#cheery right?

[valfeathers]

i be like *thinks about L’s childhood* *thinks about L’s childhood* *thinks about L’s childhood* *thinks abo—

[jchorsky]

Main theme of ISAT music analysis yaaayyyy yippieeee

big thanks to @ asterythm on discord for the music sheets i am forever endebted to you. here's their post with their stuff! GO GIVE THEM SOME LOVE DICTATION IS HORRIFIC. https://www.tumblr.com/starsalive/755820156323774464/isat-title-theme-piano-sheet-music-for-solo [somebody who actually knows what they're doing @cocoisindecisive responded with corrections, so the edits are gonna be in these brackets!! i couldn't leave this unedited because it felt wrong] Since they've only done the main theme, i'm just gonna pick apart that. Big fuckin text post + absolute raving and ranting!! please tell me there is a functional line break here PLEA

ISAT's OST is very economical in that it constantly reuses one central motif. I want to go on a very brief tangent to cover this motif because I feel like that's worth doing. ---What the fuck is a motif?--- i want you to repeat something with me, okay? deep breaths. A MOTIF AND A LIETMOTIF ARE NOT THE SAME. A MOTIF AND A LIETMOTIF ARE NOT THE SAME !!! PLEASE DONT USE THEM INTERCHANGEABLY MY HEART HURTS EVERY TIME !!!!!! thank you. so, a motif is a little piece of music information - usually a melody, but not always, i think? - that is reused and changed. It doesn't represent anything, really. That's the difference between it and a lietmotif - a lietmotif represents a person place or thing, and a motif just doesn't. ---Great, So what's the motif?--- it has two parts, this first part:

(this is repeated with the last 3 notes moved down a tone.) *[this is a LIE how did i think this, i literally just had to LOOK]*

this is the second part:

(which has the last part change a little bit when repeated in order to resolve.) There's some nice rythmn made with the dotted crotchet and the quaver, but nothing crazy like syncopation. It's mostly conjunct, but there's one or two little leaps in the melody. It's a fairly basic melody -- perfect for changing and adjusting to the needs of each piece.

this is used in every single track in the game! I'm not kidding, it's in every single one, try and listen for it! it's a very smart use of a motif. Onto the actual piece of music!

[to quote directly - "you dont mention that the "second part" of the motif is very similar to the first statement but with it's first measure having it's intervals being inverted (and the final eighth note keeping the pitch of the dotted quarter note). or that the second measure is again similar just that the missing C from the first measure is now the downbeat of this measure, and the B that used to be the downbeat is now and 8th note preceding the new downbeat. (plus the first statement of this second iteration changing the final three pitches so that its a stepwise walkdown from G to E)" - i knew something was different, just not what exactly, thank you for correcting me] --Main Theme--

It uses the motif as it's melody (see above), and while I won't cover that again, I will cover the harmony! The instruments are fairly simple, there's a chiptune piano and some kind of strings (?) helping with the harmony in the background. The two play together throughout.

While the key will obviously change between pieces and songs, harmony is a very important and sneaky way to hide meaning in a piece. Harmonies are also very hard and hurt my brain, so if i'm wrong feel free to tell me. (Also i hate reading bass clef)

[Dsus -> Esus4 -> G (kindanotreally) -> A sus4 -> A // ii -> iii -> V -> VI] A lot of suspended chords - suspended chords don't really hold on major or minor, so this leaves it feeling a bit unstable + airy. But, each suspended chord eventually resolves onto the major of each chord, so it still feels major. The thing that decides if a chord is major or minor is generally the second note in that chord - 3 semitones away from the first note on a major chord, and 2 on a minor chord. Suspended chords have the second note be either 1 (BUT IT'S NAMED SUS2????) or 4 semitones away (sus2 / sus4). This lets it dance around either, and it keeps tension until it resolves into either one. [ to quote directly again - "and then the chord progression you outline seems like gobbeldygook to me. measure 1's downbeat is not a Dsus chord, it's pretty clearly a power chord, and it leads into an F not an Esus4. measure 2 is mostly fine though, only think is that it is definitelly a G chord! if you wanted to be pedantic you could say it's a Gomit5 but i really wouldnt bother specifiying that and whoops your roman numerals are wrong! the big issue is that this 2 bar phrase DOES contain a tonic chord. in fact its the first of the measure! this is pretty clearly in D dorian, but i think you've confused it for C major since they share a key signature. but nope! given that correction and the ones above the roman numerals looks more like a [I -> III -> IV -> V]." YEAH IM REALLY BAD AT THIS I DON'T HAVE ANYTHING ELSE TO SAY 😭😭]

[Dsus -> F -> G -> Gsus -> Asus4 (kind of???????) // ii -> IV -> V -> ii -> ii] this little countermelody continues (i'm not sure if it's because i'm looking at the piano version and OOPS it's too late now, or because there is just a countermelody. what am i saying this would be countermelody either way????) and layers quavers over a crochet and minim harmony. The harmony itself mirrors the same as before - loads of sus chords with occasional, brief resolutions to major chords. But, what's weird is that I haven't seen a single I / Tonic chord yet? there's not a single chord that's just the first note of the key. That's kinda weird - most pieces even start with that. There's something there - technically, we're not at the start of the journey, we're at the very end of it, the very end of this year-long journey that all of the character's have been taking. [ corrections: "closer with measures 3-4 its just that measure 4 is an an Asus4 to A and that adjusting for you being in the wrong key the chord progression is still that same [I -> III -> IV -> V]" ]

[Esus -> Gsus2 -> C -> Esus -> Gsus2 -> C // iii -> V -> I -> iii -> V -> I] WHOOPS I LIED. there's the tonic chord! there's C! There's a good reason for a tonic to appear here, though - we have a perfect cadence, and that is very interesting. Those roman numerals are about the placement of a chord within a key. kind of - it's important for stuff. A cadence is the harmonic ending to a phrase - in this case, a perfect cadence, from V -> I. This sounds "complete" to our ears, it feels like the piece could end there. what's weird is that it repeats twice, and keeps going on the second one. Furthermore, the melodic phrase is ending here, the motif is ending. This would be a far more "complete" ending if it stopped here. But it doesn't.

It changes from block chords to ostinatos (MIGHT BE THE WRONG NAME.), but each of these semi quaver / demi semi quaver progressions return back to one note while playing out a countermelody at the same time, still allowing for some kind of harmony. This change also builds up the pace in the piece, letting it build to the ending - this is the only thing that really drives the piece beyond this point, this building rythmn. Even then, it stops on this little crotchet chord! And then keeps going, into what is probably the most interesting part. [corrections - "a couple of things wrong with this one. first of all i analyzed the chords for measures 5-8 as [Fmaj7 -> Gadd9 -> Amin7 -> Cmaj7-> Fmaj7 -> Gadd9 -> E -> A] with roman numerals: [III-> IV -> V -> V/III -> III -> IV -> V/V -> V]. no PAC here! also, even if this was actually in the key of C major there is no V -> I in the bass and none of the soprano movement need to be an actual PAC. just a bunch of movements by fifth :]. you say the rythym is the only thing pushing the piece forward, and while it sure is definitely a fun effect that's building some nice tension the constant movement by fifth's is definitely also contributing to the tone. be wary of blaming an entire piece's success on one element!"]

[Asus -> Gsus -> G -> Esus4 // VI -> V -> V -> iii] In terms of intrumentation, something weird happens here - the chiptune piano falls away into a far more real-sounding one, while the strings stay the same within this section. in terms of harmony, again! tons of suspended chords, with one or two resolutions that keeps the piece feeling major. This cadence is. Weird. [V -> iii] isn't really a resolution at all, and as far as i could find it doesn't have a formal name the way some others do. some parts resolve (the E notes) but others don't, (the A notes), so it ends up feeling only half-satisfying. This makes sense - the music is gonna loop, because this is game music, so it does make sense to have it not resolve. But. It resolved perfectly eariler - we did have a perfect cadence. So then, why break into this tiny little two bar ending, that doesn't even resolve? That can smoothly go back onto itself, and also back into the beginning of the piece? This part is quieter, the demi semi quavers have rested back into minims, and it feels a little bit like an anti-climax to the build from earlier - it doesn't feel like a dramatic ending that the build was maybe working towards, more like a quiet moment. Despite that, the texture in this two bar section never thins - the piano is never left behind by the strings - the strings don't get quieter either, just the piano. Why is this two bar section here, then? Why end on this, and not on the part before? Two bars, huh. What a strange number to choose. [corrections - "chord progession is: [A -> G -> E -> A]. i'd argue that the previous secondary dominant to the A tonicized the A, placing us in the key of the domimant (A minor). so because of that i''d say the roman numerals are [I -> VII -> V -> I].

maybe pedantic but i dont think its actually that weird or bizzare of a choice for the chiptune melody to be replaced by an acoustic(-sounding) piano. the isat soundtrack consistently uses both acoustic and virtual instruments! this is just establishing that and letting the listener know to expect more of this specific element of the soundtrack. as title themes tend to do!

and the piece is quite resolved by the end actually. if i believed what you believed about the sheet music and never listened to the track i could see how i could think that, but giving the track a listen and using your ear to sus out details reveals how resolved it actually is!" thank you for the corrections im real bad at this]

[pxme-granate]

[english-history-trip]

Just opened Northanger Abbey for the first time, and I'm loving the tone it sets, but goddamn:

"[Catherine's father was] a very respectable man, though his name was Richard..."

[agoraphobe]

this is my fruity pebbles & play doh sweater

[suguwu-gato]

I’ve said it before but I’m absolutely convinced that Gojo gave Suguru’s body back to his cult family after he killed him, Nanako and Mimiko specifically. Suguru asked about them right before he died so Satoru would have known how important they were to him (not to mention that a big theme for Geto has always been found family) and most importantly it would explain why Nanako and Mimiko and the rest of the cult family knew about Kenjaku way before Gojo ever did. Because the body was stolen from them!

[amberh789]

Betty really likes to throw things at and throw Simon often

[tsibeyantiger]

I want to make this clear again: Female dwarves of the Discworld are the perfect allegory for trans identity, but they themselves are NOT trans. They are cis women in a society that doesn't allow the existence of women at all. Their struggles, meanwhile, are very similar to the ones of trans people, but calling female dwarves trans means you didn't understand the whole storyline.

EDIT: Some people were suggesting that dwarven women are non-binary since they have a gender their society doesn't assign. I guess that's technically fine, but one should probably call it non-unitary since traditional dwarven society knows only one gender.

[bigbadvv0lf]

My piece for @vexa-legacy as part of our discord/guild art exchange! Khano was a ton of fun to draw and getting to draw Theron for the first time was a great experiment! I hope everyone came out looking okay lol

[rainyjackalope]

2am icon change time

[a-s-levynn]

Sorry for going m.i.a. the second half of yesterday, not really answering to messages for a bit now (i'll try to get around to it today) and just in general not really interacting with anything save for like 2 posts per day

[propalitetz]

on their way to visit the cheery man's wife

[djevelbl]

Ok. I now understand what that one person here was saying about doctors treating their patients with a clinical consideration (or lack thereof) that seems to be particular to the profession — or I now understand it more... personally, I guess. So I'm at the dentist (or whatever the specific type of doctor, idk about doctor pokemon types dude they're all the same to me) bc they had to put something on a badly decayed/fucked up tooth (hello bilingualism, how I loathe not knowing how to communicate properly) and she starts cleaning it bc of my, admittedly, bad dental habits

This is where the fucked up thing comes in: she notices that I'm tensing up and clenching the armrests on my grasp real tightly; I have this thing where if I'm grabbing onto an armrest and I'm scared/in pain/deeply uncomfortable I'll dig my index and middle fingers into it, the others circling around it — kinda like how you'd measure someone's pulse on their wrist, but I'm instead trying to strangle the shit out of an inanimate object. So she decides to inject some anesthesia on the general area so she can work better and I'm calmer — situation resolved!

Except, it doesn't work.

I've had problems with dental-related anesthesia in the past — I had to get my wisdom teeth removed and let me tell you, even if I didn't feel the pain that didn't mean I wasn't feeling it; I can only assume what I felt was discomfort, some sort of sensibility or something like that, but trust me, that operation was hell on Earth and I hated every second of it. Coming back to the present, I felt. Every. Fucking. Time her shooty mc watergun thing came anywhere close to my fucked up tooth — she had to clean around it? I felt it. She had to clean within it? Yep, I felt it. She moved the instrument around and it just so happen to soot water into the tooth? BOOM I was clenching the armrests like they owed me money. It was SO. BAD I started shaking at some point like I had hypothermia, it was HORRIBLE

The worse part was whenever she asked me if it hurt. The repeated chant of "it hurts? No? Of course not, I gave you anesthesia!" Will forever haunt me, in just the same way that doctor who took out my wisdom teeth does whenever I remember the pain and his question of "you can still feel it?" Whenever I said that I still felt pain from the needle entering my gums. I can still hear the befuddlement in his voice every time I shaked my head one way or another, clearly in a manner that did not align with The Good Patient Manual he'd been taught to learn. I don't think I'll ever forget her sort of upbeat voice as she cleaned my tooth and I was made to lay as still as the tremors allowed me to be, clenching the armrests and getting my head manhandled by my top front teeth with her finger — I didn't even think someone would ever do that.

Like. What the fuck

[frogaroundandfindout]

“Though don’t get me wrong slade. I will make you take responsibility for what happened to Bludhaven if it’s the last thing I ever do. I’m not prepared for that fight right now, but I am prepared to save your daughter.”

“Even your brothers didn’t suffer quite so horrid a fate.”

Dick breaks into Slade’s home to save rose. He tells her that the kryptonite eye slade implanted in her skull is exposing her to radiation poisoning. Slade throws a grenade at dick and part of the house explodes allowing dick to make his exit and rose to run out saying that she hates Deathstroke. Slade curses dick and snatches a piece of paper out of the air where dick has promised to come back for him. (Nightwing Vol.2 #117)

[chicinsilk]

US Vogue October 15, 1954

Cherry Nelms wears a honey-colored Crompton corduroy coat with alpaca lining, over a matching sleeveless dress. Gloves, and little sweaters, really knitted in cashmere and wool, by Wear-Right. Pink velvet hat, Lilly Daché. Lipstick, just the right amount of honey: “Bendel Berry”.

Cherry Nelms porte un manteau en velours côtelé Crompton couleur miel avec doublure en alpaga, sur robe sans manches assortie. Gants, et petits pulls, vraiment tricotés en cachemire et laine, par Wear-Right. Chapeau en velours rose, Lilly Daché. Rouge à lèvres, juste ce qu'il faut pour le miel : "Bendel Berry".

Photo Erwin Blumenfeld vogue archive

[maranull]

greek far-right 🤝 greek communist party = opposing same sex marriage

this would be a comedy if I wasn't living here

edit: to be clear, the bill passed