GMH's music-posting thread



  • edited 2023-01-25 03:12:53
    > feed the tree

    interesting song

    i don't hate it; it's vaguely pleasant, but probably more for the instrumentation

    the overall vibe feels a bit country/folk as well; if i were to guess the genre i would have guessed one of those
  • "You're Beautiful" is so dreadful as to render categorization irrelevant
    holy crap we agree on something
    Funny timing, Tom Breihan covered this on his column about #1 hits the other day.
  • He went to boarding schools and then to the University Of Bristol, where he wrote a dissertation about the marketing of pop idols.
    i lol'd at this for some reason
  • Blunt followed that one with the similarly melodramatic “Goodbye My Lover,” which had Mischa Barton from The OC in its video. That song peaked at #66.

    this isn't my favorite song but i don't feel an antipathy toward it the same way i do with "you're beautiful", for whatever reason
  • あなたのほほえみ by Haruka Chisuga
  • a12_022

    a Totori track within the Ayesha bonuses, so presumably from Totori itself

    key: A minor

    uses a motif on the harp(?) that is the same as or very similar to the opening motif of Terminus for Meruru
  • edited 2023-02-02 20:30:06
    a04ost_117 in the Ayesha bonus tracks

    a track from Atelier Judie, it seems

    this sounds very Castlevania
    it made me think of the Ancient Egypt themed levels in Castlevania: Portrait of Ruin
  • Touch the cow. Do it now.
    charlathan! jonotte!

  • also an excellent game too
  • TENMON & Eiichiro Yanagi - Bonds Of Knife And Gun
    disc 2, track 20 from the soundtrack to eden*

    A placid and contemplative piano-solo piece in C major.  (The title does not seem fitting, heh.  But I haven't read this VN so maybe it makes sense in context?)
  • 佐野広明 - 静謐
    the first track on Nanoha StrikerS Soundtrack Plus. vol. 3.
    An orchestral track in a slow tempo.  Seems to start calmly and in C major but modulate to various tonalities while it also pokes into other moods.  Ends in C major.
  • edited 2023-03-02 20:47:18
    I am amused that the random function has given me three things in C major in a row.  this third one is Seagull's theme from 100% Orange Juice.

    Edit: the luck did not continue.
    The next three tracks have been:
    * a fanfare (stage complete?) from TMNT(1?) SNES (it's in C#/Db something, like mixolydian, but I can't think clearly since I have the third thing on this list in my ears right now)
    * something with very trembly (sul ponticello?) strings from Conker's Bad Fur Day (sounds like some sort of event theme)
    * BGM#24 from Timespinner, which I think is the Emperor's Tower or something theme, one of the late game areas (I forget the exact name) (it's mainly in Eb minor).  the track itself is called "Defiance"

    sidenote: the Timespinner soundtrack is *excellent*

    edit: okay here's another C major track, it's the boy's theme from the game Pitman a.k.a. Catrap
    has a sense of tonality that sounds similar to Koji Kondo's habit of messing with odd notes and chromaticisms while maintaining a sense that keeps at least a few toes in traditional functional harmonic structure, with the result sounding like jumping between a modal treatment of tonality and a traditional classical treatment
  • edited 2023-03-02 21:03:59
    oh here are some youtube uploads of the stuff i was talking about

    "Bonds of Knife and Gun"

    Seagull's theme from 100% Orange Juice
    since the game uses royalty-free music, it's actually called ひこうき雲の足跡 and it's by Studio Murasato

    Teenage Mutant Ninja Turtles II: the Arcade Game (NES version) - "scene clear 1"
    (turns out it's actually from TMNT2 not TMNT1)

    Catrap (a.k.a. Pitman) soundtrack
    the "Catboy" theme starts at 9 minutes in (each track is just generically played for 3 minutes, so you may get bored when the title screen theme which is just several seconds long plays for 3 just go and seek to a later point in the video lol)

    "Defiance" from the Timespinner sountrack

  • lol i just realized that every one of these is from a videogame (or adjacent medium like VN)
  • Touch the cow. Do it now.
    it's almost like you know a lot of video game music
  • holy crap i know a lot of videogame music
  • wait, is Lag Train actually like really famous or something?  it showed up in the Study With Miku lo-fi remix vid that the official Miku account posted

    i had previously just associated it with HH lol, specifically Jane, who IIRC was the one to post it

    "What if video games had Brazilian piano music?"

    Interesting results.
  • It's ironic that the song "Lyric" by Ritsuko Okazaki has no lyrics.  In fact, I am not even sure she even sings in it -- she might, as I can kinda hear some sung notes, but it's not very distinct.

  • Touch the cow. Do it now.
    glenn wtf is an appogiatura
  • edited 2023-04-04 03:29:21

    glenn wtf is an appogiatura

    Basically, a note in a melody that falls on a strong beat but isn't part of the underlying chord, that resolves to a neighboring note that is part of the chord

    for example, a D on the downbeat of a melody above a C major chord, and the melody goes to either C or E in the upbeat.  or a downbeat F that resolves to E or G on the upbeat.

    Wikipedia has a reasonably illustrative sound clip:

    It also uses the Beatles' song "Yesterday" as an example, which is pretty useful.  It starts with one, and has more later on (the E on "far", resolving to the D on "away"; the Bb on "here", resolving to the A on "to stay".

    FWIW I was recently thinking, Takahiro Unisuga seems rather fond of this motif for the ends of phrases (especially the ends of groups of phrases).  He's a composer for various Falcom games, and here's a track that illustrates a pretty frequent usage of them (albeit sometimes embellished): 

    There are two very early in the track, like the third beat of the second bar (assuming 4/4 and the melody starts with 16th notes) and the third beat of the fourth bar as well.  There are more later on.
  • Touch the cow. Do it now.
    ah, ok

  • i wonder if the cow would enjoy this
  • Touch the cow. Do it now.
    I mean that bass is pretty badass
  • polytonality?  warionality.

  • edited 2023-05-07 20:40:17
    Mai Kuraki - sound of rain
  • I forget if I ever posted this but

    there's a motif near the beginning of that that sounds like a motif in this track about 20 seconds in

  • a12_009
    this lively track alternates between C major (or A minor?) and E major
  • Touch the cow. Do it now.
    how do you tell if it's C major or A minor tho
  • how do you tell if it's C major or A minor tho

    the general kinds of chords/chord function that's being used
    also the melody

    e.g., G to C at important points suggests C major

    sometimes it's ambiguous
  • Touch the cow. Do it now.
  • lemme see if i can find that track so i can let you follow along while i post an analysis
  • there's only 62 tracks

    how long could this take

  • starts on C major chord (melody goes C D C)
    harmony goes to F, then G (melody continues to just G)
    repeat this sequence

    then you have three chords: C G C
    then F and G chords (as the melody (a clarinet or accordion?) goes A C F E D C B)
    and then repeat almost the same
    then repeat this double sequence again actually starts to move toward A minor, kinda
    FM7 chord (melody: E, A, E), G chord (melody: E D)
    Em7 chord (melody: D, G, D), A7 chord (melody: D C#, A B)
    Dm7 chord (melody: C, E, C), E7 chord (melody: C B)
    CM7 chord (melody: B, A E), A chord (melody: A)
    then repeat this with a more elaborate melody

    so this section is just a circle of fifths progression, which starts off diatonic to both C major and A minor
    the A7 chord is a dominant leading to a D or Dm chord of some sort but that's just temporary
    the E7 chord is more telling because it really feels like the music is headed toward a bigger cadence at that point (imagine if that were followed by an Am chord)
    though the music resolves deceptively, to CM7 and then A (major) chord which is used to repeat the sequence

    this gets repeated but the last A major chord gets used as a pivot chord in a plagal cadence like sequence to start a section actually in E major

    and then after that you have
    E chord (melody: E F# E)
    A chord, B chord (melody: B)
    repeat slightly different

    so this is basically the same as the stuff we started with, tonally, but just in a different key -- it's now clearly establishing E major

    then we have
    A chord (melody: B, B, A G#), E chord (melody: F#)
    A chord (melody: B, B, E D#), C# chord (melody: C#) B chord (melody: B)
    A chord (melody: B, B, A G#), E chord (melody: F#)
    F chord (melody: A), G chord (melody: B), A chord (melody: A)

    this is a little weird; it starts in E major, but the last phrase of this section seems to be a cadence leading to the key of A major), but not very conclusively

    this whole section is repeated with addition accordion(?), with that last A chord being kept to restart the section
    but the last phrase is now
    F chord, G chord, Ab chord, Bb chord
    C chord which loops the entire track

    the music kinda teased that bVI bVII I cadence by using the chords F G A, but this time, it actually takes the sequence one level higher -- G goes to Ab, which lets us use this cadence but in C major, which is the key we need to loop the track.
  • consecutive chords at an upward whole step, e.g. C D, or F G, or Ab Bb, have pretty powerful forward momentum

    the basic expectation they setup is a IV V I cadence (e.g. F G C, or C D G, or Ab Bb Eb, etc.)

    but they can also be used to make a deceptive cadence, by replacing the I with an vi, e.g. F G Am, or Ab Bb Cm, etc.

    meanwhile you can also view F G Am or Ab Bb Cm as VI VII i in a minor key
    so if the surrounding music gives the sense of the minor key as the home key this is also a cadence for coming home
    not very common in classical music (which favors progressions that sharp the subtonic into a leading tone, i.e. you want an E major chord to produce the G# before the A minor chord, or a G major chord to produce the B before a C minor chord)
    but this cadence using natural minor more common in non-classical styles

    meanwhile you can then Picardy-third the last chord in minor, so instead of it being A minor, you can make it A major
    F G A or Ab Bb C for example

    but then the crazy fun thing you can do is do is to chain these

    observe that, if you're aiming for C major, the dominant is G, right?
    If you just use diatonic notes in C major, and you start on the G chord, and step up to C, you get an unconvincing progression on its own
    G Am Bdim C (V vi vii° I)
    but if you borrow from minor, you get to basically combine two progressions that have cadential motion:
    G Ab Bb C (V bVI bVII I)
    now combine this with F to G
    F G Ab Bb C
    excellent fanfare material, right?

    but now lop off the final chord
    F G Ab Bb
    but wait, what if we treat Ab Bb as the IV and V?
    then we stuck bVI and bVII after that but in a different key (i.e. Eb major)
    F G Ab Bb Cb Db
    and so on
    this is very powerful forward motion, though you can't keep it up for very long if you actually mean to arrive somewhere
  • Touch the cow. Do it now.
    "Yes, I understand," lied the cow
  • edited 2023-06-01 02:52:39
    end of the J-E-N-O-V-A theme from FF7 has
    F G
    Ab Bb
    C (technically this is C with added b6)
    and the original theme just ends the loop on a C chord and awkwardly restarts the loop on a D minor chord

    and i was like
    this is unsatisfying

    what if I made it sound like a full four-phrase unit because that's more satisfying AND that lets me end on an Eb chord which I can use as the dominant of Ab minor!

    so in my edit to it, i changed that to
    F G
    Ab Bb
    Cb Db
    Eb (with an added b6)
    and this is followed by the next phrase starting on an Abm chord

    why Ab minor?  because it's exactly one loop away from D minor, it's exactly a tritone away which is half an octave

    so now we can just *play the (basically) entire loop again* and make it loop back smoothly to D minor!

    well i actually modify it a little since everything in the second loop is a tritone transposed from the first loop except the end

    instead of ending on an A chord to go to D minor, i end on a D chord (D major), to go back to a D minor chord
    Fb Gb (enharmonic: E F#)
    G A
    Bb C
    D (with added b6)

    that flat sixth means that it's D F# A Bb, or it ends up being in the track, Bb A F# D
    then i just need to tweak the third and get back the arpeggios that started the whole track, because they're just Bb A F D repeated
  • edited 2023-06-01 02:56:22

    "Yes, I understand," lied the cow


    i did get too excited

    but seriously play those chords i mentioned
    just the harmonies
    and see if you can follow along with stuff
    you should be able to get a sense of what i mean
  • Touch the cow. Do it now.
    all right!

    added b6 is great btw
  • major triad with added b6 is an interesting, exotic sound, yeah

    minor triad with added (b)6 is basically just more minor, which has an enriching effect but a different one
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