#how can you look at this piece and think that is enough bassoon

[nonstandardrepertoire]

i am listening to a new arrangement of The Rite of Spring for wind band and it's hard b/c on the one hand i'm not sure i love this arrangement but on the other i also really don't like the interpretation, and it's a little hard for me to figure out whether i would think the arrangement better if it were conducted more to my taste

[wembleygoodboy]

Wembley, may I ask where you got your name? Were you named after the puppet?

itis actuolly kindof a Lomg Storey, so iwill let dadmom tellit! 😊👍 (it also doubols as My Orogin Storey!)

[story time! this is gonna be a long one, so strap in, ahaha

so, i went to college for music (education and performance; flute performance, specifically. i can wipe my ass w that degree now tho lol), so i was in a couple different ensembles at any given time. in 2013, we were playing a multi-movement piece called "3 Ayres from Gloucester" by Hugh Stuart. the 3rd movement is called "The Fiefs of Wembley." you can listen to a performance of it here. wembley is apparently a location within london. think "wembley stadium!"

i always joked with my fellow flutist friend (we'll call her M) who i shared a stand with that Wembley sounded like the name of a mischievous cat. "wembley get off the counter!!!" "UGH NO why always on the carpet, wembley?!" etc. it helped that the tune itself totally sounds like the theme song of a somewhat skittish yet naughty little cat, parading around causing chaos until he's spotted, then darting away.

on october 3rd, 2013, i came into rehearsal and find M looking pretty distraught. i ask whats up, and shes like "i think i saw a kitten in the middle of the club lawn, it was just laying there, maybe its hurt, idk what to do!" im like okay lets check it out together, and our conductor (huge sweetheart) gives us the okay to go investigate.

sure enough, theres a tiny black blob just laying there in the middle of the lawn; not hidden away in the bushes where a mama cat wouldve left him. as we approached, the blob got up and awkwardly darted away towards the lil decorative pine shrubs dividing the lawn from a small parking lot. we followed it, and there he was: a small black kitten, crouched in terror, hiding in the shelter of the shrubbery.

i dont remember when exactly it happened, but it suddenly dawned on me. i turned to my friend. "M... its WEMBLEY..."

we tried to coax him out to no avail- not even food would persuade him, and he looked very thin- and he was a bit too close to the road for our comfort, so i asked my roommate to keep an eye on the lil guy while M and i went back to rehearsal. after it ended, we recruited a small gaggle of band geeks to capture the kitten. it was the bassoon player who finally caught him, plucking him out of a miniature shrub he'd tried to climb.

i swaddled wembley up in a black bandana i kept in my back pocket (for the Fashion™️), hopped into my roommate's car with my stuff, and headed back with my roommate to our little on-campus apartment. as i stood in the living room, waiting for him to bring our stuff from the car, wembley began to purr in my arms :,)

(to be fair, cats may purr to self-soothe when theyre stressed; its not exclusively an indicator of pleasure. but. Still, lol.)

turns out lil wembley was only a month old: just old enough for solid food, thankfully, but much younger than the age at which kittens are generally separated from their mothers for adoption, which generally occurs after 3 months. he also had a sprained leg, which made walking very difficult and painful for him. the leg was likely the reason he was abandoned by his feral mother, as if he couldnt keep up, she couldnt afford to stop for him when she likely had a whole litter to care for. understandable, but her loss was my (and wembley's!) gain. 💚

i had to tame him, as he was feral, and EXTREMELY fearful of humans, but i spent hours that night sitting on the opposite side of the bathroom, slowly earning his trust until, little by little, i was able to scoot close enough to him to pet him. he'd obviously never been petted before; the look on his little face was pure magic. he completely opened up to me after that moment.

i totally had myself fooled, thinking id find a home for him once his leg was all healed up (my vet major pal showed me how to make him a splint), but... then he started sleeping with me and... well..... yeah. nope. he was my son, and i was his dadmom.

and i always will be. 💚

BONUS PICTURES:

the first picture i ever took of Wembley (thats the bottom of a red solo cup i sewed fabric around so he could drink water from it without risking him getting cut on the plastic):

baby's first petting 💚:

he relaxed a lot after discovering the joy of Petting :)

settling down for his first night with us, too sleepy for this world 💚:

days later, with his lil foot in a splint, sitting in his temporary makeshift litterbox. the Poopie Prince!

...TL;DR, its the name of a part of london, and i chose it because of an instrumental piece of music. coulda just said that, i suppose, but I'll ALWAYS jump at the chance to tell wembley's Origin Story and share baby pics, ahaha 💚

-dadmom]

[bleachbleachbleach]

11/11-11/12/22

Wow!! This week was a whole mess! There was a bunch of RL stuff that’s been extremely time-consuming and very expensive, and then I found out my brother is being deployed next year, which I am not in favor of. I’d say I’ve been pretty zen about it all but I think the actuality is simply that I do not presently have access to my emotions because I am too exhausted. I spent all of October being very weepy and now I feel noooothing~! Were that not the case I can guarantee you I would have felt BIG big things about Byakuya vs. As Nödt, but I did not, and I think this is vitally unfair. I think next week is going to be a worse version of this week, but I’m hoping the week after will improve.

I did still try to do some fanfic things last night and this morning, though. I didn’t think that was going to work because I’ve been pretty “Bleach WHOMST?” but it went okay. I hope I don’t look back on what I wrote in a few weeks and wonder why I thought it was worth the bytes it was written on.

This week’s spoils:

what the bottom half of Chapter 7 (Rukia) is going to sound like

some framing for Chapter 4 (Hinamori) and how she’s understanding this time spent with Hitsugaya

a 1000-word conversation between Chapter 5 Matsumoto and Akon, which includes mention of Nijinsky’s 1913 rendition of the Rite of Spring, specifically the bassoons

some floating pieces of the rest of the bottom third of Chapter 5 Matsumoto. I also think I’ve come up with a believable justification for why the three sections of Matsumoto’s chapter would segue into one another, so it feels less like Matsumoto chat roulette, in spite of the bassoons

“Oh, never been. Condition of my parole,” Akon says. “And as established, I’m not big on field trips, anyway. However, I do spend a lot of time waiting on assay results, and the 12th has a very large repository of film. All from the Living World, obviously, given how leery Soul Society is of the ‘moving pictures.’ I actually don’t know what the dance culture is like here on the homefront. Fewer bassoons, I take it.”

“You know, you’re chattier than I thought you were,” says Matsumoto. “How come you never come to the Vice Captain meetings? We could use you!”

But Akon has already stubbed out his old-new cigarette and is in the process of lighting another, with a small contraption that looks inspired by the lighters of the Living World, even as it refuses to be one. He needs the busyness more than the nicotine.

“Yes, yes. Ex situ Akon. Very entertaining,” he says. “Though Kuchiki’s also a lot louder than I’d given her credit for. You’re an interesting bunch.”

“Keeping tabs on all the ladies?” Matsumoto asks flatly. It’s just a test—a jest, really—but for all his nerves Akon doesn’t so much as blush.

“I have tabs on everyone,” Akon replies. “It’s what I do. I take pleasure in gathering information.”

Matsumoto’s eyes widen conspiratorially. “Akon! Are you a gossip?”

“That would be disseminating information, not gathering it,” says Akon. Then he disseminates: “You’re a dancer. Kuchiki is loud. And Muguruma-taichou? Not as good at bushwhacking as he thinks he is.”

Matsumoto snorts. “What about Shuuhei?”

“Hisagi is exactly as good at bushwhacking as he thinks he is.”

Matsumoto claps her hands. “Outoribashi-taichou?”

Akon opens his mouth, then snaps it shut. “...You two have similar hair.”

Matsumoto makes a face. “That’s barely information, let alone gossip. Some help you are!”

Akon, evidently having calmed enough to retreat into a more familiar laconic brevity, says, “I never promised insights, merely observations.”

But after a pause, he adds, “The hair observation was more specific. Molecularly. Follicularly. But people often associate that degree of detail with serial killers. I thought with the footwork comment already on the table, it seemed a bit much.”

This, Matsumoto is not inclined to react to at all. So she shrugs. “Fine. What about Renji? And you owe me something better than hair this time. I have eyes.”

“Abarai? Well, he’s brooding about something. Big time.”

Matsumoto frowns. That feels like a non-answer, because given the circumstances, who hasn’t been doing a little bit of brooding? But Renji seems the least like that of anyone, at least from what Matsumoto can tell. Akon does not volunteer more.

“You’re not going to ask about your captain?” he says instead.

[narancias-headband]

Golden Wind - Band AU

This is a long one... Here we go!

Conductor:

Doppio/Diavolo - Sweet and excited... Until you miss the new key signature... Then he's a whole other person. Literally.

Oboe:

Giorno - The new kid. Has been thrust into the role of partial leadership over the band. Talented and quiet. Makes his own reeds.

Bassoon:

Prosciutto - Flaunts how expensive his instrument is. Very classically trained and snobby. Will glare at you if you're out of tune.

Flute:

Trish (covers piccolo when needed) - Quiet, reserved, high-maintenance flute girl. Constantly fighting with the conductor. Polishes her flute every spare second she has.

Melone - How does he see his music when his hair is always in his face? He shows up to rehearsal either looking like he's ready to hit the club or like he just rolled out of bed.

Clarinet:

Bucciarati - Outgoing and friendly. Would be happy to practice with you. Looks angry when he's playing. Lowkey happy that Giorno took over as the unofficial head of the woodwinds.

Abbacchio - Only here because Bucciarati convinced him to join. He won't help you figure out notes, fingerings, or rhythms - don't ask. Counts out loud, quietly, but you can still hear if you're close enough.

Tiziano - Loves trills too much. Hates playing low. His clarinet is probably the cleanest instrument in the whole band.

Bass Clarinet:

Cioccolata - Sorry, but I've never met a bass clarinetist that wasn't creepy. Science person who's just in the band for fun. Doesn't understand music theory. Disgusting reed.

Saxophones:

Sale (Alto) - Plays too loud, but plays the right notes. Probably the source of the squeaks in the band.

Squalo (Alto, covers Soprano if needed) - Elitist saxophonist. Thinks he should always have the melody. Misses flats.

Formaggio (Tenor) - Hate to say it, but he's the epitome of "saxophone player (derogatory)". Obnoxious. Never stops with the conductor. Thinks saxophones are the best instrument and won't shut up about it. Never practices, but somehow always knows his part.

Secco (Bari) - Hates when he has any sort of melody part. Just wants to play the bassline. Keeps his reeds moist in his water bottle that he still drinks from.

Trumpet:

Narancia - Self-taught. Killer range; he just thinks playing high is fun. Plays an old beat up trumpet with nearly all the shine worn off.

Illuso - "Trumpet player (derogatory)" type. Overly cocky. Tries to steal every solo. Plays over everyone else. He's probably the best at double tonguing, though.

French Horn:

Fugo - Reserved and sophisticated. Plays too quiet, but knows his part. Afraid to write on his music. Is the person his friend group ends up surrounding during a break.

Trombone:

Risotto - Plays bass 'bone every chance he gets. Intimidating and skilled. He's probably played the whole repertoire a few times before. Corrects the conductor.

Gelato - Old friend of Risotto's, so he always gets a call to be in the band despite poor attendance. Can growl like a god, overdoes it.

Sorbet - Chose trombone just to sit with Gelato. Always asking about slide positions. Adds in accidental glissandos a lot.

Baritone:

Ghiaccio - Plays treble clef because he never learned bass. Used to be a trumpet player, decided he'd rather be in a smaller section. Most likely to mess up and yell "Fuck!" in the middle of a rest.

Tuba:

Pesci - Shy and quiet, until he gets playing. Can and will blow you away. Takes tuning very seriously. Organizes sectionals for all the low brass/woodwinds to work on their parts together.

Percussion:

Mista - Mainly plays snare. Loves marches. Unofficial leader of the section. Loud and excited. Tends to rush.

Carne - Mainly plays bass drum/tympani. There has to be a metronome in his brain. He can keep time like no other.

Zucchero - Mainly plays mallets, marimba is his favorite. Loves to show off with pieces that require 4 mallets.

[47crayons]

so, you want to write a musician?

about me: i play viola and have experience in symphony orchestras, string orchestras, string quartets (+ a few other small ensembles), and solo performances. i've done some light composition, and have friends/family who play other instruments. while my musical history is extensive, by no means do i know everything or speak for everyone.

this guide will focus on classical music/how to portray classical musicians and things that aren't as easily researched.

quick overview of instruments in a typical symphony orchestra

upper strings (violin, viola), lower strings (cello, (double) bass; i've seen viola included here too, but it's more commonly classified as upper strings)

strings also technically includes harp and piano

woodwinds (flute, oboe, clarinet, bassoon)

depending on instrumentation, they may also have piccolo, english horn, bass clarinet, contrabassoon

saxophones are not traditionally in symphony orchestras due to it being a relative newer instrument! but this is changing because more contemporary composes are including sax parts

brass (trumpet, trombone, bass trombone, tuba, euphonium)

percussion (depends heavily on instrumentation, but common instruments are bass drum, timpani, snare, crash cymbal, xylophone, marimba)

some things you should research

where the hands are supposed to go!! i'd recommend you look at pictures of professionals in orchestra settings (ny phil, cso, berlin phil are all top tier). some musicians *coughs at yoyo ma* have less than perfect posture when they're performing solos (for the same reasons famous authors can break "rules")

necessary equipment including reeds, rockstops, different kinds of sticks/mallets, rosin, mouth pieces for whatever instrument you're writing

common misconceptions

loose/photocopied sheet music is not aesthetic—it's annoying and impossible to keep organized. folders and binders are fairly common especially when managing multiple ensembles.

original copies are often expensive and required to perform a piece (legally) for profit or otherwise (though i know a few people who have bent this rule)

not all performers are good composers (i myself have very little formal music theory training), but many composers have performance histories.

not all musicians can sing.

perfect pitch is both a blessing and a curse. notes can be slightly lower/higher but in tune with the context of the piece, which drives people with perfect pitch insane.

having perfect pitch does not guarantee someone will be a prodigy, and people don't need perfect pitch to be a talented musician.

drama in ensembles does exist, but it rarely gets in the way of rehearsal. same thing goes for good friends: if your characters have even a shred of common sense, they aren't going to be talking/messing around during rehearsal.

instruments (especially good ones) are extremely expensive. people very rarely store instruments on the wall or other displays for fear of falling.

instruments are very picky and require tuning every time. every time! it doesn't take long anyway. temperature and humidity can and will make instruments go out of tune or damage your instrument if not properly stored.

some people listen exclusively to classical music, but in my experience, that's definitely not the majority

like with anything, most musicians struggle with self doubt at one point or another.

musician culture

getting excited when we hear a piece we recognize

getting frustrated because we can't remember the name of the piece (after all, no lyrics to search)

being horrified when a non-musician actor is playing a musician. yes, we notice. yes, it's obvious.

if people are joking, it's likely to be about: violas (a quick search for "viola jokes" will tell you all you need to know) or trumpets (a reputation for being overly loud, playing and not)

putting stickers (places they toured, their orchestra, or just purely decorative) on cases is common, but not for everyone. same goes for pictures (of family, past concerts, or anything) on the inside.

scrambling for a pencil when the conductor says to mark something. pencils are a musicians best friend :D

asking (and forgetting) how to split double stops/two parts at the same time. sometimes one stand partner will play the top while the other plays the bottom, and sometimes this is split stand by stand.

this has NEVER resulted in a sexual top/bottom joke. please just. don't. also no g string jokes. it's just unrealistic.

awaiting the obligatory "it's one week before our concert, and you sound like this?!" lecture

not talking about music 100% of the time!!! they have lives outside of music (most of them, at least /j). especially to close friends, music is probably not going to be a conversation topic unless something is out of the ordinary (high stress, something funny from rehearsal, etc.)

bragging/talking about how often they practice is generally not welcomed. great, but other people don't need to hear it!

stages are hot and bright. there's no way a performer can see someone in the audience with the possible exception of the first row.

practicing

three words for you: love. hate. relationship.

slow practice (like really slow lots of people recommend half speed; good for focusing on the right notes, tone, phrasing, smooth transitions)

metronome practice (while playing, it's not annoying at all! it's helpful and requires a lot of focus; when NOT playing, it's annoying and loud because it needs to be heard over the playing)

drone practice (having a machine/website/another person play one note in the background; good for tuning and scales)

and too many more for me to detail

auditions

ensembles may have entrance auditions to determine who gets in and seating auditions to determine placement within the section.

adrenaline does not make us play better; it just makes us make mistakes. and then thinking about those mistakes causes more mistakes.

some instruments, especially those with less repertoire, have common excerpts that come up frequently (i can think of one in particular that i've played for three separate auditions this year).

stopping/starting over is not recommended ever, but if you do, it has to be 10x better. most audition judges aren't looking for perfection!! they want to see how your character can keep going after messing up.

sight reading (being given new music, having ~30 seconds to look at it, being asked to play) is never perfect. i don't care how talented your character is; if they think they nailed it, they aren't experienced enough to see all the phrasing/dynamics that they didn't incorporate. no one gets sight reading perfect!!!

perhaps most importantly, musicians are not all the same! they enjoy it for a number of different reasons and have diverse and interesting lives outside of music!!! more information about specific instrument groups under the cut :)

strings

callouses. with the exception of pianists, most string players (and especially professional ones) have callouses where they press down/pluck the strings. i also have one on my right thumb where i hold my bow. cellists and bassists might have them on their left thumb from playing higher notes in thumb position.

hickeys are also fairly common, though only some people get them. upper strings will get these by under their left jaw. cellists may have one from the wooden body resting on their sternum. some people (including hilary hahn and many many others) use a cloth for comfort and to prevent hickeys.

few people want a hickey, but it might suit a character who is constantly trying to prove themselves.

our fingers do not "glide" anywhere. you can get cuts/"string-burns" from pressing down too hard when shifting. cuts like those are the only reason someone's fingers will bleed, and it's rarer than you think.

upper strings are more prone to back/neck problems from the way they hold their instruments on one side. see also: shoulder pain.

finger cramps happen. they aren't too common, but most if not all strings have experienced at least one.

pianos require tuning every few years or else the chords will be out of tune. few pianists can tune their own instrument because of how complicated it is.

piano parts/accompaniments will have so. many. pages. a page turner may sit on the right of the pianist to turn the page.

woodwinds & brass

spit. so much spit. some instruments clean afterwards with a cloth; others have a spit valve which is as gross as it sounds.

proper embouchure, or how a musician uses the muscles in their face/lips, is tiring, and people actually get strong cheek muscles. they can also easily turn red, but it varies based on a person's facial complexion. see also: good lung capacity.

flute and piccolo are not dainty. piccolo requires as much air as a tuba. an old teacher of mine almost passed out playing piccolo when she was in college.

flutes and piccolos are high, but often not shrill depending on the level of the ensemble.

reeds last a few weeks (less if your character plays for hours a day) and can be expensive to buy.

keys and valves can get sticky especially on older instruments which can result in the wrong note or bad tone.

saxes, clarinets, flutes are more likely to "honk" on low notes.

oboes are more likely to feel "wispy" on high notes.

articulation comes from the tongue, especially for brass instruments, and conductors may ask for "tah" "pah" or "wah" sounds depending on the style of the piece.

percussion

callouses from the friction between hands and sticks/mallets.

there are so many types of sticks and mallets!!! make sure to take a look at what materials are good for what instruments/sounds.

cymbals, triangle, and bass drum are not easy to play, even though they look simple.

percussionists with the exception of timpani may play more than one instrument during a piece, and they're constantly moving around in the back during their rests.

percussion instruments are too expensive for most people to have everything they ever play. practice pads are very common in place of these instruments.

ability to play one instrument doesn't translate to different instruments. for example, many percussionists don't have experience playing set/drum set.

some of the things detailed here are heavily glossed over, so if you have any questions, i'd always be happy to talk about it with you; i may not have answers, but i will try to help as best i can!!!

since you read this far, have my favorite viola joke.

what's the difference between a violist and a large pizza?

a large pizza can feed a family of four :)

tagging some people who showed interest: @writing-is-a-martial-art @ashen-crest @kg-willie @owilder

[colorofitall]

Welcome! This is an ongoing series of indefinite length on how Ludwig Göransson’s score for The Mandalorian ties nicely into John Williams’s history of leitmotifs in his Star Wars score. (And other cool stuff I notice.)

If you read through any analysis of John Williams’s score for any of the Star Wars movies, you’ll see lots of references of leitmotifs or themes. He loves to drop bits of music that represent people or themes into all parts of his scores. Other film composers do this too, but John Williams is a *master* at this.

So. We have a great main theme (which is Din Djarin’s theme). It runs at the credits. It’s really neat and it’s likely going to end up on every middle school band kid’s wish list of “Shit I Wish My Director Would Let Me Play Instead of John Phillips Sousa”. But the series doesn’t open with this theme; instead, we get a lot of random music instead.

Except…

Did you know that through the first half of Chapter One’s score, we get bits and pieces of Din Djarin’s theme; but we don’t hear the full theme until he’s up on the blurg, riding across the prairie like a cowboy? Neither did I. Until I listened to the score full blast while driving up to Rural Clinic™. The things one does to stay sane in a pandemic.

Full disclosure, if you’re reading this, I’m assuming you’ve seen the whole series. Spoilers abound. I’m too tired to hide stuff, so…

I’m using the episode score released onto Apple Music for this analysis, because, honestly, it’s hard to catch some of the musical notes with the rest of the action going on. I don’t have a copy of the written score, nor do I currently have a piano to transcribe this stuff myself, so I’m literally going off of my ears here. Be kind.

Okay. We open with “Hey Mando!” and that beloved bass recorder tune (Sidebar: so I knew there were bass and tenor flutes, but a bass recorder? WTH? But it makes sense if you want to have a recorder choir…) which is our first introduction to Din walking in to get his bounty. But instead of resolving into the rest of the theme as the music suggests, the theme cuts off and we get some bad ass fight music instead. Cool cool cool. We also get the very opening part of the theme (the two deep piano notes) at about 1:40, but I’m cutting Göransson a little slack here because that’s the title card theme music, and it has to show up. Again, it’s just a little piece of the theme, but not the whole shebang.

In the next piece of the score, “Face to Face” (which is where Din drops off his *numerous* bounties and meets Greef and the Client), we get to hear the bass recorder again, (at about 0:40) but this time, we get more of a variation on the main theme before it cuts off again.

Can I break here and mention what a fabulous use Göransson makes of bass instruments as a whole? I mean, that was an awesome use of the bassoon! Anyway…

Again, we get the deep bass piano opening notes from the main theme at the start of “Back for Beskar” which is Din returning to the Covert. It’s a nice match with the tone of the score here, and I’ve been wondering for a while if the deeper bass notes used for Mandalorians as a whole is a nod to Boba Fett’s original theme from Empire Strikes Back. You also get a little of foreboding bass recorder as well at 1:20. I’ll talk more about this piece and the next piece a little later because they showcase their own themes as well.

The next part of the score is “HammerTime”, which is when we get to see the Armorer work her magic. At about 0:45, the strings you hear at this point are playing that same awesome bass recorder line at the beginning of the “The Mandalorian” theme (just speeded up a bit). I also want to talk about all the hammering going on in this piece, and the blending in of the electric guitar which adds to the techno-vibe of the Mandalorians as well.

We finally get to “Blurg Attack”. Which makes sense for a title since they’re like sharks with feet. It starts out as a fun little attack piece but start listening at about 1:00 and you’ll softly hear the big brassy part of the main theme, but (I think) on French horn (or baritone).

Last but not least, “You Are a Mandalorian”. Does anyone else like Kuiil and how unimpressed he is with Din? We get the whole opening of the main theme right at the beginning of the piece, and just like at the beginning of the whole episode, the theme just drops out halfway with no resolution (lol Din gets bucked off, drop your heels dude and sit deep in your seat).

So throughout this episode, we’ve gotten little pieces of the theme throughout all of the action, showing all the separate parts of Din. There’s a part of Din that’s a bad ass bounty hunter, and a part of him that hangs out with not so nice people to get the work he needs, and a part of him that’s a super awesome beroya who’s invested in the foundlings of his tribe, and a part of him that’s still a scared little boy.

And as he rides out to find the fifty-year-old bounty who’s going to tie all these disparate parts of him together, finally we get to hear the whole theme.

Going through bit by bit: the violin parts from “HammerTime” (which echo the bass recorder from “Hey Mando” and “Face to Face”), the deep piano notes from “Back for Beskar”, and the brassy theme from “Blurg Attack”. Fun fact here is that those deep piano notes are also the lead-in notes for the main brassy theme.

And then the theme resolves finally. Load of stress off my back at least (Think of music resolving as that feeling you get when you know that a musical phrase is completed, and unresolved themes make me ITCH.)

I’m not covering Bounty Droid or The Asset here – I think they tie in better to later episodes and I will try to get to those later. Also for fun, listen to “The Mandalorian”. It’s the end credits theme and since it’s a little more sparse, it’s easier to hear all the parts come together.

And if you’ve read this long…

Two other fun things to note here. We get introduced to two other themes in this episode. One theme I think of as “The Forging” theme, and the other theme I think of as “The Mandos” (in order to keep it separate from our protagonist’s theme.) “The Mandos” first shows up at about 1:20 into “Back for Beskar” (Din returning with the first piece of beskar that becomes best paldron). The main theme you hear in this piece is the theme we will hear again during Din’s recollection of how he was brought to the Mandalorians; specifically, as he watched the Mandalorians kick the snot out of some Separatist droids.

“The Forging” theme starts at the beginning of “HammerTime”. (god some of these pieces have the BEST names). Recognize it? We’ll hear it again at the beginning of Din’s recollection of how he was brought to the Mandalorians; specifically, as his parents were running with him and placing him in the bunker. It’s important to note here that the theme starts *before* Din has a flashback to the Separatist raid. That’s why I think of it as “The Forging” and not “Din’s Trauma Extravaganza”. We can think of forging as a physical activity, i.e. “make or shape (a metal object) by heating it in a fire or furnace and beating or hammering it.” (Thanks OED!), but we can also think of a person being forged. And in my thoughts, the Separatist raid is part of what forges Din into the person he is during the series. So, it’s nice to have an explicit link between the Armorer’s forge and Din’s memories of his finding.

Enough analysis of the use of themes?

Enough. Bye bye!

 Side note: I did not realize the Blurrg were a thing in Star Wars: Rebels as well. Two-legged shark guys look just as weird when they’re drawn!

[chaes-tea]

if seventeen was in a high school band [headcanon]

not sure why i was thinking back to my school’s marching band but then i thought of this so i was like “why not???”

this is has only been lightly edited because for some reason tumblr decided to yeet one of the hyperlinks i put in and mix up one of the bulletpoints

[headcanon]

if seventeen was in a high school band

seungcheol: 

would totally play trumpet and would totally be drum major

would also join jun in playing jazz music

lets loose around the bois but knows when to behave

idk he just reminds me of my classmates who were drum majors back in high school

jeonghan:

would play flute or piccolo 

if he plays piccolo he would definitely blow someone’s eardrums off so it’s probably better to put him on flute

would go over to joshua’s section a lot even though he isn’t close to it

would most likely take naps in the practice rooms

joshua:

alto sax is the first thing that comes to mind when i think of a band instrument that he would play

idk dude it seems so fitting

it’s either alto sax or trombone because i feel like he would be the type to take up trombone as a joke because he does some hilarious things sometimes

but then he ends up being really good at trombone and gets promoted to section leader LOL

covers anime openings

jun:

TENOR SAX

hear me out

IDK DUDE FOR SOME REASON EVERY TIME I PICTURE JUN PLAYING TENOR SAX MY MIND DEFAULTS TO HIM WITH HIS HAIR FROM THE CLAP MV AND HE’S JUST WEARING A WHITE T-SHIRT AND BLACK SLACKS AND HE’S WEARING THE NECK STRAP FOR THE SAX AND THE SIDE PROFILE

ok i’m done but yeah tenor sax also because i feel like alto sax is too small for him so to me the size comparison is ehhhhhh

also if he was greasy he would totally say “ya like jazz?” AND STARTS PLAYING JAZZ MUSIC

oh but he would totally be a part of jazz band too 

soonyoung:

bass drum is probably the safest option

if it’s a beginning band, it’s the easiest to follow because most beginner’s repertoire for bass drum isn’t hard

the hard part is just staying on tempo

also not sure if you would trust him with smaller instruments

like i feel like he would lose a flute or a piccolo

wonwoo:

i can only picture him playing bells/glockenspiel and playing pomp and circumstance because he wants to LEAVE ALREADY

honestly me cuz when i was playing bells i started playing graduation music in january because i was ready to get out of there

would rlly just play whatever the band director gives him

would get bored and cover video game music while waiting for class to start or something

jihoon:

since he plays drums, he would most likely play all the percussion instruments 

probably would stick with snare drum if he had the option

it’s either he plays drums or he plays clarinet because he also knows how to play that

he’s also good at snapping his fingers and he can keep in time, which is why i think he fits drums more

his dream is to play music composed for movies and video games :D (using this recording session as an example because i love it and this is just me inserting one of my past dreams that i never put enough effort in. i also think about how cool it must be to be around others who are just as passionate about music as you are T_T)

also covers anime openings with joshua

seokmin:

he would totally play trombone just so he could recreate the when mama isn’t home (the oven kid) meme with soonyoung

also sometimes you just need to be LoUD AND BOISTEROUS and so i feel that trombone just works well with that personality of his

would like to do trombone covers of any music he listens to

mingyu:

triangle tall man smol instrument jk bass clarinet because clarinet seems too petite for him but i also feel like he should play clarinet 

so my brain compromised and picked bass clarinet 

and also my brain refused to picture him with a tuba or a bassoon

minghao:

i feel like he would play bells/glockenspiel

he likes elegant things (*coughs* drinking wine) so i feel like something that can make a clear, pristine sound is fitting for him

would like to play the more classical pieces as opposed to the popular pieces

seungkwan:

clarinet or soprano sax

i feel like he wouldn’t really like holding a big instrument and he would want to play an instrument where you hold it similar to the way you would hold a recorder

gets help from jihoon because jihoon is a legend and knows how to play multiple instruments

hansol:

washboard i’m not sure why i picture him playing marimba but i picture him playing marimba

the sound isn’t as pristine as bells but its toned down a little so in some cases it’s more pleasing to listen to because it doesn’t ring as much??? 

and i feel like he likes that soooooooo

chan:

trumpet because he looks up to seungcheol and wants to be drum major some day 🥺

also i can totally see him in marching band and marching while playing the trumpet in a band uniform

i feel like he would also volunteer for french horn if the section is lacking members because there are so many trumpets already

[rayofsun936]

Haikyuu Band AU: Seijoh

AU where all the Haikyuu dorks go to the same high school and are in the Concert + Marching Band Together

Oikawa - Trumpet

Is your stereotypical egotistical trumpet player

Has been playing since elementary school

Pays for private lessons once a week for the past 10 years

Always gets the trumpet solos

Likes to play jazz music dressed up in a suit and sunglasses at the mall for extra cash (Iwazumi always stops him after two hours)

Didn’t know how to feel about Kageyama switching to trumpet for marching at first but when Atsumu started making his move he gets slightly possessive (also Iwazumi told him to get over it already)

Matsukawa - Clarinet

Joined in middle school with Hanamaki to fill in their schedule

Likes band well enough, and marching season is… interesting (mainly because the bus trips to games and competitions are… as he said, interesting)

Chill and laid back when talking about band to non-band members about band which the non-band members appreciate

One of the few band kids that actually knows how football works and will explain the rules and ranks to those who want to know

Pays close attention to the actual game during game days, so he’s always ready when the band has the opportunity to play a stands tune (people think he’s psychic when it’s common sense if you pay attention)

Hanamaki - Bassoon, Color Guard (Marching)

Started in middle school with Matsukawa, not really knowing which instrument he would choose, wanting to leave it up to fate

“Look Issei! A bazooka! I’m gonna play it!”

Marching season rolls around and he is very disappointed he can’t march the bassoon

Chose color guard cause “It needs more male performers! Plus I am not learning a whole new instrument, no thank you.”

Realizes this band’s color guard is cutthroat and semi regrets it and then full blown owns it

“Wow, Nishinoya! You are really hard core for making your own reeds. Can you teach me? Also go you for playing such a big instrument.” (“What did you say?!” - Noya)

Iwazumi - Tuba

Has been playing since Oikawa dragged him to his youth orchestra group and the director was like ‘your’e here, must mean you want to play, here’s an instrument’

Likes playing so continues to play in middle school

Gets really into obscure music and composers no one has ever heard of and Oikawa won’t stop making fun of him for it

Is in Takeda’s music theory/history class and enjoys the deep philosophical debates that occur (other students include: Semi, Shirabu, Suga, Kenma, Ushijima, Akaashi, Konoha at the moment)

Eventually teaches himself how to play the piano and gets Kiyoko to tutor him every once in a while

His favorite performance was when the band played to a Godzilla clip (my band had a piece where we synched up with a video on a projector to the audience, it was a lot fo fun)

Part of the ‘Keep Keishin Sane’ group

Yahaba - Alto Sax

Came from a family of older siblings who were all in band, so it was a no brainer to join in middle school

Saxophone because no one else in his family plays it

Is very determined to become one of the best even though he isn’t very good at rhythms with 32nd notes

Dislikes the marching uniforms, for they are unflattering and extremely hot, ruining his hair and making him smell awful

Doesn’t understand what Kyoutani’s deal is and goes off on him one day after practice during concert season (they become really close friends by their senior year)

Joins Winter Guard because the costumes are So much better than the marching band uniforms, and it’s indoors, with AC (also now he has the ability to hit people he doesn’t like from a distance with his flags)

Watari - Flute

Is your very helpful, very nice, super sweet flute player

Joined in middle school and chose flute because his younger sister really likes the instrument (like Hinata’s situation, only difference is that Watari isn’t tone deaf)

Is among the top band kids to bring in the most money during fundraisers; there’s just something about him that makes strangers want to give him their money

Always has extra supplies in his locker such as snacks, sunscreen, water, hats, socks, incase anyone needs them (he accidentally got assigned a big locker and even though he has a small instrument)

Floats between the different band groups (calm squad, energetic/rambunctious group, chaotic bunch, Keep Keishin Sane club, ect.)

Kindaichi - Clarinet

Joins in middle school wit Kunimi so he wouldn’t be alone

Is good at sight reading and deciphering complicated rhythms

Works really hard to be a really good player, and got fed up when Kageyama went up to him one day saying his efforts weren’t enough

They make up by the end of high school after having some space and being surrounded by other really good players who try really hard in a band that just doesn’t know how to not improve

Tries really hard to understand football but can’t for the life of him

Started using plastic-reeds for marching season becuase somehow his regular ones kept breaking on the bus before performances

Kunimi - French Horn, Mellophone/Pit (Marching)

Was told to join band to get him an extracurricular ( “Maybe it will motivate you to be more active.” - Kunimi’s parents)

Didn’t pick an instrument so his middle school director put him on French Horn

Everyone is surprised how good he is because they never see him do individual practice

Like he doesn’t bring his instrument home ever, no one has seen him practice outside of practice, yet he only messes up a handful of times during class the next day

Gets lectured a lot to put more effort into the dynamics during rehearsals (he’s just saving it all for the performances)

Minimum effort into marching season

Enjoys playing in the stands more than the actual marching

Eventually goes to Pit his senior year (now he doesn’t have to move)

Kyoutani - Alto Sax

Was taken to a lot of different music concerts as a kid by his parents and didn’t understand what the big deal was until he was at a particular jazz concert and the saxophone soloist hooked him

Saves up his allowance and buys himself an alto sax and self learns how to play

Officially joins band in middle school and was severely disappointed there was no jazz ensemble at his school

Gets to high school and states he will only play in the jazz band, so he doesn’t march his first year, and only participates in concert band because he wouldn’t be allowed in jazz if he didn’t

Yahaba didn’t like how Kyoutani was all high and mighty about only participating in jazz band and gave him a piece of his mind

Joins marching band after that and surprises himself in liking it (doesn’t admit to liking it until after they win their district’s competition very reluctantly)

Eventually joins the “What did you say about marching band?” group (Tanaka, Yamamoto, ect.)

Bonus: Yuda Kaneo - Trumpet

(The one crying third year from the short Seijoh ending where they all eat ramen and then the third years almost throw up from playing volleyball immediately after, idiots)

Cries at the end of every football game because he loves band so much and can’t believe it’s over for the night

Is so supportive of everyone and all of their endeavors: You want to play a grade 7 piece for solo and ensemble? Do it! You want to enter your composition to the Junior Composers Competition? Go for it! You want to learn Another instrument? I’ll help you find one! etcetera

Loves everyone and everything about band

Is a complete mess during each graduation ceremony

Part 1: Karasuno | Part 2: Nekoma | Part 3: Fukurodani | Part 5: Shiratorizawa | Part 6: Dateko | Part 7: Inarizaki | Part 8: Miyagi Girls | Part 9: Miyagi Boys | Part 10: Kamomedai | Part 10: Additional Haikyuu Boys |

[shemakesmusic-uk]

Getting to Know...

Ruby Ryan.

You Could Move In, the debut EP from New Brunswick, NJ singer-songwriter Ruby Ryan, opens with a big beat. Before long, the rhythm track is joined by a melancholy – but gritty – electric guitar riff. In a few quick strokes, a mood is established: longing, urgent, expectant, a little lovelorn, more than a little pugnacious, forward-looking. It's stark, and unadorned, and emotionally bare; once you start listening, it's hard to stop. A full half-minute elapses before Ryan starts singing, but she makes an indelible impression when she does. Ryan has a voice with enough tensile strength to carry sadness and determination simultaneously. She doesn't have to try to be powerful; she just is.

The best place to start with Ruby Ryan might be 'Phosphenes,' an exercise in straight-ahead, doomed romantic storytelling. Everything about the track feels absolutely real: the plaintive lyrics, the missed connections with the object of the narrator's desire, the stinging six-string, and the catch in the singer's voice as she expresses her hope and her frustration. Anybody who has ever harbored unrequited affection – or who has just found themselves caught in a difficult and ambiguous relationship – will surely relate.

Ruby Ryan also understands the beauty and desolation of the suburbs. Her clip for 'Phosphenes' is suffused with the distinctive feeling of suburbia in the autumn: leaves are falling, flowers are withering on their stems, a crisp breeze is blowing, and the sands are running out. Ryan and her directorial partner Alex Tichy follow the romantic drama of a young couple whose emotions are impossible to disguise – and that's because they're both wearing enormous heads made of plaster and paint. The contrast between the quotidian suburban surroundings and the fantastic characters who inhabit these streets creates much of the clip's tension, and it's also a sly commentary. When you're young and in love, you really do feel larger than life – and utterly exposed, too.

Watch the video for 'Phosphenes' below and also read our Q&A with Ruby all about You Could Move In, her influences, creative process and more.

Hi Ruby! How have you been? What are you doing to stay sane during this pandemic?

"I am okay. I work at a grocery store full time, so I’m not even sane, I’m just getting through the pandemic. I spend time hanging out with and missing the people I love. I look at and water my plants, and listen to records, and do a lot of cooking and eating. But mostly I’m working, or sending an email."

How did you get into music? Who did you grow up being influenced by?

"My mom will tell you I’ve been making up songs and singing to myself since I was such a small child. I don’t know how she was never driven cray by me, I was always singing just making stuff up, singing my thoughts basically. She’s very musical and she and my grandmother have surrounded me with music my whole life. Whether it was putting me in piano lessons, or seeing my grandmother sing, I was always in a position to feel inspired musically, by them.

"I played in band through all of school, 5th grade through senior year. I played the bassoon, which looking back, was the best thing ever. I loved it. But I didn’t keep it up in college because I was scared of going to school to perform music with an ensemble. I thought the expectations would be really high, and feared I couldn’t learn quickly enough or be good enough to keep up. Or that I might let people down.

"Right after my freshman year of college is when I decided to try writing and playing songs with a guitar. I’d had one for a few years but then (even now, honestly) didn’t know much besides open chords and how to play some Jeff Buckley songs I learned on Youtube. That first year of college though it felt like I was shriveling up, I had no outlet for this musical creativity and it was really getting to me. I had met this friend Phil, and he and I decided to start writing music and later form a band (Old Joy) together. We continued on with that for a couple years, and I left that project last fall.

"I think my mom played only good music when I was growing up. We listened to the radio and CD’s in the car, and I can’t remember specifically which artists but I’m sure she could. I consider the influences I grew up listening to to be the people I listened to and felt really intensely when I was discovering that I wanted to write music.

"It’s a lot of stuff I latch onto lyrically, and sonically. I’m like “how’d they make me feel like that using just a little tap? or strum? or word?” and then I want to learn more or crack open how to make people feel intensely like I do. People like the Carpenters, Bon Iver, The Japanese House, Phoebe Bridgers and Jeff Buckley. Pretty much if an artist could make me wonder “how did they find words for a feeling, so specifically, and do it so elegantly before I knew what to call it?” they’re an influence of mine. I’ve cried and learned how to come home to myself while listening to each of those artists."

You've just released your debut EP You Could Move In. What's the record about and what does it mean to you?

"The record is about dealing with losing people and trying to figure out where I belong. My life feels like a revolving door of people who mean the world to me, just entering and exiting, entering and exiting. This record is written from a place in me that uses my time spent in constant motion as time to process or unravel my feelings. I kind of use driving as a coping mechanism. I’ve written most of these songs while in a car. I’ll either be writing a lyric on the back of a receipt at a stop light or making an audio recording of a blip of sound or a word I don’t want to forget, but they’re almost always while I’m driving. I’m just thinking a lot when I’m driving, trying to put words to what the heck is going on.

"This thing means everything to me, somehow. It feels so vulnerable for it to be out. It’s my first solo release, too. So I can’t hide, there’s no way these words are someone else’s. Everyone knows it’s me, and this is what I’m feeling or going through or went through. It’s a lot. I wrote these songs as a way to process and get through some really tricky stuff. Having these songs out feels like I’m willingly showing everyone home videotapes of my processing my own pain and my own struggles."

Take us through your songwriting/creative process.

"Playing with an instrument in an ensemble, a piece that’s been written and should be played with so much respect for the music and the composer, is a lot of pressure. I would get so anxious. It always meant a lot to me, like it was a high honor to know how to play it, and have the opportunity to be a part of giving life to someone else music. But it was a lot of anxiety, trying to make sure it was right all the time. And it never was, like I’d mess up and be down on myself, which I think is normal. Deciding to write music and play it by/for myself was a life changing decision. I didn’t even know it was possible to feel good like this. I can make something up, (which usually I have to because I don’t know how to play the guitar) and it can sound good. I can remember it and be good at playing it because I made it up, and I don’t have to follow anyone else standards or rules, or impress anyone, it’s just me. Of course I want to do it well and hold myself to a certain standard when I’m playing. I’m really hard on myself. But I don’t have to cry if I mess up a note or sing a wrong word, it can just be funny because it’s only me.

"My process is, I’ll be driving or falling asleep at night and come up with a line or lyric, and keep a running note or journal of them all. Literally I have to inspire myself to life my head up off the pillow and pick up the phone and write it down. I can’t tell you how many lyrics I’ve had ideas for and thought to myself “oh that’s so good, oh thats so catchy, you’ll never forget it” and then I don’t write it down, and now I’ve completely forgotten them. But I keep a running note until it’s massive. Like as long as a jump rope, and then i’ll shuffle them around and make poems, or find ways they connect and then glue them together.

"Sometimes when a melody comes to me (rare) I play the kazoo into a voice recording to remember how it goes. That can become a baseline, a guitar riff or a vocal melody, but thats the only way i can figure out instrumental’s for songs. Then I pick up a guitar or most likely go to a piano, and have to figure out what the notes are by ear, then the key and the chord progression. I don’t know chords or what notes are what on the guitar, so usually it’s just trial and error until I find on the strings or keys what I hear. I have to work backwards and learn how to play what I hear in my brain. It’s a very long and difficult process, and often discouraging. It feels so good though then its complete and written, like this big confused thing I can’t put words to, is finally allowed to exist outside my head and have its own space."

Finally, what's next for you?

"I have no idea. I work at a grocery store, I graduated undergrad straight into a global pandemic, there is no map in my hand, there’s not even a direction I’m walking in. I just hope people like my music. I’m going to keep doing this. It feels really good to make music and share it, I’d follow this feeling anywhere. Especially since I’m not on my way anywhere specific at the moment."

You Could Move In is out now.

[lanwangjiismyreligion]

Modazushi - Audio Drama Live

Season 1 Episode 12 - Season Final

Hello and welcome to the final episode of season 1 Modaozushi  - The Audio Drama! Yes, this is the final episode and it ends with A-Qing showing Wei Wuxian and the kids the coffin with Xiao Xingchen.

Episode 12: Xue Yang in disguise, Wei Wuxian doing magical things looking cool, Song Lan!, Lan Sizhui playing Inquiry, Xue Yang!, Song Lan vs. Wen Ning, Xue Yang vs. Grandmaster, suddenly Xue Yang vs. Hanguang-Jun!, With a little help of A-Qing, Tropes, that must be, Me and him just doing our own things and then we find each other *screams*, total playtime: 28:57

0.00-06:00:

Let’s save Xue Yang in disguise in the coolest way possible: Wei Wuxian summoning Painted Eyes! His summoning spell sounds so fxxx sexy i have to fangirl about Lu Zhixing’s voice in this scene! Ahhhhhh, no i am not kidding, if i would be a ghost or a spirit whatsoever i never would be able to resist such a voice, i swear! He sounds so alluring, so tempting and magnetic i am just drawn to my pc while listening omgomgomgomg, please my poor little heart and soul , imagine when he is Yiling, he INVITES the spirits and ghosts INVITES! not Using, not Calling, not Ordering them,  INVITING! He is flirting with the dead i am just sitting here with my face in my hands and screaming internally because my husband is sitting right by my side reading  the novel and i don’t want to interrupt him…. AHHHHHHHHHHH - and by the way they make the summon spell with an echo effect, so with my headphones it sounds like his voice coming from deep underground or something - and you can hear how he is cutting himself for the blood he needs….:-(…..imagine how his hands must look alike…..:-(…..and Lan Zhan’s…mirroring him…..*sobs*, but let’s move on after appreciating the sound design for the giggling ghosts! Xue Yang plays his role very good, almost believable…his voice actor is hmmmmmmm, chefs kiss!!! And Wei Wuxian’s second summoning spell to fight all the walking corpses with the paper puppets….hmmmmmmmm, but let’s move on! 

06:05-20:15:

Xue Yang choking on the congee….:-)) and the situation is rather relaxed - the bgm is a comical piece with plucked strings and a bassoon?!?! After that you can hear  an owl very, very vague in the background… and then Song Lan chrashes into the shop! His growling is so deep *shivers*….Wei Wuxian is trying to control him with his flute - they give him always that eerie melody for this - but to no avail. But there are the Nether Brawlers so let’s restrain him an let Lan Sizhui play inquiry!!!! Best boy! 

The.One.Behind.You.!!!!

The voice switch of Xue Yang’s voive actor is……..OMG! INCREDIBLE?! 

LAN SIZHUI: “I’m not afraid….You are so similar to Hanguang-Jun. With you two here, i am not afraid.” 

Hmhmhmhmhm, Can you hear my being proud of the best son????????

Xue Yang vs. Grandmaster - the bgm is emphazising the suspense and how dire the situation is (the kids are outside now, like hostages) and how desparate Xue Yang wants Xiao Xingchen’s soul to be repaired …..:-)))))) *winks-into-the-direction-of-the-dark-side-of-the-fandom*. The sound are strings and a strange syntheziser-sound it sounds like a drum with an electronic echo or something, it’s spooky…. 

And the Grandmaster is not surprised at all……hmhmhmmmmmm, Wei Ying, so good…….

Xue Yang: “It’s not the same. You are the founder!” (same in the novel!) (Sorry, CQL - Fandom:-))

Wen Ning!!!! Finally!!! *blowskisses*

Xue Yang and Wei Wuxian watching the fight of the fierce corpses: Wen Ning vs. Song Lan

But seriously, Xue Yang, you really think 300 walking corpses are enough to stop HANGUANG-JUN, HAHAHAHAHAHAHAHHAHAHAHAHHAH………….3, 2, 1, ….

Hanguang-Jun descending from above with the Gusu - bgm and i am laughing because this is such a cliche….saving the “damsel in the distress”….yeah….and recognizing Jiangzai - Xue Yang’s sword right on the spot.

Uhhhh, Lan Wangji couldn’t you be a bit more, well diplomatic…..”You are not needed here.” That hurts!!! But this is the proove that you are just being honest to the core with everything and in this situation you are right, because Wei Wuxian needs to be somewhere else, like saving the kids and doing empathy with A-Qing…..

Hanguang-Jun being incredible, he is the most incredible….:-) and they designed the sound of Hanguang-Jun fighting Xue Yang with the zither, too….

A-Qing! 

And now it’s all about tropes (i love Lan Jingyi…:-)))) like in the novel

Wei Wuxian: “Hanguang-Jun is so reliable, he can handle that. I’ll just do my own thing and wait for him to find me…or i can go look for him…”

Me - *Criesinwangxian*

20:48-End:

Following A-Qing Wei Wuxian and the juniors are coming to the coffin house (wow the sound of the door creeking *shivers*), Wei Wuxian being a great teacher again and then….Xiao Xingchen…..:-((((((….the bgm is so sad *tearing up*…it’s a spheric female voice with heartbreaking strings and echo…:-((((.

Let’s use empathy! Cliffhanger!

Ending: The unknown Song

Okay, so far so good! I am starting with the second season tomorrow! Stay tuned!

[jamlocked]

Fleabag 2x06

Hokay, so brief (heh) ramblings on the Fleabag finale. Please don’t read until after you’ve seen it, I wouldn’t want to spoil anything.

 S;ldfsaflksdjf PERFECTION.

I mean, okay, I’m D: she and the priest didn’t end up together but it was still the correct conclusion. I will get to that in a minute, but first have to scream about other stuff.

THE FINAL PAYOFF OF THE ‘KNEEL’ SCENE. It bears out what I was saying before, I think. FB kneeling before something greater than herself (her desire to be open and honest with someone). The priest kneeling with her as a man, not a symbol of something else. And now Claire kneeling to open herself to what she really wants…to be free of Martin. (YES. GO CLAIRE.) I think – hope – this makes it clear to everyone that the priest asking FB to kneel wasn’t about an abuse of power, it was about honesty.

But FUCK, I ALMOST FELT SORRY FOR MARTIN. His speech about how he did good things, he did what he was supposed to, but just…isn’t a person someone likes. I mean, that’s kind of relatable? What if you do just have a personality that people don’t like? Does that mean you’re doomed to be alone?

I mean, in Martin’s case, it really is. He’s a bastard, and ultimately making excuses for not trying to not be a bastard most of the time. Nothing actually excuses hitting on your wife’s sister on your wife’s birthday. Still, that whole thing encapsulates the theme of this show as well – the messiness of being human, and how you can do the right things and still not be a good husband. If you don’t work on your flaws (as FB has tried to do for the last year), then you can’t expect to coast through life and make others put up with your bad behaviour. There is payback when you behave like a shit.

FUCK YEAH CLAIRE, RUNNING FOR HER MAN. And even more so, FUCK YEAH CLAIRE for ‘the only person I’d run through an airport for, is you’ – because oh my GOD, I have wanted these sisters to admit and show that they love each other. And FB really has most of the way through, and I’m SO happy Claire has finally unwound. She’s so perfect, and Sian Clifford is perfect, and that is all.

The dad, though. Augh, I was so hoping he was going to call it off. But he went through with it even though he’s the suffocating mouse, and maybe that’s just what some people need, you know? I’ve always thought that the thing about relationships is, you never get to see what the people are like when they’re alone with each other. Maybe the evil stepmum is actually what he needs, now.

But there were some glorious, honest, beautiful moments in that conversation with FB in the attic (wtf was he DOING THERE???). Hell, I’ve told my mother that I love her but don’t like her before, I get it. It’s honest, if not the sort of thing parents/children are supposed to say to each other. And if that’s not this series all the way through, I don’t know what is.

I am so happy Creepy Jake played the bassoon, and is actually quite good at it. ‘Where’s Claire?’ – I DIED. :D :D :D

So… Fuck, there were other things I wanted to say, but I’m sure I’ll remember later and add them on.

Let’s talk about the priest.

…asdfkja

Okay, it was just perfect writing. The way he kissed her before the ceremony, the way he was the morning after, it all looked good. And then her face through his speech – ‘love is awful!’ – you could see her thinking, ‘fuck, this isn’t looking good’. But of course by the end of it, it all seemed like it was going better, love being about hope, love being for those strong enough to take it. I was genuinely thinking he was going to choose her at the end of it.

But of course, he couldn’t. God, religion – they’re his hope for a peaceful future. Without it, as he said himself, his life is fucked. And this is a show about Fleabag, and her finding her way back to hope after all the stuff that happened. She had lost her faith in love, and her ability to love and be loved. That’s the important thing, I think. That she could openly say, ‘I love you’ and, especially, accept it as true when he said, ‘I love you too’. He was there to put her back together, and that’s why, at the end, she walked off and left us behind. She didn’t need to hide her true thoughts and speak them only to the invisible audience out there, anymore. She can be honest in her life, and with how she thinks and feels. And he can go and give himself to God, having tasted what it would be like to be a man again, and know that the path he’s on is ultimately right for him.

God, it was so beautiful. And perfect that the conversation also took place in the bus stop – they were travelling in different directions, the journey metaphor…and apparently, the graffiti on the bus stop glass means, ‘O, life’ in the Cyrillic alphabet, which…lol, PWB really doesn’t miss a trick.

And the statue. What a perfect, perfect thing. Back with her mother, the grief for whom was the beginning of this whole journey. Walking off, her and her mum, not needing us anymore. I am just….yeah. *tear*

 Okay, this was probably not all that coherent in the end, and I might add more once I watch it again in half an hour. But I’ve been thinking about it all day, and it’s just made me so happy. A glorious, wonderful piece of television. <3

[tysonrunningfox]

If you’re still doing requests (and you haven’t done this one/want to do it): Hiccstrid #1?

Ok, secret, or not so secret.  It’s kind of hard for me to do sappy, canon type prompts for canon couples who get sappy time.  So when I recieved both “we’re more than friends and you fucking know it” and “don’t cry, I can’t stand to see you cry”, I put them together, gave them to vindictive matchmaker playwright Snotlout and here we are.  

One Time Before Band Camp a tentative title 

Despite the recent exacerbation of his astigmatism, Snotlout isn’t blind.  He knew the second he got grouped into a trio with Hiccup and Astrid in drama class that not only would he end up doing all the work, but that they’d sit there and pretend not to moon at each other the entire time.  Well, he didn’t know the entire time that he’d be doing all the work, he only knew as of the night before their skit was due when he texted them to see if they had it done and they reminded him that he said he’d start it.  

Which he didn’t.  He said he could start it, but that meant that one of them was supposed to volunteer.  And he guesses he zoned out at that point because he really thought one of them was going to do it.  

So as of eleven pm last night, he knew he was going to have to do all of the work because they volunteered to perform the skit if he just wrote it, and that was just too good of an opportunity to pass up.  

Hiccup fidgets and squints at the piece of paper under the single bright stage light, clearing his throat and shooting Snotlout a glare out of the corner of his eye.  Snotlout waves him on, giving Astrid’s valiant attempt to shoot lasers at him out of her eyes a thumbs up.  Astrid is bright red, red enough that the few students paying attention are whispering and they giggle at the awkward way Hiccup gestures between them, wincing like even he doesn’t want to hear what he’s about to say.  

“We should just get on with this.”  

“Have you read it?” Astrid deadpans, shifting from foot to foot slightly and staring at the drama teacher to save her.  

The teacher doesn’t care, he’s too busy editing his next big screenplay while wearing noise cancelling headphones and the shifty, irritating entity that is Hiccstrid has finally fallen straight into Snotlout’s trap.  Ever since Hiccup grew six inches last summer and Snotlout and Astrid quietly broke up before it, Snotlout’s dating prospects have been an unmitigated disaster.  But if he matches his ex-girlfriend/assumed date repellant with his hot ticket cousin that she’s been staring at for months, he might just be able to turn that around.  

“Uh yeah, I read it.”  Hiccup laughs, glancing at the class like he wishes they would disappear.  “I don’t think any amount of method acting is going to catch the academy’s interest but…”  

“Stop dissing my skit and perform it already,” Snotlout kicks his feet up on the side of the stage, folding his arms behind his head.  It takes physical effort not to rejoice dance, monkeys, dance, when Hiccup clears his throat to start reading, but Snotlout would really like to get this over with so he can ask Ruffnut to the dance on Friday.  

“Uh, hey.”  Hiccup’s arm bounces as he sounds out the words like it’s his first time speaking English.  “What’s got you so down?”  

“Nothing.”  Astrid is no better and as much as their flirting confused Snotlout at first, seeing them like this so…lacking stage presence and talent, he kind of likes them together.  “I’m just confused about what happened last night when you kissed me.”  

She punctuates that with a glare at Snotlout, her blush darkening when she looks back at Hiccup.  

“I don’t know what came over me.  I’d just never seen you in the moonlight before.”  

“What did it make you feel?”  Astrid delivers, voice wooden, and Snotlout kind of starts to imagine this with better actors.  And background music.  And maybe he should take his obvious skit writing prowess elsewhere.  

“It made me feel things–Snotlout no, I’m not saying that.”  Hiccup points at the paper, “how did I miss that before?  I’m not saying that–”

“Ok, ok, skip the ‘in my pants’ part, that’s fine, just get on with the rest of it.”  Snotlout rolls his eyes, looking at the girl sitting next to him.  “Actors, am I right?”  

She ignores him, obviously caught up in the literary genius at play.  

“It made me feel things that I thought, no, I knew would ruin our friendship.”  Hiccup’s voice dips, a little too honest, and the magic of the theater makes him look compelling for an instant.  

Astrid shakes her head, gripping the paper in slightly tighter fists, “we’re not just friends. We’re not just friends and you f–Snotlout, I can’t say fuck in drama class!”  

“You totally just did.”  

“Fuck,” Astrid murmurs and Hiccup smiles at her, goofy and genuine, like he’s really capturing the essence of the forbidden love between these two totally fictional characters.  “We’re not just friends and you fucking know it.”

“I’m just scared, I don’t want to lose what we have.”  He sounds decent until he gets to the real emotional impact of the piece, “and I’m leaving to Clarinet Prison forever, tomorrow.  Snotlout, that’s not a thing.”  

“You said you read it,” Astrid blushes darker than ever, folding her script and tucking it beside her.  “You didn’t, did you?”  

“I…didn’t have time.”  He shrugs.  “I figured how bad can it be but–”

“It’s Snotlout.”  

“Yeah, it’s Snotlout, that was a mistake,” Hiccup laughs and glances at the teacher again.  “Let’s just…finish it.  It can’t get worse than Clarinet Prison, can it?”  

“You guys just don’t understand art,” Snotlout crosses his arms, glaring at the slow shrinking space between them as Astrid shuffles towards Hiccup and clears her throat.  

The whole class is still watching, for some reason, or at least the ones who started out watching haven’t stopped.  Most people are asleep or on their phones.  They’ll all regret this someday when Snotlout gets functional actors to put on a real production of his first hit screenplay, tentatively titled One Time Before Band Camp.  

“I don’t get why you call it prison, you’re so talented.  And you know what they say about a man with big lungs…”

“I can’t help how big my lungs are, not since the accident.”  Hiccup barely holds back a laugh, but still manages to effectively ruin the weight of the moment.  

“Please don’t cry, I can’t stand to see you cry.”  Astrid giggles too, raising her hand to cup Hiccup’s cheek and stifling his laugh against her thumb.  “I love you just the way you are, big lungs and all.”  

“Love?”  Hiccup goes off script entirely, pausing for a second with his eyebrows knit together before leaning in and kissing Astrid like the drama teacher isn’t sitting ten feet down the stage.  Astrid drops her folded script, her hand sliding into Hiccup’s hair like isn’t supposed to happen until competent actors get through Act 2 and the unfortunate bassoon recital number three.

“Hey, I didn’t write that.”  

Astrid pulls back, glaring at him, “yeah, you did, two lines down.”  

“I didn’t read that far,” Hiccup licks his lips, staring at Astrid like a miracle and touching the back of her hand still on his cheek.  

“You two are still going?”  The drama teacher finally takes his headphones off, squinting at Hiccup’s dumbstruck face.  “I said three minutes, but excellent emotion.  A’s, I guess, next!”  

They climb dumbly off of the stage, sitting down beside Snotlout with hands quietly intertwined.  Good.  Finally.  Now Ruffnut can stop going on about Hiccup’s tight pants and Astrid will enforce it.  

The next skit, which is woefully uninspired from the first line, starts and Astrid elbows Snotlout hard in the arm.  

“Ouch!  What?  You look like you enjoyed yourself, don’t take it out on me.”  

“How the hell did you know we kissed last night?”  

“Huh?”  

She looks at Hiccup and he shrugs, like he doesn’t mind her revealing the secret.  

“We didn’t help you last night because we were…”

“Oh god, I don’t need to know that.”  Snotlout shakes his head, “and to think I went through all this work.  You guys are lucky I got a real winner out of it.”  

“Wait…were you trying to make us kiss?”  Hiccup cocks his head and Snotlout shrugs.  

“You were too incompetent to.”  

Astrid snorts, “you know, that’s actually kind of nice of you.”  

“Trust me,” Snotlout sighs, “I’m not a hero, I did it for all the wrong reasons.”  

“Well, still nice of you,” Astrid squeezes Hiccup’s hand and Snotlout looks back at the skit on stage.  He doesn’t need to see anymore of that today.  Or ever.  

[sigmastolen]

@sleepymarmot replied to your post “also, i’m considering joining pinterest...”

I have a couple of private boards with references for my OCs, and I find it pretty useful for collecting pictures with links to their source. I don't log in often though.

That sounds reassuring!  I’ve been worried about things like sourcing (re: artistic ethics), and the potential for getting sucked into endless vortices of link-chains.

@evilasiangenius replied to your post “dispatches from children’s reference”

a) how are there so many bassoons in this orchestra? b) re: storytime, I imagine that like music, once you build up a repertoire of prepared pieces it'll be easier. And even though right now you may not have as much have much repertoire, I imagine that having musical ]training would help you learn stuff faster and more efficiently.

a) right? that illustration has three contras! i’m honestly so pleased the artist thought they looked interesting enough to put so many of them on the cover -- usually it’s horns and strings that get all the photogenic glory. like, i don’t think there are even pieces written for that instrumentation, so it’s purely aesthetics! :D

b) i sure hope so! at least in terms of songs/rhymes, i can establish an opener and a closer that i can use basically every week, so then there’ll just be one or two internal ones to vary by theme. i have a lot of work to do in terms of book and craft selection, though! at least for the rest of this academic year, i can carry on with my predecessor’s alphabet structure. :)

[dailymusingsofamedic]

13th May 2020 - Cui

Cesar Cui (1835-1918)

Suite Concertante, op.25 (1884) - https://open.spotify.com/album/2FYp2P2gN0aUh4doz0Mrec?si=hPJQp_nnQ52SyVquPH918A Tracks 1-3

I’ve chosen Cui for a couple of reasons. He’s part of ‘The Five’, a group of Russian composers tasked with composing ‘Russian music’ around the turn of the 19th/20th century. You could say I’m a fan of random famous fives; the five tiger generals of Shu from the imperial Han dynasty of ancient China being another prime example...but back to ‘The Five’. I’ve heard of all of the others, and know music by them: Balakirev, Rimsky-Korsakov, Mussorgsky and Borodin. In fact, I’ve played something by all of them except Balakirev. Having said that, I’ve never heard anything by Cui. I don’t know how to say it, it doesn’t look Russian, and I don’t understand why or how he’s been left by the wayside. So let’s dive in. I’ve gone for a piece called Suite Concertante, because the rest of the stuff I could find was quite chamber-y and we’ve had two of those already.

Above - The most interesting thing about this album artwork is the word Schermerhorn

1. Intermezzo Scherzando – Can you have an intermezzo at the start? Apparently. This is nice, Hungarian Dance type vibes. Who knew this would end up basically being a violin concerto? 1:00 sounds like it’s been lifted straight from his pal’s Scheherazade. From 1:30 onwards, the rhythm is so uncomfortable. Is it the writing? Is it the performing? No idea. Settles again shortly after. Some nice precise playing from the winds at 2:15, a nice respite from violin violin violin. The piece stops at 2:45. Oh wait, there’s more. 4:20 rhythm feels again very unsettled. At 5:00 a Strauss waltz blindsided me completely.

2. Canzonetta – This sounds like an intermezzo for a stage version of ITV crime drama ‘Roseamary and Thyme’ I think. Very proper. Not very interesting.

3. Cavatina – 1:00, nice to hear the clarinet doing some work for a change. Oh my god even some bassoon at 1:35. 2:50 is actually quite good, a nice build-up and the texture becomes a lot thicker, but it only lasts about 15 seconds sadly. Final chords of the movement are well orchestrated. Nice.

4. Finale: Tarantella – I think a Tarantella is a dance you do to get tarantula venom out of you. I think I remember that from IB English, reading ‘A Doll’s House’ by Ibsen in 2009. All of these facts may be partly inaccurate. Do they have tarantulas (tarantulae) in Russia? This movement doesn’t seem related to the others. It’s interesting for a start. Such a big gap between sections at 1:10. Why do they keep doing that? Every time this goes into a major key it gets boring again. By 1:45 we’re back in twee land. Oh dear, not sure the violinist at 4:36 onwards has practiced their part. Love the wind’s half-hearted fanfares towards the end, made me chuckle. A nice decisive end, I like that in a piece of music. I have died of tarantula venom though. Benzodiazepines and Magnesium are better, in case you were wondering.

Overall – 5/10. There’s nothing wrong with this piece apart from some odd rhythmic writing/playing and a concertmaster who hasn’t done enough practice (probably because they don’t give a shit about Cui). This is exactly the kind of piece you’d programme at the start of a concert of Russian music to avoid playing Polovtsian Dances again. The audience will have forgotten it after Pictures at an Exhibition in the second half anyway. I must find something good for tomorrow.

Above - Cesar Cui, probably.