|
This is my most recommended LP of all time. This is good poo poo. Good. poo poo. My only complaint so far is the lack of description on syncopated beats, which I'm fully and 100% expecting explanation on in later minigames, with black-and-white callbacks to earlier games which featured them where you called them "notes on the backbeat"
|
#
¿
Jul 22, 2016 13:17
|
|
|
|
| # ¿ May 22, 2024 18:42 |
|
|
If you want fun time signatures, look no further than Metroxplex by Robert Sheldon https://m.youtube.com/watch?v=Eoo5anaYYmo The whole song constantly plays with rhythms and normal structure for time signatures, with phrases which could be written in 5/4 being dragged across a 4/4 measure repeatedly until it lines up with other instruments playing straight 4/4 beats. It goes from slower sounds to a described "frantic taxi cab ride" at 3:48, and at 4:22 especially you can hear the constant time signature changes. I think that part runs primarily in 13/8 and 7/8 with a few single 6/8 measures thrown in? It's a drat fun saxophone line 
|
|
#
¿
Jul 23, 2016 03:08
|
|
|
Zenithe posted:Oh wow, well then I appreciate even more the effort that has gone into this LP. I can't stress enough how good this LP is, because any moment of music staff you've seen on-screen has been added in. There are no music staffs in rhythm heaven. That has all bee added in post. Also, yeah, you partially wrong on the fermata. A fermata is just the Dimitri Martin joke about trying to get ice cubes from an empty glass of ice: "HOLD, BRETHREN, HOOOOLD" There's no rule between rests and notes, you can slap a fermata on anything and it's understood. Usually a fermata is put on a single measure of either rests, or notes then rests, to signify to the players that they will be holding that beat until the composer says otherwise. This is actually an interesting theory-break for basic theory, because somebody already brought up railroad stops. So a Caesura is the railroad stops, they look like diagonal lines on the end of a phrase which normally exists for ALL players. It is a synced cut-off point that lets the conductor wave away the band, then begin the next phrase with impunity. A fermata on a rest is not the same, because only SOME instruments would have a break there, and not all fermatas include a break, then reintroduction. All fermatas are a hold on a specific group or groups, but only some fermatas are a hold on the whole band. Some pieces require a fermata to play until the conductor cuts them off, but with an immediate pick-up as a cue of when the other group is cut off. Only a Caesara is a full-stop for the whole band unless clearly and explicitly noted in the sheet music, which is (funnily enough) noted by a fermata for the instruments who keep playing. For the layman, the weirdest situation of stops and starts would be a fermata for all or some instruments, with some having a caesura that the conductor acts out. Only, during that caesura, there are other instruments who have a clear "this is a fermata, ignore the caesure" kind of marking on their sheet music, to continue a particular chord between a few instruments. After that, it's usually either another caesura to cut out all sound for complete silence, or the conductor brings in a new phrase on top of the held chord. To make it simple, a caesura is the conductor going "EVERYONE STOP (unless your sheet music says do not stop), and a Fermata is "EVERYONE LOOK AT ME AND KEEP DOING WHAT YOU'RE DOING" (which is usually holding a note, but can sometimes be used to signify a rest that requires looking at the conductor closely, because the immediate next note is one you play, and he will be signifying when that note occurs)
|
|
#
¿
Jul 25, 2016 10:26
|
|
|
Also, I'm going to say again, this is my favorite LP and I can't wait to see how complex this gets over time. We, the commentators, will explain it poorly, but I hope you can explain the complexities of music eloquently. Especially in that radio voice, goddamn. If you ever need a co-commentator to talk about music theory, throw me in a skype call and we can radio voice at each other about rhythm and music theory.
|
|
#
¿
Jul 25, 2016 10:30
|
|
|
Heatwizard posted:
They are, but because they are an eighth-note offset (the "backbeat" as NOLISTENTOME has called it) they can't be written with a bar connecting the two eighth notes. It's the exact same rhythm, but the eighth-rest between them means they are written that way because the first two eighth notes was one beat (so they can be connected with a bar) then the eighth rest + first of the those two eighth notes is another beat, and the fourth eighth note is the start of beat three. They're all halving the beat, so it's basically: 1-And (beat one) (rest)-And (beat two) Three-(rest) (beat three) (rest rest) (beat four) Generally a measure in 4/4 is counted in eighth notes as "one-and-two-and-three-and-four-and" Using the beam is too confusing in wider usage of eighth notes like this, so what you're seeing is NOLISTENTOME's continued usage of un-barred eighth notes to help the distinction between the numbered beats. (one, two, three, four, versus the "backbeats" signified as "and") The beginning of the measure is ONE-and, then a rest, then two more notes, then all rests for the rest of the measure. In beginner's rhythm, you want to maintain the idea of 1-2-3-4 in a 4/4 measure, so he's written out "ONE-AND (two) AND THREE (and four and)", with the first two being to halves of the same beat [[ONE AND]] with a bar connecting them, while the "and-three" are two different beats acting the same way ( AND]][[THREE ) They act the same, rhythmically, but the lack of a bar connecting the AND]][[THREE is purely cosmetic, and to be consistent in stringing along the front of the beat (the numbered ones) So again, he's just notated it as "one-and (two) and three (and four and)" instead of "one and (two) and three (and four and)
|
|
#
¿
Jul 25, 2016 11:29
|
|
|
|
| # ¿ May 22, 2024 18:42 |
|
|
Lord_Magmar posted:So here's an interesting bit of musical notation that I thought relevant, as you've just shown off a game based around playing the Tambourine. There is in fact a fourth type of Clef, although it isn't really a Clef. The Percussion or Neutral Clef, which indicates that the instrument has no set pitch for the music, it can also have a varied amount of lines. It also isn't used for tuned percussion, for obvious reasons, which includes pianos funnily enough. This is best expressed in Drumset Tabs. Tablature is its own set of rhythm hell to explain, but the short of it is that hyphens designate the Lowest Common Denominator of the beat, so if your piece uses 16th notes, the hyphens designate a 16th note. Drumset Tabs have a different line for each drum head + cymbals used, and you just sorta... follow along. I never played drumset, but a friend of mine learned drums off set tabs, so they can apparently get you places. In guitar tabs, they're just the six strings, so if you want an explanation of them, look at a simple bass tab. EADG going from bottom to top, where you play along and count out beats while "ignoring" the empty space until it matters. Then look at drumset tabs, and that's closer to a percussion clef for instruments more complex than a single snare drum, without getting into actual note-tuned instruments like the timpani. Although according to my percussion friend, timpani tablature exists and that makes me go all  about music notation.
|
|
#
¿
Jul 25, 2016 13:29
|
|