#decrescendoed analysis

[scripted-downfall]

"Children Will Listen" from Into the Woods has such painful Supernatural feelings attached to it. "Be father and mother, you'll know what to do" but "Careful the things you say/Children will listen" and "Careful the path you take/Wishes come true" and "Careful the spell you cast.../Sometimes the spell may last/Past what you can see/And turn against you" and "Careful the tale you tell" and just. Yeah.

[scripted-downfall]

You have good timing; I was just posting a post about "Turn the Page", so now you can have a sense why :) (Post is here)

And, honestly, "Oh, What a Circus" fits well enough that I'm not sure it fits the 'only one line works' thing, but I figured that it'd be good for Jezebel here to answer, since she would literally only know the one line, you know? But anyway, the song makes me think of Max in season 2. She's not a diplomat, not good at interpersonal interactions, and liable to pitch a fit if things don't go her way instead of actually leading anyone, but everyone, for some reason, seems to love her/her leadership anyway. Which is what Che's singing about in that song.

(For reference, it also features the lines: "As soon as the smoke from the funeral clears/We're all gonna see and how, she did nothing for years", "But the star has gone, the glamour's worn thin/That's a pretty bad state for a state to be in", and "It's our funeral too")

Anyway, there ya go :)

da music anon

3

also what was the song or lyric suggested to you for the last ask?

Hello :)

So I’m assuming you mean this in terms of DA again so this time I have enlisted help for a song choice :) (I trust her judgement so I trust I’d feel the same 🤣💕)

Song: Turn the Page

Artist (Cover): Metallica

(I have no idea why 😂😂)

The song from the last ask was Oh, What A Circus by Evita

Lyric: "Instead of government we had a stage

Instead of ideas, a prima donna's rage

Instead of help we were given a crowd

She didn't say much, but she said it loud"

[melodycalypso]

Ni No Kuni Music Analysis : “World Map”, Joe Hisaishi

As soon as I put up the poll, I knew exactly which piece y’all were going to pick for me to look at next, but it’s truly iconic so I don’t blame y’all in the slightest! For the second installment of my analysis of the Ni No Kuni: Wrath of the White Witch soundtack, we are going to be taking a look at the “World Map” theme!! So without anymore delay, let’s get started! (I had to link a recording of the piece at the end of the post instead of the beginning because I’m making this post on my phone so… sorry for that guys. Hope you can still follow along!)

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If you are familiar with the soundtrack of this game, you probably know the song “Kokoro no Kakera” that plays during the credits. The “World Map” theme is essentially an embellished variation of that song. I can’t be the only one who sat there in the over world and just listened to this piece because it’s just that good!

0:00 : A strong opening phrase featuring brass instruments is a great way to set the tone of this piece. I like how the melody played by the trumpets ascends, building up anticipation. It’s like you are walking into the other world via your gateway spell.

0:12 : Here is where the main melody of the piece comes in. I have now confirmed via some further research that the instrument here is a whistle. This actually ties into a point I had forgotten to make in my last post. Joe Hisaishi, the composer of the Ni No Kuni games’ soundtracks, referenced Irish folk music in writing these pieces. The featured whistle is definitely a staple in Irish folk music and mimics the melodic voice part of “Kokoro no Kakera”. I really like the added grace notes in the melody which further enhance the Irish folk music theming.

0:30 : The echoing flute/clarinet line paired with tambourine provides a whimsical contrast to the pervious whistle solo.

0:45 : This melody played by the strings right here, just listen to it. The way the melody flows in contrast to the harmonic woodwind line just gives me a homey feeling. This part right here is what draws you in and makes you feel like this other world is your home away from home, or at least that’s what I think.

1:03 : With a French horn solo continuing the melody making it more timid feeling, the trumpets and strings then come back in and crescendo the phrase.

1:16 : This transition makes me imagine running away to take cover from wild familiars lol

1:26 : I really like the harmony line in the middle string voices here. It really makes us appreciate the main melody more and highlights the key the piece is written in: E major.

1:44 : Tambourine and French horn come together, later with flute taking over, pushing the flow of the piece forward and crescendoing into the next section.

1:58 : Another key influence for Hisaishi when writing the Ni No Kuni soundtracks was the fantasy genre. This section right here has a very fantasy feel to it. It’s very majestic and grand.

2:08 : This section has a much more mellow coloring than the previous section. I really love how Hisaishi includes sections like this in the piece while still pushing the flow of the music continuously. There’s no moment of rest in this piece for sure!

2:16 : Here comes the whistle again! I always hear the lyric to the English version of “Kokoro no Kakera” at the end of this phrase when I listen to this part which are “On our journey through another world”.

2:36 : Another grand entrance of the melody here with the brass. It’s similar to the opening section but much grander this time!

2:54 : I. Love. Triplets!! The triplet harmony in the strings is just chef’s kiss writing!

2:56 : Flute returns and the music decrescendos then crescendos into…

3:04 : This has to be the most intense part of the piece! Everything has been building up to this moment. Good use of the upper woodwinds here too, really drives the intensity forward.

3:09 : I like the use my mallet percussion here to gently soften the melody. I like to think of this part as the sun setting as the night sky rolls in, even though there is no real world clock in the game lol

3:17 : The last phrase the whistle plays really brings a warm color into the ending of this piece making it bittersweet.

3:22 : Piano, drums, and brass all come together to strongly end the piece. It’s almost symbolizing the end of a journey.

And that about wraps it up! It’s been really fun deep diving into this piece. Feel free to share your thoughts below on the piece. For me personally, this piece alone has enormously inspired me to continue my studies and my continued love for music. This piece makes me feel at home and safe. The Ni No Kuni games and music have definitely left an impact on so many people, and hopefully my analysis can give you a glimpse into how the magic is made!

[rawmeknockout]

Poor human mech has unlocked achievement "Mentor Tarn!"

On the upside he's doing a much better job helping them learn how to control and integrate with their new body and senses. He's much more predictable than "Romantic" Vos. A very methodical teacher with relatively well thought out and sensible methodology. He can't get to combat or Exploration of the outlier power until they're well functioning in their frame.

On the down side, they're basically stuck with Virgin!Tarn when he isn't hunting. Who is grumpy because urges. And Tarn's Music Collection. And Megatron's Collected Works. The poetry is far better than the prose. Their deliberately doing literary analysis playing spot the propaganda. And they're giving Tarn answers when he's asking them for their thoughts and understanding that aren't hetrodox but their emphasis is different. the same melody but with different tempo crescendos and decrescendos and key changes in strange places.

with tarn the ONLY art youre allowed to enjoy anymore is megatron adjacent or ones that tarn personally approves of

its like having a very strict christian mom who thinks evanescence puts satanic chants in their music if played backwards

[nerdiqueen]

the witch and the saint by steven reineke

a stupid long analysis (below the cut) because I'm so normal. it's a good song

and the version I like (:

(andante- ~60 bpm iirc) sudden, strong, percussive entrance accompanied by bells and quiet low brass, the low brass takes the melody, slow and dramatic. [this is the witch. she is ominous and foreboding, a threat on the horizon.]

the percussion strikes again, and the upper brass come in for another round of the melody [she lurks in the woods, waiting for her moment to strike the town.]

it swells as the woodwinds come in, crescendo and then a decrescendo, allowing the flutes to come in with their slow, calm melody alongside the low woodwinds and some high mallet instrument accompanying [this is the saint, he is calm and pure]

swells as the clarinets and then trumpets take over in turn, more and more dramatic [but he is not weak, he is more than willing to stand up to the witch and protect his people. he goes into the forest with the men of the town to find her.]

they reach forte and a strong, powerful melody comes from the trumpets [she is there, watching, waiting in the trees.]

tempo change- allegro, ~120 bpm iirc. the percussion creates a sense of running. [a chase. the dogs have caught her scent.]

the brass join again with a strong, fast-paced melody [he chases her deeper into the woods]

then it switches to the woodwinds with the same melody they had earlier, just at the new tempo [she is fast. almost too fast for him.]

brass are back again, and then it's just the bass drum, then the rest of the ensemble comes back in one by one, the tension is building [but he will not give up. this is important to him. he must protect his people]

brass pays off on that tension build, playing the melody they've been cutting in with [he catches up to her- epic fight scene or wtv]

then it slows down and the power fades away, back to ~80 bpm. the high woods have the melody again, and they begin the same way but then morph it to be what the low brass were playing at the very start (yes the bell is back too) [but she escapes. she has wounded and killed many of his men.]

then a new melody comes in, and this one begins feeling somewhat tragic but slowly becomes almost hopeful [at first it seems the saint is lost, too. the men mourn the loss of those the witch killed]

then definitely hopeful, seeming to look forward to something. there is a moment almost like breaking through the surface, everyone is playing powerfully, and it all settles down for the first fakeout ending. [the saint rises. these men will not have sacrificed in vain. he rallies the rest of them to find her, once and for all.]

BAM. tempo SKYROCKETS as the band comes back suddenly. like ~160 bpm iirc? the melody from the chase-like part is back. everything builds, builds, builds [she strikes from the trees. she couldn't take them out before, but she has the element of surprise now.]

the brass comes in as powerfully as they did before, a high-energy melody, then everyone joins in a dischordant crescendo and- [epic fight scene number two!]

grand pause. [the witch leaps at the saint and-]

that was fakeout two. one bass drum note, and the high woods come back with their hopeful, yearning melody. [they both fall. it seems they're both gone, but then the saint rises again, triumphant…]

it builds, but the strong notes from way back near the beginning return and interrupt it, playing some of the witch melody. [the witch, in her final moments, laid a single grievous blow on him.]

and then it all slowly fades away, the low brass playing their melody again. [he falls, succumbing to his wound.]

and all that remains at the end is one lone bell note.

[hazellark]

What am I?

*This is a poem from when I was a HS senior, I think. It was when I was writing college essays, and this was vent poetry, if that's the right word for it*

I’m a conundrum

I know that I am it’s just that

It’s just that I’m a jumble

Feelings and thoughts about my self

Everything’s conflicting

I don’t feel great about myself

“Show them who you are”

An essay, meant to show an attractive person

I don’t feel great about myself

Yet I’m supposed to make them want me

I like to learn

I don’t feel like work because I feel so stupid

Yet I like the intellectual analysis of books

I know I’m smart

It’s what I’ve been told

It’s the classes I’m in

So why do I feel so dumb?

I can’t express myself

Attractiveness to other intellectuals

Why doesn’t a transcript work

I’m a small fish

Normal pond, but swimming to the sea

There’s too many fish

How will anyone see me?

There’s always geniuses

There’s always communicators

What can a bookworm introvert be?

I like to solve problems

I like to help people

So why do I have a people problem

It’s easy to feel small

I was the tallest girl in Kindergarten

I thought my friend was taller

Is it easier to feel small than it is to be small?

Sixth grade, I didn’t place in a science competition

My dad told me not to feel too bad

I was only a big fish in my 5th grade pond

I would have to work harder and fight these fish

To really win

Merit, not skill

I feel like I can’t fight

Not with words

This isn’t a poem

It’s hardly a jumble

What am I?

I’m my own worst critic

Can I be something more?

I’m near the end of the normal pond

Fish should swim right?

It’s about to be sink or swim

Adult independence and all that

I don’t give up

At least, not easily

I don’t think I do

I’ve cried over music

I’ve cried over science

Yet I love them

It’s been 11 years

It’s been 7 years

Crescendos and Decrescendos

[the-metaphorical-jellicle-cat]

Macavity the Mystery Cat (2019)

This analysis was a long time coming. I mean, it’s been a while since I’ve written one and I brought that up on Tumblr. After posing the question, a few mutuals said they were still interested in what I had to say. And here we are.

When I first heard Taylor Swift was cast as Bomablurina in the Cats 2019 film, I was very skeptical. I was going through a phase where I did not like Taylor Swift for some reason or another. I don’t know. Anyway, Like with Jason Derulo, I had to put my opinion aside to try my best to write an unbiased analysis. I didn’t even know Taylor Swift could sing Broadway or in that style. I’ll save my final comments about her performance and version of the song to the end like I usually do. So here we go.

Also, this ended up being 7 pages. The longest I have ever written for any of my analyses of this film.

Warning! The following is what I think and found in this particular scene. If you reblog and comment, please be respectful. Thank you.

Right at the start of the track, I was pleasantly surprised at what I heard the classic instrumentals for close to 10 seconds. This is then given a simple boost by an electric guitar, high hat, and piano which tells me and the audience this is going to be both familiar and new. This section also has what I like to call “Macavity’s theme” which is heard throughout the show on stage as well as in the film. But this is also 30 seconds of instrumentals to open this song. And we learn a lot about this version and the character singing it. It is suave, seductive with a bit of jazz to bring our attention to the who is singing. Speaking of seductive, Swift uses a breathy style of singing (if that makes any sense) to enforce this style of music.

Great touch there.

This is where I pretty much zone out. But for a good reason. I couldn’t stop listening because of how this is sung as well as the musical arrangement.

Then we get to about 1:32ish into the song and I think this is normally where the second character would start(?) but you can tell that there is at least a change in scenery due to how the brass do a “BAM!” type sound. This is a great idea since there is only one character singing.

The following is great instrumentation and another great example where the music is a character in itself. It’s very reminiscent of the stage version but it’s given an extra oomph much like the other songs in the film.

But then we get to what I think is another transition in the movie that doesn’t correlate to the track. This is around the 2:00 mark. She goes really quiet giving us a nice decrescendo but then we get sudden noise. It’s like she’s yelling at the camera or microphone which sounds off. However I can see the purpose in this in the next phrase and part of the song but as a listener, it made me uncomfortable.

We then hear a sharp noise when she sings the word “like”. This could mean many things such as telling us to listen to her. But it is an odd choice to have in this type of recording.

I still need to give kudos to the instrumentation because it sounds like a character in itself that improves upon what the artist is singing about.

Back to the song. We hear more about this cat called Macavity by this unknown female cat. She keeps repeating the same thing. He is a bad cat and has done some terrible things. However, this is constantly curbed by the fact it sounds like she is talking to herself rather than an audience. This is especially evident in a question/answer part of the song where she has a back and forth with herself. The speaker is constantly out of breath (though only in this section) and one can hear where there is supposed to be another person in the question/answer section. For those who want a reference, this is from 2:33-3:23. This is a huge chunk of the song.

But right after, we get to a section where other characters join in for a huge finale. The band goes all out with the horns, percussion, and strings creating an atmosphere of immersing the audience in the setting.

However, as I kept listening, I noticed that the character became out of sync with the chorus which took me out of the experience. But the character’s voice brought me back in when they sang by themselves.

The last fourth of the song is where it gets interesting.

The character is once again singing by herself, but she lists other cats who are agents of Macavity. Two of which we have met earlier in the story. But we still don’t know what her name is.

At 4:13 we get a new voice of a male character with whom we can only assume is Macavity himself. This is interesting since we have heard so much about him and he suddenly appears.

He then joins in to sing with the other cats and the one who’s been singing all along. This is an interesting choice and adds to the story of this specific song as given to us.

I do like how the music goes all out once again, highlighting the musical themes while also creating something new.

A great example of this is right after Macavity introduces himself. We hear an electric guitar. This creates and reminds us that this is something new.

However, the ending is a giant compilation of the song itself. It’s over the top. It’s bombastic. It’s telling us that even though Macavity is a dangerous creature, he also is an over-the-top showman who wants attention and wants something but we don’t know what.

Now onto the scene itself. In the film, this takes place immediately after Skimbleshanks is catnapped.

This scene takes full advantage of the old theater aesthetic. From the painted clouds to the crescent moon. The first shot is beautiful with (again) the painted clouds and a spotlight highlighting the interruption. The spotlight especially showcases the shadow of the crescent moon and because of the ceiling being the way it is, the audience can’t tell who is on it. All of which brings the mystery even further.

If you look closely, the clouds move downward as the moon piece does. We also get a quick look at the Misto, Victoria, and the rest of the Jellicles who have a constant look of curiosity. Victoria is more so than the others which tells us that they might know who this is.

The first glimpse of the crescent moon tells us three things. First, the moon prop is glittery, has stripes, and lights meaning it is over the top. Second, the cat on the said prop is a queen wearing heeled shoes. And third, they are holding something.

The camera gives us another quick shot of the Jellicles, but this time it’s of Old Deuteronomy and Munkustrap.

When the camera is brought back to the cat on the moon, we can see more of the shoes and the object they are holding. The shoes are very reminiscent of the showgirl shows of the 1930s which is period-accurate since the film takes place in the 1930s. The object looks to be a miniature shaker of some sort that has red, silver, and gold rhinestones as well as the word CATNIP on it in silver rhinestones.

This tells us that this is going to be a show whether we like it or not.

Then we get a shoe of everyone looking up and the camera shows Mungojerrie and Rumpleteazer holding the same bottles as the guest. Rumpleteazer is looking down as if she is looking at the rest of the Jelllicles while Mungojerrie is looking up at the sudden guest.

Right away when the guest sings, her tail keeps in time with the song which could mean various things but in this case, it means the animation is perfect for what we know about the character so far.

As the camera pans over the guest, we notice that she is settled into the moon and we get a great view of the set as well as the stage itself.

Now the guest taps some of the catnip powder onto the Jellicles which causes them to start acting odd. However, I don’t like what the camera does here or it might be because of the editing. It would have been better to stay on the Jellicles a bit longer to see the choreography the catnip makes them do rather than have a jump cut to the guest pouring more catnip. It would just make more sense from an audience point of view. They start doing choreography, but it stops because of that cut.

Back to the scene, we notice right away that this is not normal catnip. It is gold in color and has more severe effects than normal catnip.

In the next scene, we see Munkustrap encouraging Mistoffelees to take Victoria out of the theater. But the question is if he will succeed.

The guest then signals for Mungojerrie and Rumpleteazer to pour their catnip over the Jellicles. But on their cans, we get a quick shot of the 1930s style art of the catnip bottles. You can also see that these two are having fun with it all and not thinking of much else.

Then we get to the big moment where the guest pulls the lever with her hand and tail all while the moon prop is moving across the theater. We also get to see some of the mind-controlling effects of the catnip where the Jellicles are moving in sync with the music

Then there is a sudden jump cut to the guest, Mungo, and Teazer on the bar and the rest of the cats taking in the mind-controlling/magic catnip. There is a moment where Victoria (still not affected for some reason) is curious and it seems like the guest is trying to entrance the young cat with the words of the song rather than the catnip itself.

I do like the cut when the guest sings the line “his eyes are sunken in” because it shows more tail animation between the three on the bar from behind rather than the front.

We get more catnip effects.

Then comes a bit I find interesting. Usually, an actor tries to stay in the center of the frame since that's where most of the audience’s attention is going to be. Especially since the frame is normally in thirds. However, the guest goes from the center to the right third of the screen with Rumpleteazer AND wraps her tail around said queen’s neck and gets close. She does nothing to Mungoherrie who is now farther away.

Anyway, there is more sync dancing and Victoria is curious about what is happening.

Next, we get a jump cut that I hate. I understand that there needed to be something to show that the character needed to get from point a to point b. I get that. But the way it’s done makes it not only hard for my ears, but also what is she holding onto? If you track the shot, It should be bar to either moon prop or stool to ground. But instead, it’s bar to curved structure to the ground. The only clues we have are the light coming from the moon and Victoria’s gaze being upward. I am confused and the audience is probably confused too. Unless this is on purpose to make the viewer see this as an optical illusion but no I don't see that.

Back to the scene. After this, Munkustrap tries to dissuade Victoria from listening or even watching the guest.

I don’t have much to say for the next couple of seconds except that the dancing is really good.

Munkustrap finally gets hit with catnip from a third cat while victoria hides under the table.

The guest does her thing in trying to intimidate the last two cats trying to protect Old Deuteronomy (Maitre D and Cassandra)

I also just noticed that the guest’s entourage has bows on the backs of their collars and is pretty much in this scene to make sure the guest is the center of attention.

However, this is furthered from a ceiling shot where we see the spotlight on the guest which creates an interesting shadow on the floor of the theater.

She keeps singing and because of the way it is shot, we don’t see all the choreography that's being done. You cant see it. But we do have a quick scene showing how Munkustrap is out for the count while holding a glass. He has fallen under the catnip's effects. If you look closely you can still see Mistoffelees on the floor getting used to the same effects.

When we get back to the guest, she is still singing toward Old Deuteronomy while Victoria is still wondering what is going on. We also get a sense that the guest is trying to seduce either the audience or is creating a distraction. Either way, she is moving along with the music rather than just reacting to it. She uses it to her advantage.

With Victoria, we get a hit-or-miss moment. Even though she is in clear focus, we get a fuzzy movement from that other cat I mentioned before. It took me several times to notice it but it keeps the song moving forward story-wise because Victoria is still one of the few characters not under the catnip’s effects.

Then we come to another problem. After this, we come to a section that’s all choreography but we can't see it. We only get glimpses of it. Because of this, we don't get to see what the pairings are doing. We only get the spotlight on her. Which, while working for the scene, takes away from that part of the choreography. It would have been cooler if the camera was further out so you can get the effect of a circle or something like that.

Then there is Cassandra who jumps over Munkustrap to try to move Victoria from this danger once again which does not work. Cassandra falls for the distraction from the guest after being teased about failing to protect Old Deuteronomy.

When the guest is approaching Cassandra you can see in the background the other cat, Mungo, and Teazer being successful in dousing Victoria in catnip. Also if you look in the background at 3:33 you can see Mistoffelees still on the ground and not with the rest of the group. He has trouble moving and (right before the cut) looks like he is trying to reach out to stop the other cat. Then at 3:42 Munksutrap has some consciousness and it looks like he is trying to see if Victoria is okay.

But when the guest is on a new stage Victoria is front and center gazing at her. You can also see Tugger and Mistoffelees very clearly in this part. But right afterward Mistoffelees, Plato, and Socrates are given another dose of the catnip as if to reaffirm the effects once more.

And now we know the name of the third cat. Griddlebone seems to be an agent of Macavity.

And Mungojerrie finally gives Maitre D a dose of the catnip to take him out. Though it does look like he was about to say something, Mungojerrie had a mischievous grin so it was all a bit of fun.

Then we get the next line. But if you look behind her you can see a spotlight turn on right before Macavity shows his face. He announces himself and then transports himself to the floor.

The sequence is pretty good since it shows the relationship between him and the guest. I wouldn't say there’s tension but they know each other pretty well and know how to distract the Jellicles. The choreography adds to that relationship.

When the frame jumps from close to wide, we see a lot. Munkustrap is on the guest’s side with a wide stance yet is still under the control of the catnip. It’s as if even though he can’t control his body, he is ready to protect everyone. You can also clearly see Tugger in the back.

Then we get a reference to movie musicals and styles from the 1920s and 30s. The huge over-the-top staircase to the Heaviside layer. This styling was popular during this period due to the invention of sound in the film industry. It could also just be a reference to the way theater was during that period too.

Then, as they are walking up the stairs, we see a few things. Munkustrap looks like he is enjoying himself. Cassandra finally gets a dose. And the other cats look like they are having fun.

But this also gives us a better look at the set. You can see how run-down it is. The Egyptian cats on the walls. They scratched on the floor. And even how the outside lighting affects the reds, yellows, and blues of the inside.

Time for the overall thoughts!

Alright. When I first watched this scene, I didn’t know what to think since I was unsure if a duet could be successfully turned into a solo. The numbers before this didn't give much promise either since those were silly and not entertaining.

With that in mind, I believe it was successful. It was entertaining, gave us some story, and wasn’t that bad.

However, this song could still have been done the same way in a duet style. Let me explain. You can still have the character in the song still singing but add in other characters like Cassandra or even Demeter to fill in that other side of the duet. Because it is a solo, it makes the question/answer section very confusing to a new listener.

Now to Taylor Swift. I have nothing against Taylor Swift. I thought she did well, similar to Jason Derulo’s performance as Tugger. Her acting in this scene was better than I thought and her singing was like listening to one of her concerts. You can tell she was having a lot of fun bringing this character to the screen.

My only problem with this scene has nothing to do with the music, staging, acting, or choreography. It has to do with this simple fact that her character’s name is never mentioned once by another character. When I first began this analysis I posted a simple question on Tumblr. Is her name ever mentioned or stated? The answer was no.

Taylor Swift plays the character Bombalurina who (in the stage version and most non-replicas) never interacted with Macavity personally and is always by Demeter’s side during this song. But in this case, the only time her name is mentioned is in the very beginning during the “Naming of Cats”. This could have easily been solved if there was a simple line of dialogue in between the last number and this one.

I also believe the set added to the performance. It was huge, detailed, and the lighting created a sense that this was a performance that is necessary to watch and should not be skipped. The only problem with having a big space like this is that (like the Jellicle Ball) you can’t see a lot of the choreography because the camera is so focused on Swift’s character. There were some cool shots that I mentioned above but it was hard to see a lot of the dancing.

There were also a lot of background moments. From the constant need to protect Victoria to Mistoffelees and Munkustrap showing the audience the effects of the catnip.

Is this song terrible? I would have to say no. I would definitely listen to this one more than a couple of notable ones.

@uppastthejelliclemoon @storyweaverofgondor @roxycake

@thenightjillcamehome @imdumbandaproblem @bombaswife @jellicle-chants @falasta @queen-with-the-quill @indianasolo221 @gortys-and-loaderbot @falasta @cxsmicbrownies @hysperia

@skimblyshanks @scorpiofangirl1109

[hakyeonsmonstercock]

one day i will make a complete analysis of which vixx members were fucking at what time periods omg like first of all the crescendo and decrescendo of all six of them being poly from 2015 to 2017.... the drama..... 

[renaissancemusicpresentation]

Nymphes des bois (s19)

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Note: There were many different adaptations of this motet (most likely because of how ancient it is) yet they all do sound very similar. For this analysis, we analyzed the motet in regards to the score that you can see in the video. The piece was composed by Josquin Des Pres to pay tribute to Johannes Ockegehem. The lyrics come from the french poem by Jehan Molinet where nymphes and goddesses are called to join the “skilled singers of all nations” in mourning for the loss of the musician.

Melody

There are 5 voices. From top to bottom there are: the countertenor, Tenor I, Tenor II, Baritone, and Bass. The highest voices have the higher notes, and lowest have lowest notes. The higher voices also lead the bottom lines.

The melodies in each line are conjunct. Most of the notes have intervals of 3 or less in the top lines. The only times the melodies are disjunct are when the supporting bass/tenor lines drop in intervals of 5 or less to form harmonies that support the melody. The melody is found in the top line of the music and is succeeded by the bottom lines. It is consequent because each verse/phrase  ends with a chorale which makes it seem more final and resolved. The melody is also rarely melismatic, only over a succession of quarter notes. Otherwise each syllable has its own note.

Rhythm

The motet mostly consists of whole notes, half notes, and quarter notes. It may seems like a slow piece because of all the long notes, however the tempo is between andante and moderato.There is no obvious pulsing, however most of the heavy beats land on the first beat of each bar. 

Harmony

The harmonies alternate between consonant and dissonant, tense then relaxed. The motet of the piece is A minor however the score from the video is not official. 

Texture

The texture is homophonic and there is a canon with the lyrics. 

Timbre

The timbre of the motet is soothing and resonant. There were no short and sharp notes and only voices were used. Many ‘o’ and ‘a’ noises.

Form

Nymphes des bois is a motet sang in french.

Dynamics

The dynamics were pretty levelled and stable throughout the piece with several subtle crescendos and decrescendos used to accentuate rises in the melody. 

 Lyrics:

Nymphes des bois, déesses des fontaines,

Chantres experts de toutes nations,

Changez voz voix tant clères et haultaines

En cris trenchans et lamentations.

Car Atropos, très terrible satrape,

A vostre Ockeghem attrapé en sa trappe.

Vrai trésorier de musique et chief d’œuvre,

Doct, élégant de corps et non point trappe.

Grant domaige est que la terre le couvre.

Acoustrez vous d’habits de deuil

Josquin, Pierson, Brumel, Compère,

Et plourez grosses larmes d’œul :

Perdu avez vostre bon père.

Requiescat in pace. Amen.

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[moonlight-at-dawn]

An essay comparing Valse di Fantastica and Starlit Waltz, and how one portrays the public side of Noctis and Luna’s relationship, while the other portrays their private relationship.

Written by @aero5ane Read by @mistress-light

The Final Fantasy franchise and Kingdom Hearts one alike are both known for their in depth lore and intricately structured use of literary devices, as well as their remarkable and iconic features. One of said features is the music; the music is often used in order to convey the tone; however, the music is also a form of storytelling in its own right, used to show many hidden things, and more specifically in terms of this paper, underlying emotion. The titles of such pieces are often shown to have meaning and build upon the story, such as Final Fantasy XV’s main theme, “Somnus,” which means sleep, and correlates to the symbolism used in the game (“Night”, “Moon,” “Insomnia,” etc). In two particular compositions featured in the OST and Piano Collections album, “Valse di Fantastica” and “Starlit Waltz,” the use of names and structure of musical composition are both necessary in developing the message that is to be conveyed. Both pieces are a representation of the relationship between the hero and heroine; however, each piece displays a different representation.

In the beginning of Final Fantasy XV, it starts as a road trip for Prince Noctis to travel to Altissa, where he is to marry Lady Lunafreya. An arranged marriage, also mentioned as a “symbol of the peace” and “marriage of convenience” in the group’s occasional banter, which served strictly as a term in the treaty to stop the war and to have a physical display to the public of political harmony.

Used to convey this more public side of Luna and Noctis’s relationship is the “Starlit Waltz,” also known as “In Celestial Circles” in the Piano Collections Album. Focusing on the title used in the Piano Collections, celestial is relative to the “visual heavens”, and the visual heaven in this case, could refer to the daytime, considering most depictions of heaven are shown through the use of clouds and light. Daytime, symbolically, is used to perceive physical, spotlight, on-the-surface concepts (take the saying “in broad daylight” into consideration). The famous proverb, “the sun sees your body, while the moon sees your soul,” can be taken into account here to help exemplify the meaning of daylight’s focus on the surface of things. The title, in that sense, already defines that public side of the characters’ relationship.

Furthermore, the composition of the music plays an importance in developing the tone as well. Most noticeable about this piece is the strong introduction, using a clearly marcato(separated) style played at a recognizable forte. Setting the tone as being very spaced and defined, coinciding with the defined and straightforward intention that would have been expected of an arranged marriage. Looking into more depth, the piece also features a very static bass line, playing on the downbeat of each measure in the same manner of high and then low, and even during the clarinet solo, other instruments continue with the same simple marked and separated quarter note on the downbeat of each measure. The ensemble does not pass the moving line between sections, and is often in unison when the single moving line does play, except for the clarinet soli during the second half of the piece. Focusing more on the Piano Collections arrangement, the piece keeps the defined and marcato style, more accented than in the OST arrangement, and highlights the defined moving line, being the only line that is meant to be focused on. Because the Piano Collections arrangement does not have to play in a loop like the OST version, the ending is more defined. The ending does a quick glissandro into the final note, abruptly cutting off the song, causing the ending to sound as if it were intended to be rushed to an end. Both arrangements convey the separate and static feeling that is associated with diplomacy. The piece also forces the listener to focus on a single line, instead of having many dynamic moving lines interacting, coinciding with how media, for example, attempts to convey one focus point on a matter, and also displaying the political means of their relationship.

Noctis and Luna’s relationship did not begin with the arranged marriage, and they knew each other long before, creating more personal ties between the two of them. This is where “Valse di Fantastica,” called “Waltzing amid Moonbeams” in the Piano Collections, is brought up. Starting with the unofficial title of the piece, it contrasts with the previous piece explained (“In Celestial Circles”) by using the symbolism of the night, instead of the daytime. The night has heavy meaning and relevance towards the two characters, Noctis meaning night and Luna meaning moon, and makes the piece show a more personal connection towards the characters instead of their political background. Referring back to the proverb stated previously, daytime(sun) focuses on the outside; however, the night(moon) shows the inside, or more specifically, the emotion and soul. Because they are waltzing amid the moonbeams, the emotion and personal feelings between the characters are more exemplified.

The composition of the piece conveys the emotion by adding many swells and changes in style as well creating a more dynamic ensemble that interacts with the moving lines and the melody. The beginning of the OST arrangement starts off at a mezzo forte; whereas, the beginning of the Piano Collections arrangement starts off at a mezzo piano; however, both arrangements start off much quieter volume than “Starlit Waltz/In Celestial Circles”. The bass line of this piece also differs from the one previously mentioned in that even though the rhythm of the bassline is one downbeat per measure, this piece varies the set of keys/notes being played with each measure, creating a more expressive feeling, while allowing other sections of the ensemble to highlight the second and third beats of the measure in order to blend in with the bassline. The timpani also has it’s own “melody”, instead of highlighting the bassline, allowing the percussion to add more versatility and interaction between the sounds. In this piece, there are far more small measures where individual sections are being brought out, such as the one measure of violins playing before the solo. Even during the solo, instead of following the rhythm of the bassline, the woodwinds create a small accompanying line in the background, layering in more sounds to be heard. Also amplified in this piece are the use of dynamics. The piece features many swells in the phrasing, and uses the crescendos, decrescendos, and different articulations to highlight the varying emotions that can be associated with these dynamics (for example, the use of a crescendo into a louder dynamic and more appassionato or con brio style could represent a feeling of passion or devotion; whereas, a decrescendo that switches over to a dolce, amoroso, or cantabile style could represent a feeling of calmness, peace, or tranquility). The use of varying dynamics also allows for the different harmonies and lines to be heard, showing the focus of interaction in the piece. In the OST arrangement, the oboe solo is soon turned into a duet, and is then followed by a mezzo piano volume, crescendo-ing into a mezzo forte and allowing a flute’s trill played in forte to be heard among the ensemble, which compliments the prominent bass line, once again, layering in many different moving sounds. The layering of sounds also allows the listener to focus on many things at once, such as how the different sounds both contrast and compliment each other. This is especially evident in the Piano Collections version, where there are often many things going on at the same time. Lastly, the ending of the piece does not abruptly end like “In Celestial Circles,” instead it uses much repetition, repeating rhythms, and generally creating a powerful, lasting closure that builds into the last note, before letting the last note ring.

With the composition of the music defined, it is easier to see the way this piece shows the more personal side of the characters. The static and fixed “Starlit Waltz” is used to convey their political status and their relationship in the public eye, “Valse di Fantastica,” shows the emotion and feelings represented between the characters by creating a more complex and intricate combination, displaying the layers that are present beneath the surface in their relationship. The symbolism in the names of each song displays the message that was intended to be apparent between the two, as well. Both pieces create a contrast between the public and personal side of Luna and Noctis, while also delving into the already apparent and thought out symbolism used in this game.

References:

Starlit Waltz (OST) <https://youtu.be/FryeD9yJ2jw>

Starlit Waltz: In Celestial Circles (Piano Collections) <https://youtu.be/x5SPgpGgSt0>

Valse di Fantastica (OST) <https://youtu.be/6rcerGuWDvk>

Valse di Fantastica: Waltzing amid Moonbeams (Piano Collections) <https://youtu.be/srq7Aqb44TI>

[alexenglish]

I got an anon in my ask about from the dining table, and since it’s been months since @clarz​​ wanted me to talk about it, and @citricac1d​​ has been wildly anticipating this– here’s my zarry lyrical analysis where I’m way too serious about my interpretations.

uh warning for discussions of infidelity since this is def my incredibly elaborate headcanon for if zarry were involved at any point between… meeting and present day, and you know z/p…

anyway. to start, I personally sort the pink album like so:

sott gender neutral, uh very… metaphorical, ???

carolina, only angel, kiwi, woman stylistically and thematically similar-ish. hardest hitting songs, gendered, overall more sexual than emotional.

two ghosts gender acknowledgement, about a past love, emotional aw.

sweet creature gender neutral, could be about any kind of relationship: platonic or romantic or familial. feels nostalgic.

mmith, esny, ftdt stylistically and thematically similar. gender neutral, v emotionally charged.

the last category is where I’ma be focusing most of my energy for this analysis since ftdt is the spark here. imo, these three songs can be composed into a sort of short story where mmith is the before, esny is the during, and ftdt is the after.

mmith is a great song to analyze. it’s not about being in a satisfying relationship of any kind. I like the idea of the hallway being a literal metaphor– about hotel hallways, but also about the fact that hallways are transitional, always coming or going but never staying. the song is a little desperate, implying that you’d do anything for this person to acknowledge you in whatever capacity that they’re willing to.

Just let me know I’ll be at the door, at the door Hoping you’ll come around Just let me know I’ll be on the floor, on the floor Maybe we’ll work it out

it’s interesting to apply this a maybe-zayn situation. if the hallway is a metaphor for a relationship, it’s a situation you can’t stay in. if zayn and harry were involved, then it would have coincided with z/p’s engagement. zarry is the relationship that comes and goes, but never stays. the staying relationship is years long, engaged…

the repetition of I gotta get better is a good point to make here if harry’s the ‘side chick’ there’s always this idea that you have to be better, you can’t keep running back, you can’t keep waiting around in this situation that’s neither here nor there.

obviously I know nothing about interpersonal relationships here, but thematically, that idea coincides with the song harry wrote for ariana grande just a little bit of your heart– a song very obviously about being involved with and wanting more from a person who already has someone else.

And nothing’s ever easy / That’s what they say  I know I’m not your only / But I’ll still be a fool Cause I’m a fool for you 

a song that’s lyrically mirrored by zayn’s own song fool for you.

I know, I know given a chance I’d do it again / ‘Cause I can’t help myself ‘Cause I can’t stop myself / I just love being a fool for you

which is pretty much flip side of the story harry seems to be telling, if you pay attention to the lyrics. they’re both about wanting someone you can’t have, but if jalboyh is I can’t have you and ffy is I shouldn’t have you.

mmith ends with the verse

We don’t talk about it / It’s something we don’t do ‘Cause once you go without it / Nothing else will do

which mirrors the lyric in zayn’s I won’t mind

The one thing we said we could never ever Live without, I’m not allowed to talk about it

esny strikes me as a middle ground– towards the end, really, which makes sense with the set up of the album: track 01, track 08, and track 10. a conversation keeps being had, this is the point of exhaustion. it’s about someone leaving, about finding out someone’s leaving. it’s not a surprise, but it hurts. this is the decrescendo. they saw it coming, they didn’t do anything to stop it.

I made a post about how esny sounded a bit angry live, but the album version sounds far sadder and more wistful. I think that could be an important little note if you’re implying any of these songs are about zayn.

then of course, there’s from the dining table. I think the lyrics kind of speak for themselves, but obviously it’s about someone who had emotional importance being gone. it’s about missing that person, it still has that bitter sadness esny instilled but it’s even more depressed.

it’s edging towards that desperation from mmith. esny was resigned, but ftdt is a resurgence of why not me? what am I doing wrong? what can be changed about this situation.

the transition between mmith to ftdt on the the album is nearly seamless– when you get to the end, you end up right back at the beginning. this cycle of desperation and resignation is inescapable.

obviously all of these songs are gender neutral. I did a lyrical analysis of mind of mine at one point last year and some of the more emotionally charged songs are gender neutral it’s you, fool for you, like I would, drunk.

with it’s you, the opening verse implies there’s another person involved, but it doesn’t matter, because ‘you’ are the one. or The One, whichever way you look at it. it implies the relationship is dysfunctional, but that fixation is still there. it’s almost apologetic, but there’s that discontentment throughout. 

which makes it very, very thematically similar to mmith. the contrast between what you want, and what you know is good for you.

Give me some more / Just take the pain away 

it’s not this other person, but it is. you want to be better, but you can’t let them go. 

Am I wrong for wanting us to make it? Tell me your lies / Because I just can’t face it

also great to note that zayn’s video for it’s you has a moment that mirrors harry’s in the video for perfect:

it’s part of the writing process, I guess.

I don’t have much to say about like I would, but I like this lyric parallel between one of the lines and a line in esny:

Been thinkin’ it over, but I’m through /  Almost over, had enough from you

drunk’s interesting to me because it’s like, a summer song and a song about being really into this person, but a sense of hiding 

Run away now / Like we’re supposed to do Take you to the back now / I take a shot for you Wasted every night / Gone for every song

and restraint

Right now I’m emotional I lose control, when I’m with you I hope I haven’t said too much Guess I always push my luck when I’m with you

throughout– which fits thematically with fool for you:

I just can’t resist it / I know sometimes I hide it / But I can’t this time

and it’s def interesting that harry’s music has this overarching theme about lack of communication while zayn’s music has lines like ‘so my silence won’t be mistaken for peace’ (it’s you) and ‘talking ‘bout it’s not my style’ (like I would). 

then, there’s a lyric in lucozade that’s also interesting and can definitely be interpreted in an infidelity/love triangle way

It takes two not three, but I’m here any way

and it goes on to call someone’s perfume an elephant in a room– which I feel… implies Things. 

anyway, that’s kinda my run down. I’m sure there’s even more, but it’s been two hours and I’m drowning in my emotions. the coincidences are astounding. the ability to relate their lyrics is far too easy. basically zarry are… having a conversation. telling the same stories from different perspectives…

zarry is… wow. hm.

[scripted-downfall]

Look, all I'm saying is that if Eddie Munson doesn't come back with Iron Maiden's Number of the Beast blaring in the back, I will be sorely disappointed.

(Optional HEAR ME OUT OKAY... ranting beneath the keep reading)

First, of course, there's the fact that Iron Maiden's mascot is named Eddie. Bonus points for the "Eddie lives!" graffiti from their "Somewhere in Time" album.

But also, just the lyrics! Hear me out:

I left alone, my mind was blank I needed time to think To get the memories from my mind What did I see? Can I believe? That what I saw that night was real and not just fantasy?

Frankly, this feels very Chrissy-death-themed. That's basically a summary of what happened in the period of time between Chrissy dying and the party finding him in that shack. Then...

Night was black, was no use holding back 'Cause I just had to see, was someone watching me? In the mist, dark figures move and twist Was all this for real or just some kind of Hell?

This, frankly, feels like a bit about the Upside Down. I don't know how to describe it, I suppose, but that's what it feels like to me, and I'm left hoping it comes across to others.

Six six six, the number of the beast Hell and fire was spawned to be released Torches blazed and sacred chants were praised As they start to cry, hands held to the sky In the night, the fires are burning bright The ritual has begun, Satan's work is done

This very much feels like the "earthquake" at the end of s4. Literal fires burning brightly; the ritual has literally been completed; and it's not Satan --- just Vecna --- but he was successful, and there's certainly bad stuff about to happen.

I'm coming back, I will return And I'll possess your body and I'll make you burn I have the fire, I have the force I have the power to make my evil take its course

And just. Vecna. Eddie. Kas theory. I think my point is self-explanatory.

Just... wouldn't that be awesome??? I, personally, think it'd be very fitting.

[thewoodwindmethod]

Developing Critical Listening Skills | by Nicholas Councilor

I frequently encourage my students to listen to recordings of professional clarinetists in hopes that they might absorb some of these artists’ musical ideas and sound qualities and utilize them in their own playing. However, I find this exercise has very little effect on a student’s performance unless they have developed the necessary skills to think critically about what they are listening to. This article is intended to help guide students through an analysis while listening to a recorded performance.

Who are you listening to?

When I ask students the name of the artist they have listened to, they often reply with, “I don’t know.” It is important to know whose performance you are listening to. This is how you will acquire a “taste” or preference for what you like and dislike in clarinet playing. Recognize different trends and “schools” of clarinet playing in various artists, and also have some sort of quality control for what you are listening to.

YouTube is a great resource for finding recordings. However, there are many amateur performances that are posted on YouTube, and while there may be some fantastic performances out there, there’s no guarantee that the performance you are listening to is one that you should aspire to. Once you are more experienced with listening to recordings and have developed an “ear,” you will be able to better discern which performances are of a professional quality. Until then, I suggest you listen to commercial recordings by clarinet experts and professionals. There are too many recordings and clarinetists to name here, but these artists have created the “standard” that has shaped clarinet sound and interpretation for generations and are certainly worth listening to! I use Spotify as an alternative for finding these professional recordings.

How are you listening? What are you listening for?

This next section is a list of questions designed to help you analyze the recording you are listening to.

Tone Quality

How would you describe the performer’s tone quality? Avoid using words like “good” and “bad,” or even “bright” and “dark” (two words that are overly used by musicians to describe sound), and try using some of these more descriptive adjectives: airy, brilliant, clear, dull, edgy, fuzzy, focused, full-bodied, gentle, harsh, hollow, intense, mellow, pale, plain, pure, rich, round, sonorous, soft, strident, thin, velvety, vibrant, warm, weak, and many others. Each performer’s sound can be described with any combination of these adjectives. Using a wider variety of descriptors when thinking about tone quality will allow you to consider the many layers and dimensions of the clarinet sound.

Does the performer’s tone quality remain the same throughout the performance? A musician’s sound will often change—even subtly—throughout a performance. Noticing and recognizing these changes will help to fine-tune your ear and consider the important role your sound plays in expressing your ideas in a performance.

What do you like and dislike about their sound? Try to be specific and use some of the words listed above. For example, “I liked how vibrant and full-bodied their sound is, but it became too strident at times, especially in the highest register.”

How is one performer’s sound different from another’s?

Phrasing

How is the performer shaping their musical ideas? Of course phrasing is much more complex than simply playing with dynamic contrast. Try to hear the subtle and gradual changes (crescendos and decrescendos) in dynamics.

Can you map it out? Try following along with the music and writing in “hair pins” (< >) as the performer plays them.

Is the performer performing the expressive markings that are printed in the music?

Is their musical shape following the melodic contour? (As the notes ascend, play louder; and as the notes descend, play softer.)

How are they moving from one note to the next? Is the line smooth, or do some notes stand out more than others? How much space is between the notes?

Is their phrasing particularly unique or unexpected in some way?

How is one performer’s phrasing different from another’s?

Nuance

What are some subtle details that enhance the performer’s interpretation of the music? Musical nuances are slight changes and additions to the music that are not printed in the musical score. Nuance is an important part of our expression, much like how we inflect different words when we are speaking.  Listening for these details will help you develop more expressive devices and tools to enrich your performances.

Does the performer elongate, hold, or lengthen any notes?

Do they suddenly or unexpectedly play a note louder or softer than is indicated?

How does the performer release sound into silence? Is the release gradually tapered into silence? Or is their release more abrupt and square?

Does the performer use any rubato? Rubato is the slight quickening or slackening (pushing and pulling) of tempo within a musical phrase.

Where is the performer breathing? While breaths are often edited out of commercial recordings, you can occasional notice when the performer is breathing and might even get some useful insight for breathing opportunities.

Tempo

What is the performer’s tempo like?

How does their tempo compare to the printed metronome marking if there is one?

Does their tempo stay exactly the same throughout their performance, or are there slight changes?

What effect does their tempo have on the character and mood of their performance?

Articulation

Could you describe the performer’s articulation? There are countless ways to describe articulation, so consider using any combination of these words: brittle, clear, clipped, crisp, delicate, firm, harsh, heavy, light, long, mushy, puffy, round, short, thuddy, etc.

How much space is between the notes?

Describe the front or “attack” of the notes?

Is there a well-defined beginning of the note, or is it more rounded and eased into?

Is the beginning of the note louder (accented) than the rest of the note?

Is the performer staying true to the printed articulations (slurs and other articulation markings, i.e. staccatos, accents, etc.)? How have they made any adjustments?

How do changes in articulation affect the character and mood of the performance?

Balance

If the piece is written for clarinet and piano or orchestra, how is the balance between all of the voices?

Can you clearly hear the melody at all times?

Can you follow along with a difference voice, other than the clarinet?

How do the voices interact with each other?

Are there times when the clarinet takes a secondary role?

How does the accompaniment support and enhance the melody?

The Aftermath Of course, it will probably take several listenings of a single recording to sufficiently analyze all of these details, but once you have then you can start to apply your thoughts to your own performance. Decide what you like and dislike about each performance and piece together these ideas to form your own interpretation of the music. What details are lacking in your performance that you found in professional recordings? When it comes to sound quality, what can you do to adjust your own tone quality to be more similar to the artists you just listened to? Then you can try recording yourself and using your critical listening skills to analyze and improve your own performance!

[dragonkeeper19600]

Here’s the soundtrack for the quicksand scene in the Big Picture Show, apparently (and appropriately) titled, “Concerto in Double D.” 

@muse-multiverse claimed last night that the score for Ed, Edd ‘n’ Eddy is the musical equivalent of a storyboard. This song, even more than the one at the end of the film, illustrates how true that really is. Recall how each of the Eds is represented by an instrument: Ed the trombone, Edd the clarinet, and Eddy the bass. By listening for each boy’s motif in this track, you can literally trace the action of the entire scene and each beat of their dialogue. I’m serious. This shit is in Peter and the Wolf territory. 

Full analysis is below. (Warning: Long)

Scene starts with Edd’s line, “The collision was unavoidable, Eddy!” so of course the clarinet is the first thing we hear. Eddy’s motif on the bass comes in at 0:10 with his complaint, “Big bro ain’t gonna be impressed!” The clarinet chimes in again at 0:20 as Edd retorts, and you can hear the trombone come in at the same time underneath it, to score Ed climbing onto the rock and diving into the swamp in the foreground.

Following the interruption, the clarinet picks up again at 0:29 as Edd schools Ed and Eddy for horsing around the whole movie while Edd has been trying to steer them on track. The clarinet’s little solo is interrupted at 0:38 by a call-and-response between the trombone and bass as Ed tackles Eddy )“Crocodile attack!”) and the two race off into the swamp. 

The clarinet gets another solo starting at 0:54 when Edd realizes the two have disappeared without him, playing Edd’s motif at a somewhat slower tempo. A piano chord at 1:05 signifies the moment where Eddy waves over Edd, and a succession of four notes in a crescendo leading into the louder clarinet at 1:11 correspond with the moment Edd realizes their in quicksand. 

At 1:16, the “sinking” theme plays as Edd panics to get Ed and Eddy out of the puddle. This theme, by the way, is pretty hectic and anxiety-inducing on its own. It kind of reminds me of the “drowning” theme from the Sonic games. It gives you that same vibe of, “OH GOD NO. TIME. TIME.” And yes, if you listen, I’m pretty sure you can hear the instruments of all three boys during this section.

The theme ends at 1:46 as Edd turns around and sees that Ed and Eddy have disappeared from view. There is a brief moment of quiet, only emphasized by the single piano chord, until the succession of three frantic clarinet notes to punctuate Edd’s scream of “No. No! NO!”

The clarinet jumps in at 1:51 as Edd frantically searches through the puddle but gradually gets quieter (decrescendo) and slower (ritardando) as Edd realizes they’re not there. Of course he’s a wreck until he looks up at 2:19 and sees that they’re totally fine.

A pretty cheerful rendition of Eddy’s theme on the bass comes in at 2:23 as Eddy laughs at Edd, with the trombone joining in at 2:32. However, the clarinet sneaks in as 2:34 as Edd walks away from the pair. After Eddy realizes Edd has gone, the clarinet comes in again at 2:39 in a staccato that seems to mimic stomping feet. The clarinet is interrupted when he slips at 2:44, only to continue in the same manner at 2:51. 

A steady bass comes in at 2:54 as Eddy follows Edd, seemingly unconvinced that anything is wrong, but it’s cut off at 2:59 with Edd’s shout of “Don’t you dare touch me!” Edd’s theme starts up aggressively at 3:05, underscored by the clarinet, as he yells at Eddy. The single held note at 3:19 marks the moment where Edd glares at Ed silently, which, by the way, was a pretty serious sign of how angry he was. 

The clarinet comes in solo at 3:24 (“You and your nefarious scams!”), followed by a response from the bass at 3:27 (“Like you were picking daisies!”) The clarinet and the bass start building at 3:32 as their argument escalates. I can’t tell if the brass instrument that can be heard this point is a trombone or not, but it certainly sounds like it could be. Interestingly, at 3:36, you can no longer hear the bass, only the clarinet and trombone are still going. 

After the fight, the clarinet comes in by itself at 3:52 with Edd’s declaration that he’s going home. A quick response from the trombone at 3:55 underscores Ed’s plea that they can’t go home, but the clarinet plays louder at 3:58 as Edd storms away. The mournful theme that begins at 4:07 as tears well up in Eddy’s eyes has clarinet accompaniment but no trombone or bass. It’s interrupted by a discordant note as Eddy yells “Fine!” at 4:17.

A lone piano tune beginning at 4:29 accompanies Edd’s gradual decision to turn around. As Edd tries to figure out a way to comfort Eddy at 4:39, a quiet clarinet plays followed by a single-note response from the bass. The happens again, the clarinet softly calling, the bass responding, leading into the triumphant melody at 5:01, accompanied by a rejuvenated bass, as Ed lifts the pair into the air (“We are friends once more, guys!”)

A cheerful riff on what I think is a baritone sax accompanies the moment when Edd turns Ed toward Eddy’s brother’s house, and the theme that comes in at 5:08 is an optimistic reprise of all three instruments, clarinet, trombone, and bass, as the boys move into the sunset.

Believe it or not, there’s probably even more analysis than that you could get from this piece, but this has already gotten verbose, so I’ll stop there.

Bottom line, I am continually blown away by how much thought and craft goes into every single second of Ed, Edd ‘n’ Eddy. I don’t know how many other cartoons match the musical score so closely to the action onscreen, but I’m thinking it’s probably not a lot. This scene in particular marks a huge emotional climax for the series, and it was clear that they felt it was important to get everything about it right, and boy does it show. 

[henry33tan]

Choral Collaboration: Be Inspired to Inspire

Today's post is by Jaime Namminga, faculty member at Susquehanna University in Selinsgrove, Pennsylvania. Jaime coordinates the collaborative piano area and serves as a staff pianist at Susquehanna. A few weeks ago, Jaime contacted me about the possibility of writing a short article about choral collaboration. 

Jaime and I acknowledge the very difficult time that those in the choral community are facing. Whether you're in a green zone where the COVID-19 virus is not prevalent or one of the most hard-hit places in the United States, the short-term future of choral singing will be very challenging indeed. No matter where the solution lies, now is the perfect time to learn the pianistic skills that will enable you to become a valued collaborator with any choir once the situation improves and we can once again sing together in harmony. ----------------

In reference to collaborative piano assignments, I have heard students say things like “this one is JUST a choral piece…easy stuff.” If pianists consider musical collaborations as opportunities to both inspire and be inspired, as I do, a choral collaboration comprises a lot of people, which means a lot of inspiration and a large responsibility from all involved. How does a pianist approach the art of choral accompanying? Whether you are a veteran to choral accompanying and are looking for some new teaching tips or are a pianist new to the choral scene yourself, I invite you to consider my insight of the following choral accompanying components: working with a conductor, reading an open score, playing a choral score with piano writing, and playing an orchestral reduction. Working with a Conductor

Establish a trusting relationship – you want them to know you are reliable to both be at rehearsal in a timely fashion and to be an asset at the piano.

Ask yourself, what logistical expectations does the conductor have of you? Will you play warm-ups? Lead sectionals? Is your vocal input welcomed? 

Be observant – get to know their conducting style very well and what they prioritize – high expectations? Immediate note and rhythm picker on the first couple read-throughs? Or are they going for a broad understanding according to the overall musical map? 

Become a mind-reader – predict and anticipate rehearsal spots by detecting errors. Then you are ready to give starting pitches before being told a page and measure number. It helps to be a step ahead whenever possible. 

Reading an Open Score 

Look at the overall map – what form is the piece? Is there repetition? 

You cannot play everything. “Fake it til you make it.” 

Know the bass!!! This is the harmonic foundation, and you playing out the bass line will encourage the basses to sing out, thus aiding the rest of the choir in their parts. 

Be a music theory nerd – according to the bass line, look at the chord progressions to see how vertically, the parts line up – even if you can’t play every note as written, you can at least help singers to hear how their note fits into the chord. 

Beyond the bass, recognize what parts need help. i.e. If sopranos are golden, no need to play every note of their part while the poor tenors are suffering (no offense to tenors, only an example 😉). 

Be prepared to play any combination of parts, but…recognize the relationship between parts. i.e. If there are sections where bass and alto are in unison and tenor and soprano are in unison, there is a high possibility the conductor will rehearse those parts together. 

The tenor part is in treble clef but down the octave. 

Give starting pitches mp – make sure you’re heard but no need to pound. 

Recognize who has the melody when. 

Use 2 hands to play parts, even if they are close in register – no need to come up with fancy fingerings when you have enough challenge before you playing the parts correctly. 

Play out – you are there to help singers learn their parts, so make sure everyone can hear you. Don’t be shy! 

Demonstrate the vocal phrasing that the conductor desires, in the way you play it. Singers look to both the conductor and the pianist for help with the musicality! 

Never stop – the singers will keep singing, so you must keep playing. There is no time to be a perfectionist in this situation. If you start to fumble, hold on to something and get back on. 

Playing a Choral Score With Piano Writing

Map out the music – what is the form? Strophic? Through-composed? 

Know the character of the piece. 

Focus practice time on the tricky spots – efficient practicing. 

Relationship between vocal and piano parts – may be motives to bring out. 

Breaths – how do these affect pacing of the phrases and how do you work with the conductor to set these up successfully? 

Intros, interludes, postludes, short piano solos within phrases – take every opportunity to be musical and inspiring! Singers should do what the conductor shows, but no amount of gesture will achieve the desired sound if the pianist is boring. 

When learning the score, sing the melody line while playing your own part to know the piece more intimately. 

Look for text painting opportunities. 

Have one eye in your music and the other eye on the conductor at all times – be ready for anything and assume nothing!! Ritardandos, Accelerandos, Decrescendos, Crescendos…..

Gauge your dynamics by an awareness of the choir’s size – may have to keep piano lid on half stick for sake of audience seeing the choir, so you adjust your volume accordingly. 

Playing an Orchestral Reduction 

This changes our physical approach to the keys, articulations, and pedaling. 

Where is your role more percussive and where is it more lyrical? 

Know what instruments you are imitating and do it to the best of your ability. 

You likely cannot play everything or do not want to, depending on how true the reduction is to the full score – what’s most important? 

Bass support and harmonic foundation are first and foremost – write in chord analysis.

Be very articulate so the pulse is clear and bring out the rhythms. 

Correct style according to the time period/composer, e.g. if you are playing a Mozart mass, you won’t be using blurry pedaling and rubato. The purpose of your pedal usage is to give depth of sound to the “double basses” and maybe some connectivity of line. 

If it causes the tempo to slow, leave it out! No one cares that you cleanly finished your Hanon exercise if you’re a mile behind. 

Have fun and show some pride – after all, you are one pianist representing an entire orchestra! 😊

from The Collaborative Piano Blog http://collaborativepiano.blogspot.com/2020/07/choral-collaboration-be-inspired-to.html

[taiwankarate3-blog]

HAZOP Apresentação Eng José Vilmar Secção 1

A Estudo de Árvore de Falhas - AAF (Failure Tree Analysis - FTA) foi desenvolvida por H. A. Watson, nos anos 60, para os Laboratórios Bell Telephone, no âmbito do projeto do míssil Minuteman, sendo posteriormente aperfeiçoada e utilizada em outros projetos aeronáuticos da Boeing (SERPA, 2001b). A técnica de HAZOP é essencialmente um procedimento indutivo qualitativo, em que uma equipe examina um processo, gerando perguntas sobre mesmo, de forma sistemática. Analisamos 2 passos do procedimento utilizado no sistema de reação e apresentamos no Painel 5.13 as falhas que levaram ao acidente com indicação de como a emprego do HAZOP poderia ter identificado os perigos. A temporada de pesquisa de plaino contemplou, para levantamento de dados sobre as unidades de estudo aprenda online, as seguintes técnicas: Coleta de documentos ou pesquisa documental: documentos de fontes primárias como os dados compilados, e fontes secundárias como trabalho de torrão de outras pessoas, documentos e registros da empresa, etc; Entrevistas semiestruturadas e estruturadas por intermédio de email. Em consequência de premência de contenção de despesas na ICI, gerente de produção K. M. Gee fez um estudo da planta (no começo chamado de investigação crítica, e depois investigação de perigos) tendo em vista a redução dos custos para empresa. Os modelos de governo de riscos têm como particularidade principal de serem maleáveis e possivelmente implantados em qualquer tipo de negócio, seja ele Serviços ou Produtos. Esse programa é superior em todos e cada um dos sentidos, porque além do material de altíssima qualidade, com passo-a-passo de qualquer técnica e tem vários modelos para serem usados imediata. Estudo Preparatório de Riscos (APR). Ela visa proporcionar um norma universalmente reconhecido para os profissionais e empresas que empregam processos de gestão de risco para substituir a infinidade de normas, metodologias e paradigmas que diferiam entre indústrias, temas e regiões existentes, fornecendo instruções genéricas para a concepção, implementação e manutenção de processos de administração de riscos em toda a organização. A eliminação dos obstáculos operacionais recai numa consequente subtracção do erro humano, decrescendo de forma nível de risco, porém, é improvável expelir qualquer transe que seja, sem antes ter conhecimento do mesmo, que pode ser detectado pelo HAZOP. As barreiras contra esses perigos - que podem ser desde um procedimento até um sistema instrumentado de segurança - são identificadas nessa estudo. Estudo Prévio de Riscos Ocupacionais. Instruir os participantes do curso quanto aos procedimentos a serem adotados para aplicação das técnicas de APR, HAZOP e AQR,colaborando com corporações e os líderes indicados na emprego destas técnicas. Há processos que melhoram a detecção de perigos e riscos na qualidade, também podem ser usados como parte de uma estratégia de controle de risco. A análise instrumentos de risco é a estimativa do risco sócia aos perigos identificados; é um processo qualitativo ou quantitativo para vincular a probabilidade de ocorrência e a seriedade dos possíveis danos gerados. As causas dos desvios podem advir de falhas do sistema, erro humano, um estado de operação do processo não previsto (p. ex., mudança de composição de um gás), distúrbios externos (p. ex., perda de potência devido à queda de pujança elétrica), etc. A Gestão de Riscos é, sem dúvida, um dos pilares das empresas modernas e, particularmente, aquelas com um modelo de negócio sustentável. Este Curso destina-se a Gestores e Profissionais responsáveis pela estudo HAZOP, Analistas de Riscos, Engenheiros, Técnicos de Segurança no Trabalho, e todos os profissionais envolvidos em projectos de implementação de Administração de Riscos. A redução do risco se concentra em processos de mitigação ou prevenção de riscos na qualidade, quando se excede um nível razoável, desde que especificado. Passeio, Chocarreiro. A. F. D. Aspectos da administração da mudança na implementação de um sistema de gestão de sms: um estudo de caso. A DNV possui prestado espeque à Braskem, que vem implementando uma metodologia de verificação da integridade das barreiras de segurança em seu modelo próprio de balanço de segurança de processos. A auditoria das barreiras preventivas - que evitam que cenário ocorra - e das barreiras mitigadoras - aquelas que minimizam as conseqüências - faz uma parte do protótipo de balanço de segurança de processo apelidado de padrão dinâmico de avaliação de segurança de processo”, desenvolvido na própria Braskem e aprovado em congressos internacionais. Em termos gerais, deve-se dizer que HAZOP é bastante semelhante à AMFE, todavia, a estudo realizada pelo primeiro método é feita por intermédio de palavras-chaves que guiam raciocínio dos grupos de estudo multidisciplinares, fixando a atenção nos perigos mas significativos para sistema. estudo da segurança de um processo industrial passa por uma estudo e gestão de riscos que consiste na implantação de ações de identificação e tratamento dos riscos e perdas que a empresa está exposta, durante execução de suas atividades laborais, propiciando garantias contra informações indesejados. A figura abaixo apresenta uma visão geral dos processos do gerenciamento de riscos no PMBOK. A saída do processo HAZOP é uma tabela similar a que se obtém na Análise Preliminar de Perigos, posto que a diferença está em COMO identificar os possíveis riscos. Estudo de árvore de falhas (AAF) - Obtenção através de um diagrama lógico, do conjunto mínimo de causas (falhas) que levariam ao acontecimento em estudo. Este método foi derivado de um procedimento publicado como critical examination (inspecção crítico), apresentado por Lawley (1974), com propósito de expor uma metodologia desenvolvida na Repartição Petroquímica da ICI (Imperial Chemical Industries), pois muitas coisas eram esquecidas nas fases de projeto, devido à complexidade dos sistemas, e não impreterivelmente pela falta de conhecimento das pessoas que integravam as equipes dos projetos. exemplo de analise de risco de um projeto de trabalho completo, identificando as etapas ou elementos individuais. A Estudo de Operabilidade e Perigos - Hazard and Operability Studies (HAZOP) foi inicialmente desenvolvida para emprego na indústria química e petrolífera, mas atualmente é aplicada a outras atividades. Uma vez identificado esses pontos HAZOP ainda orienta a equipe, através de sua metodologia, a buscar soluções para expulsar ou observar estes desvios. 8. Monitoramento - integridade da administração de riscos corporativos é monitorada e são feitas as modificações necessárias. Este não é um ponto negativo, muito pelo contrário, aumenta sua importância, pois a diminuição dos riscos está muito ligada à exclusão de desvantagens operacionais. Esta técnica foi inicialmente criada para examinar sistemas de processos químicos, porém foi estendida a sistemas e operações complexas como mecânicos e eletrônicos, procedimentos e projetos de utilitário, além de alterações organizacionais e concepção, e análise crítica de contratos legais. Risco é definido como a combinação da possibilidade de ocorrência de um dano e da seriedade gerada por esse dano; apesar disso é difícil, conseguir um entendimento comum da aplicação da administração de riscos entre as várias partes interessadas, porque cada uma percebe diferentes danos potenciais, desta forma coloca uma possibilidade diferente de ocorrencia destes danos, e atribui diferentes níveis de gravidade a cada dano. Nosso grupo no LINKEDIN com artigos, notícias e debates sobre Administração de Riscos (mormente sobre a norma ISO 31000 e suas aplicações), e sobre Controles Internos, Compliance, QSMS e temas semelhantes. • treinamento apresenta ferramentas necessárias para estudo de risco de modo quantitativa, identificação de caminhos indesejáveis (cut-sets), etc. A técnica procura a realização de um estudo eficiente e completo sobre as variáveis do processo através de uma revisão metódica do projeto da unidade ou mesmo da fábrica como um todo. A classificação e estudos filtro de riscos é uma ferramenta para comparação e classificação de riscos, que no caso de sistemas complexos frequentemente envolve a avaliação de múltiplos e vários fatores quantitativos e qualitativos para qualquer risco. A avaliação do risco compara os riscos identificados e analisados contra determinado critério de risco, ela considera a força das evidências para todas e cada uma das três questões fundamentais.