*proudly with one leg over a super long wooden post in lumberjack clothes*
https://twitter.com/DjSainthubert/status/1010371837656817664
lmao stand for your rights as an otaku!!! burst out laughing when venetian's ver really does sound like that in de song, what with dylan's weird (but friendly, welcome, courageous, outgoing, generous!) croak.
ok so ragnar im feelin' benevolin'. im postin'. theyn coldn' be doin' anythin'.
u mentioned music theory. *eyes focus like a drunk man trying focus his eyes* yessssshhhs. theory. that you said.
did you know that sonic 2's emerald hills (the first level) probably most of the chords are weird sad ones??? like the song sounds like pseudo-hyper japanese pop, but the 4 chords that repeat for most part of the song are NOT happy/hyper ones.
especiallty the 3rd chord (it's really just 4 chords for most of the song).
https://www.youtube.com/watch?v=6vaBxXCH9b8 imma bringin this up, cos i realized some time ago that the very young child me actually could somehow tell this difference, and it struck a nerve.. you know how it sounds like very outgoing but at the same time somehow subtly longing or suppressedly depressed?. i associated that song with a certain trauma and a time period, and i guess it was my first feelings of depression in my life. well, i don't mean that as a downer, but more as a "isn't this sort of incredible?". i must have been what, 5 or 6 years old? isnt that just fucking amazing? i could tell the song's chords justaposed to the atmosphere and drive of the song was "dissonant" or "somehow off in a meaningfull way"; basically it sounded MOODY or SAD, and it, like... made sense on some deep level.
as for music theory, eeehh... don't misunderstand. lot of greats had an idea/ideas of what to do WITH it. it was not necessary to understand/possess it to make great music. lot of really bad artists and musicians came from those very schools of thought that uses music theory predominantly (because they don't teach the process of how to APPLICATE it, without replacing your more intuitive creation process). it's bit like equating music theory coherence = success or making money/a decent living churning out pop songs. that's why you see to this day musician's (who are not good with music history or general logic/mathetmatics anyways) still talk shit about devil's chords or moving parallel fifths etc. that's why you also see the general confusion of WHY TO LEARN MAKE SONGS ANYWAYS, like what makes a good song, what to do with it in 2018, and why not dismantle this theory stuff altogether and replace everything with EDM etc.
as for u, or like, "well, what is it anyways", then the best theory is like... idk, "ohhh i get it", then followed it "wait, this odd bits here seem super important???? why is nobody talking about this??? wait, why is everyone focusing on this dumb shit, when you could be talking HARMONIC FLOW-STRUCTURES OF ALL WESTERN MUSIC FOR 2000 YEARS etc??? wtf". that kinda thing. it takes one ragnar or bonzi or cicada to go in, have shit for brains, then become dumbstruck and go "oh wait, you're telling me... everybody did this all wrong for 100 YEARS OR MORE?!?". you know the drill.
aaahhh imma mooda fora talka. so you're like, "erm bonzi, please be gay and queer it quick. get to point" (yeah i know im just making shit up). "erm bonzi, so does this mean im doomed or...?", well it's more like... .... ... ... ... ... music is logic. cold logic. this is something i'm sure you've noticed - it's mathetmatic, patterns, a mathematic organization in time in aural sense or something wack (combined to cool meaningful sounds). so it's really like, "ok, if you like beautiful or moving songs or want to understand how you can make songs "meaningfull", then yes, it MAY help you get there if the chord stuff etc doesn't come easy". "but if you want autogenerated music, eg like yours, that works too. or if you want more kinetic and analogue music...". i guess i'm sorta saying that look, music is not everything there is to life. you can really lost yourself to music theory, and make all the wrong decisions with it. think of first of your lifetime and how you wanna spend it, rather than equate good/important song = satisfying long-term life. secondly, lot of what you intuitively feel "now that's a good, meaningful song that moves my heart", is part your temperament ("i like edm/techno/this or that") and part universal objective truth. lot of those people who make that great shit really viscerally know how to make procedually a meaningful songs, but they don't necessarily lead to new places celebrally or for you, or for their own lives.
ahhh what i'm saying... i'm saying like, ok. You can make a meaningful great song... BUT IT'S A COUNTRY SONG; *dead embarrassed silence* right?? so it's like, what you wanna DO with GOOD SONGWRITING? so you make a psytrance and temp the wrath of the psytrance bonafides, terrified of this newfound power of musicmacking?? or what?? hunhhhh???
i'm not making fun of music tho, or dumb topic or anythin... *puffs pipe, stares into far distance*, in fact im sort of enjoying my dirty jrpg classical music preferences ever so ugglyly *puts on vinyl, after crackling and popping vinyl blares in beautiful vintage compression RM2K MIDI SONGS, much to ragnar's delight*... munch munch... but i guess, after bouts and fits and rounds
OF *meaningful pause* - im sorta comin round, right? so its more like... you know... its bitta lika old man's game, you know? it really takes a deliberate forceful beautiful mind to compose Shining Force 2 battle music, you know! let them wild younglings run about, then get bored and move unto post-adolescent existential anxiety, but you can't beat a good smoke of fine whatever and a good stride of work with a videogame music score, imma right? *ragnar looks confused, why does he keep calling me Ammi Right?*
what i love in youtube time is that apparently you can see like, composer of shining force 1 just ya know, commenting in youtube section. holy cow!! he's just chillin', and praising your synth work on his song's covers... and you're like, "this is the guy who for some reason
reaaaallly knew how to make cool pseudo-Russian classical music marches. how the fuck can such a thing exing? like how to have such an incredible ephemeral skill for no good reason? how to be such a dude, and why is he so concerned of mortal concerns? how is babby formed?".
ah! the beauteau of human mind... to be old!
EDIT: i guess it's like, i like more thinking OF music or this theory stuff, this unfiltered stuff. like i'm suprised how much i like it, just on the basis that damn, i really like prophetsizing or like FIGURING shit out. and maybe good songwriting don't always (or ever) necessarily lead to great shit, but it may be a prerequisite to make some certain style of music. and i'm suprised how much i like to TALK or rather THINK CAREFULLY about stuff these days. it's nicer to get an idea accross of say, what shining force 2 ost does... and then like, not actually think "just how far we can go with this, this genre and style" (sounds very youngish, cumbersome, hassle, very demanding of others?) but more in terms of... "if you know how to think this shit through, and it feels exciting, then you know you can applicate it elsewhere... *wink wink, hint hint*". its bit like, "if we can queef (DAAMN IVE BEEN TEMPTED TO USE THAT WORD ALL THIS POST AND NOW IM GOING FOR IT SHAMELESSLY) i sad if we can queef shining force 2 into idk new ideas, SOMETHING, then how meaningful it would be? like MEANINGFUL, comparing meaningfullness, solutions, to existing dilemma, rather than random berserk variations etc.". it's far more interesting (and fun) to take a relaxed Erik Satie outlook to life and music and it's applications, to munch thoughtfully on some weird ass stuff, rather than outright force yourself to MAKE IT TRUE/TITS OR GTFO, yeah no i'm sorry but nobody's buying albums in droves anymore, just shut the front door and play that Don Miguel's demo again you idiot. it's like the modern bible
EDIT: like you'de be suprisedde how it all turned out, that you think MORE as you age and not LESS. like the precision matters a lot in the wild world frontier. sometimes you get flashes of really new sights or future, a possible big avenue, but the reason it exists confusingly hasn't so much to do with youthful excitement but because it really seems to fix many of the issues in the existing pop music, for example... it's very esoteric... but you could eg. think of Jazz solving issues with chord language of pop music being too "staightforward" or either happy/pop or traditional music -like. perhaps some existing issues come from too eg simpleminded use of repetiotion or melodies? maybe the chord language is again too simplified, or not expansive BUT ALSO SPECIFIC enough? perhaps the cultural ideas or esthetical baggage for "new musics" does not exist yet, so there's no nothign to "pull it forwards?". maybe the word-thematic structure is too restrictive right now, so there's no passion involved, not enough "strange, new, novel, exciting way to move forwards, does not address anything societally"? that kinda thing.
EDITEDIT: like it's more exciting to think of an entirely new kind of genre these days, with it's inner intricate strict rules... and sort of, by just of act of making it real? like it's less about "let's make a new music or genre, let's create new memefied god for no reason", but it responds to a deep need from a secret well inside a man...