#Orchestral Arrangements

[edge-oftheworld]

5sos fanblog with a twist!

hi!! welcome to the chaos :) you can call me ariel or silver and I’m a punk violist from sydney, australia, and tbh I’m still figuring out what that is.

here I post my projects: ideas, in progress, and when they’re done I’ll put them up somewhere you can hear! project requests on at all times, can’t guarantee I’ll def do it but I will always think about it and get back to you with ideas even if I can’t make it myself. I mostly make orchestral arrangements as I’m classically trained and can read too many clefs. but keen to experiment with anything! if you want me to arrange something for you to play please include your instrument and I will assign you which 5sos member or sierra or brandy I see your instrument as too for a bit of fun.

find me over at @faithfromanewperspective for less specifically music things! but you’ll find me blogging all my thoughts here too so hope u like!

PROJECTS IN PROGRESS:

FINAL EDITS: - orchestral arrangement of CALM minus no shame and easier and kmt plus ghost of you (teeth/lie to me/nitsw//lom/goy/lonely heart//old me/best years/wildflower/high/red desert) here - (nessa barrett) plane to paris orchestral

IDEAS: - vapor/lie to me/wwylm/bad omens for @ghost-of-you - efyts rock version for @ghost-of-you’s anon - something with tgwcw or os/co or airplanes idk - easier/more plus youngblood, no shame, kmt for me - red line (hornsby version) idea i got listening to ash's voice memo - (Taylor swift) dwoht/labyrinth for @speaknowtaylorsversions

COMPLETED: -only ever completed my child of the universe (delta goodrem) violin/viola duet which is what got me into this to start with!

on this account I fully immerse myself into the mood of the songs so you’ll see some heavy stuff, I use trigger warnings and tags, and reference neurodivergence and urban design and my own experiences. it’s all for the art and connection and I hope it might be encouraging for you too

p.s. check out the exclusive photo of the sunrise in sydney that’s burning for days

[rachelfc-art]

Once Upon a Time

[emergingghost]

julien baker singing sprained ankle with the national symphony orchestra will save you

[astriexxe]

Please tell me someone got the whole thing I didn't get the start

I cannot get over I'm Alive with an orchestra it was just like so good honestly one of the best things I've ever seen

[meikyuunolovers]

Who's up Jethro-ing their Tull right now

[supercantaloupe]

ive got 8 parts to arrange for the youth orchestras now. yess

[too-many-paper-cranes]

my new passion is remaking the hk soundtrack to include samples of grub sounds

(watch with sound on, of course! 🐛🐛🐛)

[human-sweater-vest]

hi welcome back to me once again screaming about our flag means death and its use of gnossienne no. 5. heads up for spoilers for the first three episodes of season two and each episode the theme pops up in going forward.

cool cool cool. so it's been established that gnossienne no. 5 is the love theme for ed and stede as it was used during many of the pivotal moments of their relationship in season one. I'll do a brief recap but for a post breaking that down more see this bad boy.

the main thing with my previous analysis is that the instruments and tone changed each time the song came in, sometimes being loud and brash, other times being a whisper in the back of a quiet realization. therefore, I was so incredibly excited to see if/when/how it made its reappearance in season two. below is a compilation I'll update with each episode .

episode one and two don't have any use of it as far as I caught on my first watch through. please let me know if you catch it!

episode three:

5:40 - when stede boards the revenge for the first time after ed destroys it. he's looking for his love and it makes sense that this would be our first instance of the song in the season so far. however, the slow and almost hesitant piano of the song is cut off by the sheer destruction of the ship. we know how much the revenge means to stede, it was his lifeline and his home and the place he and ed found their love for each other. naturally it being destroyed would halt the music. it's also fun that we make it all the way to episode three without it appearing because that's when ed makes his first appearance in season one. good symmetry. good soup.

12:35 - when stede enters the captain's quarters alone to clean up the daggers the song comes in and we hear the iconic melody instead of just the notes leading up to it. he's fully allowing himself to stew in the mess the man he loves has made and how he's a direct cause of it. the main part starts as the camera shifts to a dagger right before stede pulls it out, perhaps indicating that their love has wounded them. he knows that ed is gone but the crew hasn't revealed where or why. the music then ends on a sour note and cuts out as izzy starts to speak, breaking the spell as he's confronted with the reality of one of the people who has been both complicit and victimized by ed's breakdown.

16:06 - as stede admits to zheng yi sao that he feels like he's the cause of ed's destructive streak and that he let him down, the theme once again comes in, this time softer than the previous two appearances in the episode. notably it's also piano, keeping in line the same tonal theme of simplicity and hesitance. it once again runs its course until an interruption happens with auntie bursting in to announce that she found "the jackpot" aka a dying ed stored in the secret room.

episode four:

00:00 - right at the start as ed is coming back to life. it ends abruptly as ed hits stede in the face, showing us that things aren't going to be all lovey dovey.

26:05 - it starts as ed says "buttons, people don't change" (before buttons turns into a seagull, proving this to be false). this is a really important one for several reasons. the first of which being that stede has once again left him alone in the woods, but this time he comes back for ed. ed is confronted with change, assured by it, things can be better. the second and infinitely more exciting to me, is the fact that this version is played on the harpsichord. where did we hear the harpsichord version last? the bathtub scene of season one, when ed decides to change for the first time. when he trusts stede to change with him.

episode five:

26:03- "you wear fine things well" part two. y'all. Y'ALL. it's the same exact version as the first time this scene happened. the critical difference is that they're experiencing it as reality and not a lovestruck delusion. they're flawed and fucked up and the moon isn't as full but the song is still the same. they're still in love.

episode eight:

12:10 - "I feel it in my soul, a love like ours can't disappear in an instant" Y'ALL I FUCKING CALLED IT I KNEW WE'D GET A BIGGER ORCHESTRATION OF THE SONG. we have strings as well as the piano and the theme is joyful and beautiful and reflecting that ed finally admits to himself that he loves stede. this is it. I'm buying dinner and going feral as my original tags promised. y'all this season was a doozy and you can best believe that if we get a season three I will be losing my noodle on how they decide to orchestrate the final usage of this song.

[lesbiangiratina]

I know its been over 2 decades but can they release the gg drama cd music. I need more bloodstained lineages

[edge-oftheworld]

a snapshot in time of my CALM orchestral arrangement

so I just discovered that this is a thing you can do on tumblr and i've been debating putting it up here (i'm not even sure it's legal) but at this point, to me it's worth the (very slim) lawsuit risk to show you guys the inspo behind making this blog. for @bluewrite who i've been meaning to email this to for ages but never got there. for @tleeaves who i think got a slightly older version as did @ghost-of-you but this is also for all of you who've heard me rattling about music things, for people i've gotten into 5sos by talking about this project such as @thevagabondexpress (thank you for drawing the U2 link).

anyway, as you probably know i'm a classical violist. i know my instrument and i know a fair amount of music theory and i know how to play the keyboard/piano as well and at the start of this project i knew very little about building orchestral scores or anything about wind instruments at all. i'd written arrangements and original pieces before but only for strings-only orchestras, and though i'm alright at pulling out instrumentation from songs my experience is largely in the more classic 2000s pop/rock/worship with very minimal synth activity and max 3 part harmonies. to say this was a challenge is an understatement.

it's also not finished yet. i've gone back and forth on this getting feedback from a bunch of people, much of which i didn't understand and wasn't ready to implement. i've also found ashton and calum's videos explaining these songs in more detail and the acoustic version of teeth and best years with the actual chords of the songs and now, differently to the week tfofu came out but similar, i'm on it again, noticing things. noticing musical trends. most of this was done by pure sound intuition and a handful of piano scores arranged by @/keudae on youtube i bought and played to get a feel of the songs. I feel really stoked to have picked up on the whole lover of mine setting us up for lonely heart and being a bit like ghost of you and some of the themes within the album!

but there is a lot i didn't pick up on. especially in the last movement i don't truly feel like i did any of those songs justice. nor lonely heart. and there is a stark difference between the quality of the songs that were played at the RAH and the ones that i only had a studio version to work off (my strings background comes out here). i've also looked at all the 22 individual parts and realised, hey, i want to be in the 5sos spirit and make every single one of these fun to play and right now the only one that is is the cello which carries luke's main melody line but it's also kinda working too hard.

and that's the thing i know, probably apart from that one keychange into lonely heart from ghost of you, this for the most part sounds good and i want to share it here before i rejig it too much, make it too much more orchestral, so we can remember it and see it evolve. because i have a bunch of juno and guitar and percussion and harmony parts i haven't put in. general song vibes. shake up the choruses and make them a variation on themselves each time. maintain the atmosphere it's got but add more layers to it, be more true to the original songs. make something i would be proud to show 5sos if the opportunity ever arose, something that would actually astonish them and I think I can. because their musicality in this album is astounding, and something i haven't seen in heaps of other artists, and i want to recognise that and draw it out in something that can do it justice like an orchestra.

[celestialiron]

SO! One day, as I was reading one of @morning-sun-brah’s stories (as one should, they’re absolutely incredible) & as usual, whenever there’s any form of “x reader” stories, I always imagine any of my OC’s in those stories to specific characters I have them together in already in my own works (especially in that story Sweat, oh ma goodness I’m still not over that story) & I was randomly struck with a musically creative mindset once again! It had been a while since I was able to write any of my pieces & to finally pick it back up after many moons had been so refreshing to me & I couldn't wait to pick it back up again! Even with writing out theme pieces for either an arrangement or music composition contest or my own Hollow Knight vessel, this was far from the norm that I would ever do & I am so incredibly happy with how far I've come as a musician & writer/composer!

And now, after over a year, having a lot of writer’s block for this & just overall needing some time away from it, I finally finished my fucking composition piece! It’s so very dear to my heart because it’s the first piece I’ve written for ANY of my OC’s that I’ve had since I was in elementary/middle school & to think that one day, I would be writing for them after all these years! This is the first of many, many, more to come for my composition works outside the realm & I cannot wait to share them with everyone!

So once more, without further adieu, here's the link to my composition to my OC Izra for one of many more themes for her & my other OC's themes! I hope everyone enjoys it! ♥

[faithfromanewperspective]

friends i need to know something. anyone else here other than me and @tleeaves a musician? and if i start blogging about chords and music theory the way we analyse literature do you want it like. in normal person speak? bc musicians can get real nerdy and there's a heap of lingo but i want it to be followable for anyone who wants to follow musician or not

[idiotsonlyevent]

i wish aa5+6 were direct sequels to aa4, creating an apollo-centric trilogy - maybe something like 5 focusing on klavier and 6 focusing on trucy and apollo's relationship w thalassa. the series would actually be so peak if we had a pheonix trilogy, an apollo trilogy (where phoenix is an important member of the supporting cast), the edgeworth duology, and then tgaa to top it all off....

instead, we have an apollo game - which could have been a major turning point for the series - but then basically everything that made the game good is ignored or sidelined to give us two Not Good phoenix wright games... its so sad! and the worst part is that it really feels like dd + soj has ruined some people's view of aa4 AND killed any momentum the series had for doing anything actually interesting with its characters.... i don't even know if aa7 can 'fix' this, even IF capcom does try to return to a more apollo-centric approach with it - which i unfortunately don't think is possible anyway 😔

[regicidal-defenestration]

As much as I love a good musical theme or motif I do think modern DW sometimes forgets that silence can be just as impactful