As far as I know, there are realistic chances, that this song could be “officially” implemented into the garbage truck’s sound system on Lanyu. Interestingly another initiative by a elementory school teacher on Lanyu island, who created another garbage truck song for/with his pupils, shows, that the idea might absolutely make sense for the Tao.