A thread for me to post musical thoughts.
These will generally be crude vocaroo recordings of bits and pieces of music, especially if they're existing songs and I don't want to get in trouble.
excerpt from BARK AT THE MOON
Symphogear OST vol. 3
composer: Elements Garden
excerpt from KINZYOU
eXceed 2nd - Vampire (Brynhildr&Siegrune boss theme)
note: (NOT the remake)
excerpt from Itsumo Soko ni Hohoemi ga
Symphogear OST vol. 1
composer: Elements Garden
another excerpt from BARK AT THE MOON.
excerpt from first movement, second theme section
Sonata in F major
composer: Wolfgang Amadeus Mozart
catalog info: K. 332
performer: Alicia de Larrocha
Kimi to Iu Oto Kanade Tsukiru Made
Symphogear (sung by Minami Takayama (as Kanade Amou))
composer: Elements Garden, probably
Em C D G
i VI VII III
Doko Made mo, Donna mono demo (Gyakkou no Flugel)
Symphogear OST vol. 1
composer: Elements Garden (again since they did all the music for the series)
Yeah I have this on the mind lately. In my defence, the music is good.
because (b)VII (subtonic chord) looping to i (tonic chord) is an authentic-type sequence
while IV looping to I is a plagal-type sequence and does not have harmonic momentum, thus stalling the music
excerpt from Kaleidescope
#8 in Sora no Koe (Voice of the Sky)
composer: KATSU (Katsunori Hirasato)
performed by angela (band)
dat A-flat minor
Abm Bb7 Eb7 Abm Fb Cb Db Eb
dat secondary dominant, Bb7
that's the intro to this:
This is an oddly catchy theme.
Your point is invalid.
the second one does have some fun timbres going on, but it does not seem to be anything special
Bach once again leaves me cold. baroque, classical and romantic music bore me intensely more often than not
(This is not an insult or judgement, just an observation.)
I've actually wondered why that's the case -- that i'm not as much of a timbre person. It may have to do with me growing up with 8-bit videogame tunes and then trying to beatbox them and play them on the piano; in all three cases, timbre is extremely constrained but the content is expressed via rhythm, melody, and harmony.
something like this: http://vocaroo.com/i/s0QV6anxi2dl
artist: CLIFF EDGE
excerpt: http://vocaroo.com/i/s1Zd74qOukKW (just the intro, contains that progression, twice in a row, in F minor)
the song SHIZUKU (feat. Sally Miura) is full of it
as is the song Aishiteru by Sally Miura (feat. CLIFF EDGE)
One of the best parts is the beginning of the refrain.
Guess what chord progression it has?
F#m D E A
...yep. The Humoresque Progression again. it really is my favorite progression.
:D to you if you recognize this. Shouldn't be too hard for the gamers around here.
This still sounds good in F-sharp major old-style-tuning G major!
Someone should totally merge the Castlevania Dracula X Rondo of Blood (alternatively, Dracula XX Vampire's Kiss) final stage theme with the Prologue theme (for "Final Stage: Bloodlines") from the beginning of Symphony of the Night. They're even supposed to represent the same event, just in two different presentations.
And it shouldn't be too hard, considering that they're roughly the same tempo AND in the same key (B minor).
Just have to rework the instrumentation a bit so that the first track is a bit less bare and the second track is a bit less rich and more texturally distinct.
Castlevania: Rondo of Blood - "Den"
alternate version: Castlevania Dracula X (Dracula XX: Vampire's Kiss) - Stage 7, "Den"
Castlevania: Symphony of the Night - "Prologue"
(I'm personally fonder of the second version of "Den" than the first.)
about the 9 minute mark or so (if the performance is 10 minutes long) --
you get these nine chords, which are:
A, Dmin/F, Gmin, A, Dmin/F, Dmin, Emin7b5/G, Amin, Bb
or in other words,
V, i 6, iv, V, i 6, i, ii ø65, v, VI
Y'know what would be cool?
Make them ALL seventh chords.
A7, Dmin7/F, Gmin7, A7, Dmin#7/F, Dmin(natural)7, Emin7b5/G, Amin7, Bbmaj7
in other words,
V7, i 65, iv7, V7, i 6#5, i7, ii ø65, v7, IV7
Enjoy the Ashguine 2 reference!
some Humoresque Progression songs (i VI VII III / vi IV V I) (not a comprehensive list):
Supercell - Let's Promise (D major)
EGOIST - Planetes [Guilty Crown] (E major)
Mike Oldfield - Moonlight Shadow (C# minor)
Elements Garden - Synchrogazer (D# minor)
Tomoyuki Nakazawa - Makenai ai ga kitto aru (C# minor)
Toshihiko Horiyama - Storm Owl (A minor, C# minor)
Jun Maeda - from the world of the end (G# minor) - G#m7 EM7 F# B / i7 VI7 VII III
Antonin Dvorak - Humoresque in Gb major, Op. 101 #7 (F# minor)
Tarou Fukuda - your wind is blowing / for your winds shall blow / anata no kaze ga fuku kara [Rockman DASH / Mega Man Legends] (D minor)
Toshihiko Horiyama - Jet Stingray (G minor)
Ian Stocker, Nelson Everhart, Gene Rozenburg, Christopher Sabat, Pawly Pickens - title screen theme [Monster Tale] (A minor) - A(maj) F G C / I VI VII III
COOLON - Canvas (Db major / Bb minor)
Tomo - Avalon Blue [BLAU] (E minor) - Em7 C(M9) D G / i7 VI(9) VII III
Satoshi Yaginuma - only my railgun (Ab minor, G minor)
Satoshi Yaginuma - LEVEL 5 -judgelight- / LEVEL 5 -judgement- (Ab minor) - Abm Ebm7 FbM7 Gb Cb / i v7 VI7 VII III
Ayumi Hamasaki - Another Song (feat. Urata Naoya): Bbm7 Ebm/Gb Ab+6 Db / vi7 ii6 V+6 I
atsuko, KATSU - Brilliant Road to Tomorrow / Asu e no Brilliant Road (G minor): Gm Eb (or Cm7/Eb) F Bb / i VI (or iv65) VII III
(N.B.: This song is NOT "Proud Mary".)
Was listening to this the other day. Now it popped back into my head. Notably, the last track of the sub-album is a remix, which sounds way different, and I didn't notice it as a remix at first until I listened to it again.
Yes, sub-album. Because this game's soundtrack is actually featured as part of a three-soundtrack album, containing the soundtracks of Fairy Bloom Freesia, Ether Vapor Remaster, and what I think is Ether Vapor's original version.
For some reason, none of them are ones I particularly like that much. Op. 34 #1 and Op. 42 almost run together in my head because they sound so similar when I'm not paying attention. Op. 69 #1 has a second theme that seems vaguely relevant to the first two, and I even completely forgot about Op. 64 #3 until I went and looked up Op. 69 #1 on Wikipedia. There's also Op. 70 #2, which runs together with Op. 69 #1 in my mind sometimes. Then finally, there's a last one that has no opus cataloguing, and is probably the most distinctive one if only because it is written in 3/8 time rather than 3/4 time.
Yet, for some reason, people seem to really like Op. 42. And Op. 69 #1 too.
On the other hand, some of my favorite waltzes are the more distinctive -- and non-A-flat-major -- ones. These include the A minor waltz (Op. 34 #2), the F major waltz (Op. 34 #3), the C# minor waltz (Op. 64 #2), the E minor waltz (no opus cataloguing), the (other) A minor waltz (no opus cataloguing), and probably my personal favorite, the B minor waltz (Op. 69 #2).
(though admittedly it's a bit repetitive)
But Op. 53 does some sort of strange fuckery with rhythm that always throws me off. That makes me dislike it.
Op. 40 #1 is one of my favorites on the other hand. It's in A major and nicknamed "military". Heck, I think "heroic" should apply to this one instead.
Op. 61, the "Polonaise-Fantasie" in Ab major, doesn't suffer from my disliking it, though that's probably because it's got other weirdness and is also not frequently performed so I haven't gotten sick of it yet.
Op. 40 #2 in C minor is also good.
dat "b" subsection in the "A" section, with its dreamy G major contrasting with the dark C minor
what with the many (well, at least two) very different versions of the waltz in B minor
I should take that as license for artistic liberty on my part
I should play it however I want
not just mixing-and-matching but even adding a few embellishments as appropriate
the hell with you, competition circuit convention
everyone playing the same damn piece
if I were a judge, I would be absolutely sick of it by the end of the day, even if it were my favorite piece
and there were multiple skill levels age brackets, from little kids about age 7 or 8 or so up to near-professional college students
pretty much everyone from the age 10-ish bracket all the way up to the college kids ALL PLAYED THE FIRST MOVEMENT OF KABALEVSKY'S THIRD SONATA.
I could practically hear a noticeable gradient of skill as I hung around the performance hall during the auditions.
I was fucking sick of it by the end of the competition.
Taking a video like this one:
...I can, kinda, hear that the tuning is different. (I checked out as well but I have no idea whether it's the same sort of unequal temperament.)
That said, maybe I just don't have my speakers turned up enough, I don't hear the beats (of the frequencies not matching up), and it's definitely not something that I hear very much. It probably doesn't help that the player here:
...is blurring the effect with dragging the pedal from the "first" chords (Bb min) to the "second" chords (Gb/Db), making it hard to distinguish from the effects of tuning and pedaling (and dynamics too...accenting the first chord more). (It also doesn't help that my net is slow right now.)
But still, the effect is minimal, to me. I can appreciate that for some people the effect is a lot greater, but one of the weirdest things is this:
Tuning doesn't seem to matter very much to me.
As long as the notes are roughly where they should be, my mind mentally "bins" into the intended frequency. A quarter-step off is off by too much, but tiny adjustments being illustrated here are not part of my mental music replay simulator. (That said, I haven't even tested the in-tuned-ness of my mental music replay simulator anyway...)
Maybe it's a result of me being a pianist not tuning my own piano (as opposed to, say, a violinist, who tunes their own instrument all the time). Or maybe it's the result of me (or my parents) just waiting a long time between tunings. Or the result of my playing on lots of different pianos, including ones that some people might consider crappy (which I often find interesting to play on...quite possibly in part because of unusual tuning schemes that come with things going out of tune). Or even listening to a lot of videogame music (I have no idea why this would do it but I guess some old games have their note frequencies defined from scratch...). Who knows.
I mean, I can tell when stuff is out of tune. But my sensitivity is significantly lower than that of one of my piano teachers. I remember I played something for her over the phone once, and she was astonished at how out of tune my piano was, but I wasn't.
The oddest thing is that I have absolute pitch, yet I also have this pitch "binning" mechanism. Most people would probably expect that me having absolute pitch means that stuff being even slightly out of tune annoys me to no end. But it doesn't.
It's possible that my mental music renderer isn't actually equal-temperament itself, though. Alternatively, it could just be me reacting to different pitches...?
Ehh, they sound more like associations. Probably derived from certain key pieces (no pun intended) that were particularly memorable or something.
(Also, not on the autism spectrum as far as I know.)
What about the strength of a IV to V progression?