#unique chord progressions
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Riff 106 | Composition Idea No. 6
#youtube#piano riff#piano turorial#riffs#music#melody#how to#compose#composition idea#how to write songs#scale e major#unique chord progressions
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isekai as a genre is so fun bc it's so self-aware and meta, the authors can just go hog-wild subverting all the tropes and by authors i mean women bc when men write isekai they just want their self-insert to fuck big tiddy elf girls
#i love tropes okay#i don't mean like. fanfic tropes. i mean literary tropes in general that exist in all media#idk how to explain why i love them. i mean obviously stories need them and rely on us recognizing them#and when the author knows that and plays off of it it's like. okay here's my analogy.#humans love pop music bc it relies on chord progressions that we all know instinctively#so when we hear that familiar pattern and the song hits all those chords it satisfies something in the brain#and the reason we generally don't get tired of it is bc the really good songs play enough with the formula that it's still unique#if the pop song is too generic it might still be popular enough to get airplay but then it's forgotten#so tropes are like chord progressions. and subverting them or playing with them can be just as satisfying#esp when you start recognizing it!! so u can be like ooh well played creator#that's why music theory is so fun. it's just fun to be in on why something works#weeb hours
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Holy shit holy shit holy shit holy shit
#I think I just need to lean in to being a Jimin blog now#HELLO???#the video and dancers are giving On#which is my FAVORITE jimin era so already my body is so fucking ready#but also if that chord progression on the ‘set me free’ at the end is indicative of the whole song#and/or the vibe of the album#then I am also ready and excited to be musically flayed by this album#I hope this album really showcases his unique vocal quality#I don’t know of anyone in K-pop who has quite the same vocal range and timbre#just crystal clear notes floating above our heads#I’m so in love with his voice#and his everything tbh#jimin#park jimin#face#face by jimin#set me free pt.2#pjm#bts#jimin bts#Youtube
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편지- Letter ✍️
Now that the dust has settled, I found a peaceful moment in the afternoon to sit down in silence and listen to Letter while trying to unpack all my thoughts. This lengthy post will be more in the tone of my personal stance and connection with the song, omitting going into too much detail about the grammar and explaining Korean expressions but still I will try to explain how the song makes an impression with the specific language used.
My reflections:
From the beginning onwards, the song sounds very delicate, while Jimin is singing to us in the polite form and bringing up multiple themes that are characteristic for the ARMY fandom and our path with the boys over the years: the desert, the sea, the cold winter and a warm spring day... He is wishing us to be happier and for this to last forever, while promising to be there when you feel like falling and cherishing all the memories we made together.
In that way, I, as a listener, am in a headspace where I am reminiscing on our story with Jimin as an idol and all we've been through together with him (and trust me, if you have joined just recently, there has been a lot darker times)...
Though as the song progresses and as the refrain comes on, the urgency to express his emotions intensifies together with the instrumental. And this is where Jungkook's vocals come in too. Jimin with the help of Jungkook is suddenly singing in a casual (lower politiness) form as if directly trying to reach out to the person on the listening end individually, addressing every line with a higher intensity and more personally. It just feels more intimate, even more earnest and more powerful. Moreover, the lyrics and chosen words feel more targeted at an individual rather than towards a group (even the scrapped lyrics felt more like he was writing towards a single person in this section).
Whatever the reason for Jungkook's appearance in this part, it makes the emotional impact even more convincing.
....
No matter what angle you may choose, Letter is an incredibly heartfelt track packed with strong emotions. I believe it's a song for ARMY and at the same time it is a song for someone in Jimin's life that has been his lifeline and his strong heart connection to them prompted him to write these lyrics woven with thick emotions.
That being said, Jimin sharing this unique space with Jungkook to support him in his emotional expression with his hidden layered vocals and some more audible backing vocals speaks volumes. Just the fact that Jungkook is present on a track (and on the most intense and personal part of the track) where Jimin is earnestly trying to deliver a message to the listener from the depths of his heart is special, no matter how anyone subjectively wants to interpret the song and its content: Do you think they are singing directly to ARMY? Great! I'd argue having someone that shares the same love and commitment, understands what you're feeling and is able to channel the same emotions as you, and as a testament to your bond you let them contribute to your own artistic expression with theirs, is incredibly precious.
There are things that Jimin will never comment on, so I doubt we will ever find out how this song and Jungkook's feature came to be besides what we already heard. Jimin is incredibly smart in how he tailors his message and communication with the broader audience. Thus, while on the surface the public sees him dancing sensually with female dancers, a longer careful look would give you a view of the half-half makeup and other dichotomies in the choreo/concepts, specifically chosen pieces of clothing, specially crafted details in the performance sets, etc. And the same thing applies to the song Letter too. Only after listening closely, you'll get to uncover layer by layer what lies hidden in this "hidden" track. On top of that, Jungkook casually showing he learnt the chords for this song in a random live broadcast out of nowhere prior to the release of the album just shows there is more to the story than we'll be ever told.
Personally, I will be keeping this song close to my heart and holding onto it until their military service concludes. It has become my own lifeline to my life as a fan and getting to hear Jimin and Jungkook together delivering these precious words is something I will cherish forever 🙏
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Okay I HAVE to say it: the slander lin manuel miranda gets is unjust.
Is he annoying? Yes. Is he a GENIUS???? Yes.
His word play alone? Outstanding. His ability to weave in musical motifs? Almost unmatched.
The thing about how he writes for disney is that the songs are deceptively simple. We dont talk about bruno has multiple verses with their own unique patterns over the chord progression. Then, in the last verse, they interlock over each other. It's surprisingly hard to have that NOT song like garbage. (this style is called a Madrigal-- which is the name of the family!!!!)
Disney's new bland music is def an attempt to copy his style without the actual thought he puts into each work.
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downtime with them / txt
Yeonjun:
Yeonjun decides to cook dinner together, turning the kitchen into a chaotic yet fun environment.
He teaches you a dance move from their latest song, and you both end up dancing to TXT tracks.
"You've got the moves! You should join us on stage someday," Yeonjun jokes.
After dinner, Yeonjun suggests a late-night stroll, and you share deep conversations under the moonlight.
As you get ready to leave, Yeonjun hands you a small homemade snack for the road.
"Thanks for tonight. I had a great time. Take care on your way back."
Soobin:
Soobin takes you to the kitchen, where he's attempting to bake cookies.
You both end up making a mess, but the cookies turn out surprisingly delicious.
"I guess chaos in the kitchen leads to tasty cookies," Soobin laughs.
After enjoying the cookies, Soobin suggests playing a calming board game to unwind.
During the game, he opens up about his favorite childhood memories.
As you're leaving, Soobin says, "Thanks for tonight. It was nice to relax and share stories."
Beomgyu:
Beomgyu suggests a guitar jam session and excitedly hands you a guitar, ready to share his passion.
Patiently, he starts with the basics, teaching you how to hold the guitar and strum the strings.
"Music is like magic. You create something beautiful out of nothing," Beomgyu explains as he demonstrates a simple chord progression.
You both spend time practicing, with Beomgyu offering encouraging words and helpful tips.
As the night progresses, he teaches you to play a snippet of a popular song, enjoying the shared musical experience.
Before you leave, Beomgyu hands you a small piece of sheet music, saying, "Practice this for our next session. I can't wait to see how fast you'll pick it up!"
Taehyun:
Taehyun decides to amaze you with his collection of magic tricks, pulling out cards, coins, and even a mysterious hat.
You sit in awe as he performs sleight-of-hand tricks, making objects disappear and reappear with a mischievous grin.
"I've been practicing these since I was a kid. Magic has a way of making the impossible seem possible," Taehyun explains.
He encourages you to try a simple trick, patiently guiding you through the process until you master it.
As the night goes on, Taehyun reveals a mind-bending illusion that leaves you questioning reality.
Before you leave, he hands you a deck of cards, saying, "Now you're an honorary magician. Practice and show me your tricks next time!"
Hueningkai:
Hueningkai excitedly shows you his extensive plushie collection, each with its own unique story.
You both end up having a plushie fashion show, dressing them up in tiny outfits, complete with a mini runway.
"This one's named Tobin, and this one is Goguma. They're my favorites," Hueningkai says, introducing you to the stars of the show.
As you admire the plushies, he hands you a soft, huggable one, saying, "This is Molang. He's the honorary guest for tonight!"
Hueningkai suggests watching an animated movie, surrounded by a sea of plushies, creating a cozy and magical atmosphere.
Before you leave, he gives you a small plushie as a memento, saying, "Now you have a new friend too! Take good care of them."
#txt#tubatu#tomorrow x together#txt imagines#txt fluff#soobin#yeonjun#beomgyu#taehyun#hueningkai#kai
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okay so it wasn’t my next post but whatever-
Why Something To Believe In is Actually a Good Song (Contrary to Popular Belief):
disclaimer: i’m not a media analyst or whatever i’m just a person with an opinion (and the delusional idea that i know jack kelly better than anyone)
1. first things first i genuinely think that alan menken is a genius composer. how could i not? he has created some of the most influential scores in modern day cinema. regardless of your opinion on the song place in newsies i think that looking at the chord progression, lyrics, and instrumentals you have to admit that it is a nice song to listen to.
2. addressing some issues people have with jatherine i think a lot of the issues people have with this song come from the pre-conceived notion that their relationship was “rushed” or built on “jack being a creep” which i simply just don’t agree with. possibly a side tangent but don’t come a knockin’ doesn’t make jack out to be a creep it simply states that he participates in hookup culture. a line in which he literally laughs while singing. jack and katherine have a very flirty and joking relationship up until this point and not once did i read into this as katherine being uncomfortable. jack finds katherine as an equal, a match for his wit and humor. this is the first girl he’s ever felt a deeper connection with. he is literally in disbelief that a “girl like her could ever wind up with a guy like him.” the song only further deepens their relationship. they state that the love that they have discovered here is new for them. it doesn’t mean that their madly in love, i mean they’re teenagers, it just means that they love each other and what they brought into each others lives. it’s “rushed” if you people that this song is a confession of deep love which i simply just don’t think it is.
4. a deeper look into what believing means “jack already had something to believe in! he had the newsies” “katherine had herself and her career.” people like to deny it but jack didn’t like his life before the strike. it wasn’t because of the newsies of course but can you really think that stealing food and clothes for the boys he cares about in the lodging house was his endgame for him? that’s why he had santa fe, so he could dream. his “something to believe in” was a dream not a reality.
when katherine comes along that is his first tether to reality. they can change the way new york is run. this doesn’t have to be his life anymore. now his “something to believe in” was a reality in front of him not just a dream that would save his crushing reality of not being able to care for his boys properly.
same thing goes for katherine in the sense that her career was finally “busting out of the social pages” until she immediately got shot down. her father’s pressure was not her end goal, she wanted to make a career for herself but was denied it. when jack arrives and she finally gets a story to run with and the courage to change the way that new york is run she discovers her “something to believe in.” jack and katherine each awaken something in each other, they each believe in each other. i mean that is literally said in the song but it goes deeper than just their love for each other, they literally have changed each others lives.
4. from a composers point of view: something to believe in gets no hints/preludes/reprises/playoffs or anything of the sort which the entire rest of the album does (except thats rich im pretty sure but thats completely different). point is any number that jack or katherine sing in up to this point has either already been lamented again or will be in the future. something to believe in stands alone in its present, it is literally the time frane that jack wishes he could freeze. it is a singular moment in which their unique situations come together. before they kiss in the song jack ends his longer phrases with a stagnant note. after his kisses her the notes at the ends of his phrases climb up. from a strictly technical point of view he literally rises up because of katherine believing in him.
idk i didn’t proof read this let me know if it makes sense
#newsies#newsies fandom#jack kelly#katherine plumber#jatherine#i am so normal about newsies#and this song#btw im totally a javey shipper i just think stbi just gets far too much hate for how good it is
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(A little WIP Wednesday (On A Thursday) because moments after completing AOTD for the first time I launched into an intense in-depth Skwisgaar character study, Obviously.)
“I know what’cher doin’.”
“De works of t’ree men? Ja, what else ams new, cans we fockus?” He pushes Nathan’s reading glasses up the slope of his nose and into his hair. “Dere’s somet’ings abouts dis chords progression dat’s not gelling for mes…”
Skwisgaar glances up. Pickles has pivoted to face away from his kit, hunched over, forearms resting on his thighs. His Rock Talk pose. Goddamnit.
“Whats.”
“Yer checkin’ in on everybahdy.” He flicks his wrist in the space between them. “Dis is a check-in.”
“De songs gots to gets done, does it nots?” He dodges. Pickles doesn’t buy it. He rises, idly scratching the side of his neck with the end of his drumstick.
“Sure,” he drawls, ambling over to where Skwisgaar is cross-legged on the ground. “Butcha saught me out t’work on th’sahng right after Nathan screamed at me t’go fuck myself.”
“Did dat happens?” Skwisgaar shoots for airy innocence and misses by a mile.
Pickles plops down in front of him. “I’m just sayin’ yer timin’s nyeeeehhhhhhhh a l’il suspect.”
“Mine timings am imppecables,” he snaps. “Ams always where I needs to bes.”
Pickles’s mouth stretches in that stupid, sideways, Cheshire Cat-like grin, polishing his front teeth his tongue—FUCK Skwisgaar walked right into that one.
“Musickallys,” he adds, pathetically.
“Dood, y’wanna talk about naht new? Dis is naht new. You actin’ all—”
He extends his arms out to full length and tips back, dropping his voice and crossing his eyes.
“YYYYYUUUUUUEEEEEGHHHHHHHH Gets Away From Mes I Hates You Peoples while sneakin’ around makin’ sure all’a us are okey? Y’think I don’ notice dat?”
“I t’inks de lack of access to drugs ams giving you brain damage.”
“Y’might be able t’fool dese other dooshbeegs, but y’ceen’t fool me. I’ve had ya klocked—and I’m sayin’ clock wit’ a k, t’be clear—since ya braught det Norwegian riff-raff into our lives.”
“When dids you becomes de type of guys what say riff-raff?”
“I see ya, Skwis. I’ve always seen ya.”
“Ooooooh does yous?” There was a time where the one-two punch of his withering tone and devastating eye roll would reduce a man to ash. But it’s been a rough few years. He’s gotten soft. His roller shoulders and rapid-fire arpeggios betray him. “And whats eggs-acktly ams you seeing wif dem beady littles badger eyes?”
The toe of Pickles sneaker brushes Skwisgaar’s ankle and he fights off a flinch.
“Dat despite yer best efforts.” His voice is too familiar, too fond. He scooches closer. “Yer a good guy, Skwigelf.”
Skwisgaar scoffs. The metal strings sting against his callouses, blood pooling hot in the ends of his fingers, and something must be wrong with his hookup because there’s a high pitch whine in his ears and a buzz in his chest and they need to finish the song the song’s not done they need to get it done—
“Skwisgaar.”
The pinch of Pickles’s thumb and forefinger on Skwisgaar’s jaw shocks a gasp out of him, the guitar clattering to the ground with a CLANG. Skwisgaar’s jolts, involuntary, but Pickles’s hold is firm.
“Look at me.” His voice is level, his gaze bright and a little watery, pinning him to the spot. “You are good, Skwisgaar.”
And, well.
He doesn’t know why this, out of everything, is what gets him. He’s been more than a little unnerved by the Pickles is Band Mom thing, mostly because he already has a mom and he actually likes Pickles, but here is his friend, at the end of the world, saying the words he has always, always wanted to hear, and the gossamer bubble of emotion that’s been swelling against his ribs these last few months, at last, bursts.
Distantly he hears his breath hitch, feels tears stream down his cheeks. He’s an embarrassingly ugly crier so when so when he’s crushed into Pickles’s chest, when he inhales that familiar scent of hair wax and old weed and something uniquely Pickles (how does he smell wet he always smells wet) he curls his arms around his waist and sobs.
#metalocalypse#skwisgaar skwigelf#pickles the drummer#aotd spoilers#not really but let’s be safe#my fanfic
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Seemingly inescapable whenever you turned on the radio last summer, Harry Styles’ As It Was was one of the biggest hits of 2022, and remains on heavy rotation today. It topped Spotify’s end-of-year list of the most popular songs, and hit number one in the US and UK.
The song was co-written by Tyler Johnson alongside Kid Harpoon and Styles himself. Johnson and Harpoon both have production credits on the track - as they do on Watermelon Sugar, another Styles mega-hit - but as Johnson explained to Music Week [Paywall] last year, the creative process behind the two songs was very different.
“[Watermelon Sugar] took a while and As It Was was more speedy, right out of the gate,” he says. “Harry was sitting on the Moog One and I liked what he was playing, so I sat down and played as he started to write the melodies and the lyrics. Tom [Hull, aka Kid Harpoon] did a half-time beat around it, we were like, ‘No, it’s not right.’ So then Tom played the double time beat, which felt very good.
In terms of harmonic structure, As It Was has been compared to a-Ha’s Take On Me. As John Mayer demonstrated during a recent live performance, the two songs share a similar chord progression - ii-V-I-IV - but As It Was has a very different, highly distinctive topline.
“I said to Harry, ‘We need a lead line’ and he just came up right away with the ‘Dah, dah, dah...’ part,” reveals Tyler Johnson. “He didn’t hesitate. Then he started writing the second verse and referring to himself in the third person. So much of this song just came from Harry’s heart. And then Tom, as he does, with this magical sense of hooks that he has, came up with the idea of doing, ‘You know it’s not the same…’ after the chorus, which I was very impressed with. That turned out to be a very smart move.”
The song came together quickly, then: “Really, the record was about where it’s at now after three or four days,” Johnson recalls. “It didn’t go through a lot of [changes], there was never anything drastic. I had a guitarist friend, Doug Showalter, add electric guitars and some transition sounds. Then we got the tubular bells - another Harry idea - and I’ve got a video of him playing those. We had Mitch Rowland come in to do some live drums. We chopped those up for the ending to give it a more bombastic feeling.”
The best thing about As It Was is just how effortless it is, how it just flows over you and gives you a good energy.
Having a real drummer, it turns out, is important for Johnson, Harpoon and Styles. “For As It Was, we were thinking 2008-2012 indie rock, MGMT, Phoenix, Passion Pit. We want to be referential and for the music to sound familiar, but our process is that we don’t do as much drum programming as live drums. That’s what people in that era were doing to make things sound big, but not too programmed. Our engineer Jeremy Hatcher really helped shape that, those drum tones are unique in pop.”
Speaking to Rolling Stone, Kid Harpoon threw another influence on As It Was into the mix: “I’m sitting there on the drums and I was like, oh, this could have a Strokes kind of vibe,” he said. However, while he acknowledges the debt that As It Was owes to other artists and songs, he also firmly believes that it has its own identity.
"You get to the end and you hear it and you go, oh, it’s got the sort of A-ha references and the Strokes references and maybe there’s a bit of Talking Heads in there and then it becomes something bigger than the sum of its parts.”
Perhaps the relaxed vibe of As It Was stems from the fact that it was recorded in the living room in the home of A&R man Rob Stringer’s house, a place conducive to chilling out, you would have thought.
“The living room was actually a very perfect size for a control room, nice and tight but kinda long,” notes Tyler Johnson. “The back of it had a couch, an upright piano and windows that looked out over some fields, and in the front we had the desk. We rented a ton of gear, all the walls were lined with preamps and compressors. Even though we were going kind of bedroom-y, Tom and I just love lots of microphones and we do live drums, analogue synthesisers, multiple guitar amps… We love that whole element to recording.”
It was Styles, it turns out, who pushed for As It Was to be his album’s lead single. A wise move, it turns out, given its subsequent success.
“The best thing about As It Was is just how effortless it is, how it just flows over you and gives you a good energy,” thinks Tyler Johnson. “It has a gentle conversation with the listener while being upbeat. It’s easy to consume, but it still has depth and Harry brings so much character to it. Really, pop is just about people living life with music to garnish it.”
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Is Elphelt's unique taunt to Asuka a reference to the magic system in guilty gear? I remember you explaining that it's sorta like music theory, and you being able to cast more complicated spells if you can understand how putting them together that way makes sense. Seems like her taunt is a reference to that to me, but maybe I'm reaching!
"We should have an experimental jam sesh, Asuka! Your musicality shines free from frequency of notions! You flex new music theory, explore unknown chord progressions, and put on an unimaginable performance. Wait, then what am I supposed to do?"
It does sound like she's just implying Asuka could totally shred at music because of how good he is at magic, yeah, but not like with the magic itself. Her other lines with the rest of the cast are pretty directly music-focused too
GG and music are so intertwined haha
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“but this trope/scene has been done before, I’m not original”
okay and every major pop song has used the same chord progression for years and years, but we eat it up every time. it’s the perspective and instrumentation and lyrical ornaments that give a song originality. writing is the same way.
your perspective is unique. you have not lived the same life as the rest of your fandom. so write the overdone trope. add your own lyrics and expression to the chords that have been played a million times over.
it’ll sound different. it’ll sound authentic.
it’ll sound like you.
#idk maybe somebody needs to hear this#or not maybe I just needed the reminder to be out there#but just in case you need an extra push to create#here you go 🤍
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Presentable Liberty
Okie, so forewarning, this post shall be discussing certain topics that may not be suitable for all, such as suicide, so please do bear that in mind before proceeding.
So, I just recently watched Markiplier's video depicting his gameplay of "Presentable Liberty" (yes, I'm aware I'm a tad bit late to the show). Anywho, the game was created by "Wertpol", birth name Robert Brock, who unfortunately decided to end his life in June 2018. This game in particular speaks to what I could only presume to be his experience with mental health.
A brief summary for those of you who haven't a clue what this game is: the game starts off with the protagonist in a prison cell, who's only means of communication with the outside world are letters sent by 4 characters. Through these letters, we learn of a world plagued by infection outside and we told we are one of the few 2% left uninfected.
Now, for the analysis (if you still haven't a clue of what the hell is going on, I do highly recommend Markiplier's playthrough). The story may seem wild, unpredictable and just plainly doesn't make any sense, however, I started relating to the events through my own experiences. First and foremost, we have the cell. We haven't a clue what exists outside this small room, our only source of information coming from occasional letters delivered through the slat under our prison cell doorway. And so begins the numerous symbolisms. What do we think of when we think of prison? Sure, of course we think criminals, violence, guards, life sentences, but what of isolation? And in the case of this game, that isolation exists within one's mind. The protagonist shuts themselves away from society, only receiving information from letters which I interpreted to be social media and text messages, hence why progressively we become more and more enthusiastic about receiving them. It represents the small hits of dopamine that hits our minds anytime we see a message from a friend, or a notification from a platform. We have isolated ourselves from the world for unknown reasons, creating a prison cell within our minds.
But what of the virus? Depression. It is slowly affecting the population, killing them off slowly but surely, either an individual's organs slowly shutting down, or from them committing the act themselves. That is the infection spreading about. Depressing, hence why Mr Smiley is tasked with keeping us happy. We mustn't fall into despair like the rest of the population. We mustn't be infected.
Mr Smiley is certainly a unique character. He seems rather odd at first, and their only goal is to keep us happy, the reason behind it later on being revealed to be because his two daughters are being held hostage. And it works. We gain a penpal. We become happier, for whatever brief amount of time. Sort of like the effects therapy and drugs have on our psyche. However, they might not always work. Eventually, the benefits might start to dwindle, and we shall once more find ourselves at square one with our depression, and so, Mr Smiley departs.
Charlotte is a random stranger from a bakery who begins to write to us from lack of companionship. Her mood drastically changes in the letters, until eventually she speaks of no longer being able to go on. Charlotte offers us a different perspective of how suicide affects us all. Despite being a virtual stranger to us, we grow fond of her, and her death strikes a chord in our hearts. She demonstrates the lasting effect one can have on another individual, such as the beautiful music we heard from her phonograph one lonely evening. It may seem small, but it lasts, and her departure leaves a gaping hole in our chests.
Now, our friend, Salvadore. He is far from our world, deep in nature, exploring his own adventure and doing as he wishes with his life. He sends us gifts and letters, retelling his experience and expresses his miss for us. We don't respond. He eventually realizes something is wrong. He notices the symptoms. He frantically makes his way home, to where he discovers it is not how he left it. The signs become obviously clear. He makes his way to us, telling us not to give up, that he shall arrive. Until he reaches an obstacle. The prison. Our mind's blockade. And when he attempts shutting off the power, he is electrocuted.
Throughout the game, characters vaguely mention us being high up. High up? In a prison? Unless once more, there is symbolism. A rooftop, perhaps. We are at the edge, about to make a decision that we can't take back. And Salvadore, our friend, died trying to help us, maybe showing that however good our friends' intentions are, if we are so caught up within our inner turmoil, we may drag them down with us. But throughout all this, there has been one obvious villain, one obvious antagonist who wishes for Mr Salvadore to quit speaking with us, who wishes for us to remain in our cell forever.
Mr Money. He sets up Mr Smiley to provide us happiness, though in all the letters, it is evidently fake, ingenuine. Mr Money is the one handing out the antidote, worsening the infection, the situation as a whole. He is the one who keeps us imprisoned in isolation, who so desperately wishes for us to cut off all communication with the outside.
He is human's worst enemy. Our minds.
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I think I used to WRONGLY dismiss Maps of Non-Existent Places by Thank You Scientist since it was a first album and those tend to have quite a bit of jank, but after a couple more listens, woweee, it's so freaking good!!!
Maybe I'm super wrong, but I think the choruses give off j-rock vibes (in chord progressions, generally optimism, or just the sorta dancey rhythms??), and so I didn't give it as much credit cuz I've heard that before and not as unique?
But, yeah, on more listens, those choruses (especially in Carnival and Absentee) are so dang refreshing and provide so much catharsis to the awesome classic Thank You Scientist instrumentals and verses. Dunno if this makes any sense, basically I really love this album cuz of the slightly different vibes to the other two albums
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i must have a crap ton of space between my ears because it took me this long to figure out why some folks (myself included) may not have recognized "Somebody Super Like You" as a rework/musical mutilation of "Phantom's Theme"
The chord progression of Phantom's Theme's verses is altered slightly in Somebody Super, so the brunt of the similarity comes from the "i-VI-i-VI" heard at the very start of each verse - and from a musical standpoint, those chords on their own aren't terribly unique. You can hear them in the guitar riff of Echoes and the overture to ALW's Phantom Of The Opera, among oodles of other examples.
Interestingly, within the film, the progression is also in the verses of "Old Souls" (albeit in the key of C minor), which'd lead one to think that Somebody Super and Life At Last were both ripping it off, just different parts of it, when this wasn't actually the case
The similarities between Somebody Super and Phantom's Theme would've been made obvious during the bridge, which introduces a key change and a contrasting, major chord progression, kept identical in both songs. Issue being: the bridge of Phantom's Theme wasn't included in the film, likely for the sake of pacing. it's a creative decision that 100% made sense for the scene, but would unfortunately have musical repercussions later down the line.
probably common knowledge but that's my autism for the day
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for a while now i've had some kind of weird curse where the creative part of my brain just completely stops functioning if i try to arrange a cover/remix of an existing song. basically i'll say "i love this song! i wanna try putting my own spin on it!" and then i realize i have like, nothing to actually add to the conversation and also can't fully reverse-engineer the funky compositional tricks involved that helped make me so obsessed with it
it's happened with songs from games like 4 or 5 times in the past couple years (examples off the top of my head include BEAST BASH from SLARPG and, much more recently, Enemy Retreating from Undertale Yellow) and usually i'm having an ok time until i get stuck analyzing one specific chord or technique, overthink the progress i've already made, and inevitably give up with only a few bars of actual music once i realize my obsessive analysis has robbed the cover of anything interesting or unique compared to the original song
ANYWAYS i think i might have figured out a workaround and that's that i need to like... get crazier with it from the start? i need to change the overall beat/style, or at least make the song noticeably faster/slower and in a different key, to kinda switch off the part of my brain that's like "ok, the goal is to copy. i gotta be really accurate and scrutinize every note OR ELSE i will get a bad grade in Perfectly Replicating An Existing Song, because that is the objective now for some reason instead of having fun and getting silly with it". bonus points if i have the song stuck in my head thoroughly enough that i can do the bulk of the work without going back and comparing it to the original song. i THINK this might be the key. i'm not sure. i have no idea how people have entire youtube channels dedicated to doing like 95% faithful covers and rearrangements of songs because apparently i am just not wired that way, but i CAN do remixes if they're different enough for me to not get stuck in my own head about it
but yeah i realized this because i recently jumped back into working on a cover of a Muse song i started back in September, and it occurred to me that all of the above things definitely factor into why i'm having so much fun with this, yet struggled with those other abandoned projects. maybe eventually i will have a good idea for how to mix those up more thoroughly and do them justice too but for now i'm just glad to know i'm not ACTUALLY cursed lol
#buny text#the song i'm covering is Panic Station btw#if i was REALLY motivated and had too much free time (and also knew how to get swing beats working in OpenMPT) i'd do TWO covers#cuz i was envisioning a slower funky 'act 1' version and then the current one i'm working on as 'act 2'#if anyone out there CAN tell me how to add swing in OpenMPT (or even just music trackers in general) i would greatly appreciate your wisdom
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youtube
Rautavaara - Cantus Articus (1972)
Here one could see another example of a 20th century composer "leaving" behind a modernest style of writing to "revert" to a Neo-Romantic / Neo-Tonal style. This is sometimes used as an argument to show that the extended techniques of modernism have been exhausted and that there was no creative future in the avant-garde, and all this is used to reaffirm a kind of conspiracy or propaganda that "modern classical music isn't enjoyable" "it's just noise" "see even this big name composer agrees!". Maybe there are some people who believe that, but in this case it isn't so fitting. Even when Rautavaara was in his twelve tone days, his music still prioritized lyricism. If anything starting with ultramodernism helped as a foundation for his more characteristic style, which is the typical progression of a composer's creative life: get a foundation in the tradition, and focus on what you like until you find 'your voice'. In this work, a "Concerto for Birds and Orchestra", Rautavaara combines his lyricism and extended neo-romantic tonality and cluster chords with recordings of birdsong written to blend together as if the birds were like earlier imitations of birdsong in other parts of the tradition (Vivaldi, Beethoven, Schumann, Messiaen, etc. etc.) His inspiration came from the commissioner. Rautavaara was asked by the University of Oulu to write something for a graduation ceremony. The university is farther north of Helsinki and the composer said its "Arctic" location inspired him to incorporate northern birdsong recordings, instead of writing a more traditional or expected graduation cantata. In his own words;
The bird sounds were taped in the Arctic Circle and the marshlands of Liminka [a municipality in the former province of Oulu, in Northern Finland]. The first movement, Suo (The Bog), opens with two solo flutes. They are gradually joined by other wind instruments and the sounds of bog birds in spring. Finally, the strings enter with a broad melody that might be interpreted as the voice and mood of a person walking in the wilds. In Melankolia (Melancholy), the featured bird is the shore lark; its twitter has been brought down by two octaves to make it a “ghost bird.” Joutsenet muuttavat (Swans Migrating) is an aleatory texture with four independent instrumental groups. The texture constantly increases in complexity, and the sounds of the migrating swans are multiplied too, until finally the sound is lost in the distance.
Regardless of ideological biases, there is agreement that the unique use of recording technology incorporated in engaging orchestral writing makes this concerto a modern classic.
#Rautavaara#cantus articus#music#classical#orchestra#orchestra music#classical music#symphony orchestra#recording#birdsong#20th century classical music#20th century music#postmodern music#postmodernism#concerto#Einojuhani Rautavaara#Rautavaara Cantus Articus#mikrokosmos#Youtube
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