I am currently compiling a list of percussion instrument that do a good job at creating an atmosphere. My list currently includes:
Tubular Bells (Chimes)
Are their any other instruments or effects that you personally like? Between the crystal glasses and bowed instruments I have a good start, but I'm looking for more. What do you recommend?
I spent the past month organizing 100,000's of sounds/samples into respective categories to form a comprehensive library in order to improve my work flow, and since you guys have always supported me, I wanted to share it with you as a way of saying thanks. I've pasted the link below:
https://drive.google.com/open?id=0BwaBYlDuG7_vQ1hXeHRCUFJxbXc UPDATED: I've put the collection on Google Drive as some people had some trouble with it. I'll try to keep it up as long as I can afford it.
TL;DR I've separated thousands of samples from their respective producer kits into categories such as hi hat, open hi hat, clap, snare, FX, instruments, vox stabs, 808s, etc.
Come join us at r/prodbykillerbee!
Details - Killer Bee's Vault
That link will take you to the over arching categories of 808 subs, cymbals, drum machines (e.g. Roland-909), HiHat, Instruments, Kick, Loops, Percussion, Snare, Toms, and Vox. So you can download all of them or just the ones that you are interested in. I broke them into their respective producer (or misc) folders in case you guys want to skip some or find any overlaps. I also apologize ahead of time if some of the terms are or categories seem wonky, that's just how they all fit together in my head. It's very versatile though so you can mix and match and rename all you like!
Here's a breakdown of what you can expect from each category:
Broken into 808 Subs and 808 'Trap Kicks', these are your basic low frequency 808s. I've separated them into two categories because I think the more contemporary 'trap kicks' have a different sound than normal 808s. Here's a sample of what I deemed a 'trap kick'.
PSA: 'Tones' just means a flat bass tone, or an 808 sound that didn't have a kick behind it. Good for layering.
Broken into 808, china/splash, choke cymbal, crash, cymbal roll, FX, reverse crash, ride. I think these are all pretty self explanatory (except cymbal roll maybe, here's a sample).
I created this group in case I was looking for a very specific/iconic sound. These include the TR-808, 909, Alesis SR-16, SP-1200, Kawai R-100, XD-5, MPC 4000, Korg DDM-110 and 220, and a few of others. Sorry if any of these drum kits sound wrong, I'm only familiar with a few and just followed various drum kits' labeling.
P... keep reading on reddit ➡
Okay, first off, wow, blown away by the response people gave to my last lore post, so here's another one! This time, about the rebellion of Mondstadt a thousand years ago.
This post begins by touching briefly on the basic stuff like the aristocracy, Vennessa, etc. and then moving onto some of the lesser-known facts and characters like Parsifal, Eberhart, and the Wanderer's Troupe. Feel free to skip the intro section if you're already aware of the context.
Again, I've tried my best to make this beginner-friendly, or at least go into enough depth that it makes sense as a standalone post. And similar to the last one, it's all very intertwined, so there may (will) be places that reference later parts of the post.
Spoilers for Dragonspine, and the Aristocratic Era in general.
Table of Contents:
So, one thousand years ago, the Aristocracy has up and taken over Mondstadt. Horrific, right? Feudal nightmares come true. The reality is that it actually was pretty bad. Average people had little to no power, they liked making slaves fight in their gladiatorial arenas, rebellion was harshly suppressed, the laundry list goes on. In any case, there were a few main noble clans.
The Lawrence Clan:
Exactly one year ago, Oneus released their first single album with A Song Written Easily as their title track. It was a bit of a strange era: crammed in just before Road to Kingdom, at the very start of the pandemic, out of the blue and likely mostly unplanned for. On top of that it was promoted while Road to Kingdom was ongoing, and after Seoho injured himself on the competition, the other five members had to rearrange his parts practically overnight.
Many fans don't exactly consider it their best song, but for me personally - it's my very favourite Oneus title track (and favourite song until Incomplete happened), and I believe the era will always have a bit of a special place in my heart, despite the painful parts of it. Or rather, I find that it fits, in a way. It's a song for reminiscing, and even though it's only a year old I already feel that melancholy when listening to it - happy and sad at the same time, just like the circumstances were.
It was my first comeback with them after getting into them. LIT made me check them out, the boys themselves got me falling for them hook, line and sinker - but as I had joined just at the time of the comeback, it was half a year until I finally got to experience the comeback excitement, the speculation about new hair colors and spoilers, the excitement of waiting for the release at D-Day. And then when it finally came out, I listened to nothing else for three days straight, I just couldn't get tired of it. Honestly, I still haven't, ever since its release I listen to it almost daily and love it every single time. It was my most-listened to song on Spo.tify Wrapped, with a solid ~400 listens even, and that doesn't account for the countless Youtube streams. A Song Written Easily was the song that reassured me that I had found my ults (and it the song that tided me over the first wave of Covid, I got sent home from work the very same day it released :'D)
Musically, it might not be as carefully-crafted as TBONTB, or as unique as LIT, or as powerful as No Diggity - but something in its simplicity is so addicting to me. The melody is almost the same all throughout the song - but with constantly changing instruments, percussion and vocal effects, it sounds so complete! I really have trouble expressing this, but something about the song just pulls me in. The vocals are delicate, emotional, melancholy, wistful, just like the lyrics. Oh the lyrics... Even though the sound o... keep reading on reddit ➡
I am a lover of the Sims 4, and an even bigger lover of music. However, I truly miss the more diverse instruments from previous games in the series. Even more so, I wish we could get a pack that introduces instruments that we’ve never seen before in any of the previous Sims games. I would LOVE to see brass and woodwind instruments, more string instruments, and also more percussion instruments. ALL THE INSTRUMENTS! But I’m a realistic person, so I can settle for just a select amount of instruments that we haven’t had the pleasure of experiencing in game as of yet. The drum set and the bass in TS3 were awesome, but there’s so much you can add in! Bands were a great feature, but even little things like children being able to learn a broader scale of instruments, teens could join marching band or jazz band as an after school activity (I know, the band geek inside of me is on full display right now), or even when they go to university, make it (marching band) a job similar to the soccer team.
Restaurants and bars would have a whole new element to them. Want a grungy rock band playing in your friendly neighborhood dive bar? How about a classical string quartet entertaining the guests at your 5-star restaurant, or better yet, your sim’s wedding? Maybe you want to save a few simoleons and go with the cheaper band, and maybe you’ll quickly regret that decision because the cheap band sounds like a raccoon in heat?
Think of the possibilities for new DEATHS! I know The Sims devs have a passion for adding new deaths to the game, so what about mosh pits? There’s a whole lot of potential for freak-accident deaths there. Maybe the cheap band you hired will be so terribly awful that you’ll get a negative moodlet and now your ears are bleeding? Who knows, maybe if you listen to the terrible band for too long you’ll get a visit from the ever so kind-hearted Grim Reaper... here to put you out of your misery. I know, I know. That sounds extreme, but if my sim can die from laughing too much then I want that same kind of insane death potential to be in the music pack too!
Now, picture this: your sim playing an accordion for tips on the street; you may be thinking “why the accordion?” but really, you should be thinking about what would inevitably come with having the accordion skill: special social interactions that will not only be hilarious, but will enrich your gameplay tremendously. But honestly, how cool would it be to have more diverse instruments like that?
A music p... keep reading on reddit ➡
Released in 1977
By now most of us know the story. In 1970, founding Genesis guitarist, Anthony Phillips, left the band due to crippling stage fright and a desire to get away from the pressure and stress that came with the touring-band lifestyle. But the seven year gap between leaving the group and the release of his first solo album might not be as well known a tale.
>For me, when the band went on the road things began to go wrong and I think I realised at that point that this just wasn't the life for me. The fact that we all lived together in the same cottage probably didn't help after a while. It was great fun in an idealistic way but actually not terribly sensible for people getting on. I just found that the pressure of the whole thing got to me after a while as we had all these gigs where agents were coming along and I thought "I'm not sure I can deal with this". The group did need a bit of space at the time when I left, somebody needed to go and it was me who went first.^(1)
After his departure, Ant didn't take a break from music - not by a long-shot. He had a goldmine of leftover ideas he'd written with Mike Rutherford that didn't make the first two Genesis records, which he began to tinker with, while also heading back to school to study classical music. Additionally, he began giving out music lessons to have at least one steady source of income. Around the summer of 1971, Ant began to write and jam with his friend Henry Williamson, composing what would later become "Gypsy Suite", although their projects wouldn't fully come to fruition for many years.
>My guitar playing was limited, and I couldn't play the piano at all, so I set to it. in the time since I left Genesis, I've studied classical guitar, piano, and orchestration. I'm a glutton for hard work - I don't do things by halves - and it was really heavy. You can call it my "student period", if you like. It was like a self imposed exile of four years.^(2)
And then in 1972, Ant reunited with his best friend Mike Rutherford. The two began writing together again, just like the old days, in the hopes of recording a joint-album. New ideas came out of the woodwork, while old songs were expanded upon. However, the process wasn't as fast as either would've liked, as Mike had to balance his time recording, writing, and touring with Genesis as well.
After the releas... keep reading on reddit ➡
Released in 1982
Knowing that following up an album as critically acclaimed as Melt would be no easy task, Peter would spend more time working on its sequel than any previous project he had ever been a part of. Now equipped with a fully functioning home studio, Peter felt freer than ever and could now work as long as he wanted recording and arranging, but mainly – perfecting. The album would take over an entire year to record.
>‘Four’, in some ways, was a more home-produced album, partly because it was the first one in my own studio. Initially, we had a mobile outside the farm building and then gradually built a studio as we went along. I was working with David Lord who I’d known a bit in Bath, he had studio there, but he’d come really more from a classical background, but was very good with textures and sounds.^(1)
>I'm not the world's fastest producer of records and it doesn't actually worry me that it takes quite a long time. The thing that bugs me is when I think it's going to take less time than it actually does. The process of recording was longer this time because I decided to wipe all the presets from my drum machine and start trying to find 40 or 50 interesting rhythm patterns. That took a while - listening to non-European bits, Tamla bits and invented rhythms.^(2)
The overall raw and rhythmic sound of Melt would carry over onto Security, but it would prove to be far darker and…weirder. Every aspect of its predecessor would be enhanced and distorted, with an even greater emphasis on percussion and African influences. Peter’s discovery of the Fairlight CMI would have a massive impact on the album, as he had practically became best friends with the thing. It was a truly groundbreaking invention that allowed him to record and store samples of virtually any sound imaginable, meaning Peter now had a way of emulating African and other world instruments on a keyboard, and the tool would become the centerpiece of the record. Technological breakthroughs were occurring on the production side of things too. Security would be the first ever fully digital release, meaning all three stages of production (recording, mixing, mastering) had been carried out with digital tape recording.
>I’d been dreaming for some time of an instrument that could sample stuff from the real world and then turn it and make... keep reading on reddit ➡
Released in 1980
Years ago, when I was just beginning to get my feet wet into the various solo careers of the members of Genesis, (outside of Phil and Peter's, whose work I was well familiar with) Steve and Ant's albums were really the only ones that grabbed my attention immediately. I was well aware of Mike + The Mechanics, and had even heard their first two records, but never felt motivated to check out the rest of their work. And then I stumbled upon the most peculiar release - it read: Smallcreep's Day - Mike Rutherford. The title alone bewildered me, "Mike had an actual solo career before The Mechanics?" - this was complete news to me. The album was incredibly rare (and expensive) to find on CD, I didn't have a record player at the time to buy the vinyl, and the album was unavailable on streaming, which therefore meant YouTube would become my savior.
Without hesitation, I booted up the album and was immediately fascinated by the dark mass of keyboards that were encircling me. By the time the vocals entered, I knew there was no turning back. That voice was unlike anything I'd ever heard, and the sound was unmistakably Genesis - but less in-your-face. It was like a denser, more subtle Duke. Now as opposed to Duke, which was love at first sight and has since become my favorite Genesis record, Smallcreep's intrigued me more than anything. I don't think I could fully comprehend everything that was going on - it seemed this album was going to take several listens to digest, but I at least knew I had found something really special.
The album eventually became my favorite solo release from any member of Genesis, as well as one of my favorite albums of all time - but it didn't get there overnight. It took dozens of listens to fall in love with this record, and dozens more for it to reach the top of the list. It took years to fully reveal itself to me, but when it finally did, I was never quite the same.
Right when marital problems began to plague Phil Collins, Genesis went on hiatus, allowing both Tony and Mike to head over to Sweden to record their first solo albums. Much like Tony, Mike kept the hired-hands down to a minimum for his project, but had a slightly wider pool of musicians to select from. As one might expect, Mike took on the role of guitarist and bassist himself. He then recruited his old friend Anthony Phillips for the keyboard parts, as he had become quite t... keep reading on reddit ➡
Natural magic is the dominion of the Druids and Rangers of the D&D world (some Clerics are also involved, depending on the domain). It is through their application of this energy that the game world interacts with the power of vibration, and music, and this dictates the parameters of this kind of magic.
Druids fully understand the underlying principles that are described, below, if couched in ritual and local interpretation. Rangers, less so, but those who are close allies of the Druids may be told of some of these truths.
Everything in the universe is vibrating at a specific harmonic. This grand symphony was described by the ancient philosophers as the "Music of the Spheres". This harmonic transcends all dimensions, universes, and planes of existence. This vibration is the source of all energy - some of this is used to create "magic".
Those who understand this principle are able to manipulate this energy to serve their own ends - and there have been many approaches and philosophies on the best way to do this, with little consensus found. To hear a Wizard and Sorcerer argue arcane philosophy is to waste a nice day (and perhaps be drawn into a brawl due to circumstance!)
The Druids actually feel this harmonic. This is what some have called "The Gift", or "The Song", but there are others who have dubbed it "The Burden", as this harmonic tells the druid if the area they are in is in harmony with the Prime Frequency. The closer the harmonic, the more "balance" exists. Where there is dissonance, the druids experience this as an unpleasant physical effect. Truly "evil" places have the capacity to cripple an unprepared or inexperienced druid, where they will languish and perhaps die (or worse).
Every time a druid enters a new region or area, they feel the area's vibrations and are instantly aware of the "balance". For dissonance, the druid takes physical damage for every day that they remain in the area or that the dissonance exists. This damage can be as high as 10 or 20hp, but more frequently is in the 1-5hp range.
All of the planes of existence are located in the same physical space, but vibrating at different frequencies. I've always thought of this as a "quantum stack". Each plane has its own frequency, and all of the matter within that plane is what dictates the ha... keep reading on reddit ➡
Music is a universal language that transcends all boundaries. This is best highlighted by the soundtrack from a first time music director for an established Tamil director known for great movies with great music by maestro Ilaiyaraaja. The Tamil director was none other than Mani Ratnam who had written a movie about a love story intermingled with terrorism based on a real life kidnapping of an Indian Oil executive by Kashmiri militants. He would offer the story to actor-director Kitty who would decline to direct the movie. Ratnam would eventually undertake the project on his own and try casting Rajiv Menon and South Indian actress Aishwarya but both would decline the movie. He would then try to get Manisha Koirala for the titular role of the movie but she was under a contract with Subhash Ghai and not released for the movie. Ratnam would finally cast the movie with Arvind Swamy and Hema Malini’s niece Madhoo. He would try to cast Nana Patekar for the role of the terrorist chief which would eventually be played by Pankaj Kapur. The movie was “Roja” which would get dubbed in multiple languages, receive worldwide acclaim and introduce Mani Ratnam, Arvind Swamy and Madhoo to a much larger audience through its dubbed version in Bollywood. The debut of its new music director would change Indian music and also have a global impact in the next few decades. This young composer who was named "Dileep Kumar" at birth and later became Allahrakha Rahman or A.R Rahman had no interest in composing for movies. A.R. was already an award winning jingle composer and earning more money through his jingles than what movies could offer to him. Mani Ratnam was impressed by his jingles and when he heard Rahman’s composition for the Kaveri water dispute (Tamizha Tamizha), he knew that this kid had a lot of potential. Mani’s history of creating iconic music with maestro Ilaiyaraaja was what got Rahman to make the leap from composing jingles to movie music. Rest is history.
Roja’s music and songs sound amazing in any of the multiple languages the movie was dubbed in. The Hindi version of the soundtrack would outsell all other versions and give Rahman’s music a broader outlet and global audience. The soundtrack and movie opens with the “Chhoti Si Asha”, a wonderfully simple yet complex song sung by Minmini which showcases Rahman’s talent from its first amazing beat. Rahman takes a traditional reggae beat and mutates it into something completely new and unrecognizable, something that f... keep reading on reddit ➡
PogChamp, it's not Zelda again!... unless? ;^)
The Theme of Samus Aran, Galactic Warrior, has been fantastically arranged for us by a new pal of ours, Vincent Rubinetti! This arrangement calls for blow-your-doors-off percussion, sharp brass, light woodwinds, and high-soaring strings! Let's make 'em proud, y'all!
Below is the sheet music for this piece. Make sure you grab the right part!
If you plan on submitting for choir, please reference these pronunciation guides!
^(*This date may be extended if required)
>You can enter a fake name and email!
*Please include your Reddit user name, or what you want to be credited as, and instrument in the file name. Thank you!
Be sure to join us on Discord!
French Horn (1,2,3)
Cymbals (Sus, Crash)
If you ever need help, feel free to ask! Also, take a look at the sidebar for some helpful links.
Hello! Keeping it simple, this probably needs very little introduction. Composed in 1925, this paso doble is probably the best known of Texidor's works, and certainly a staple in the band literature.
The parts are taken from the Aubrey Winter arrangement available on IMSLP with the addition of piccolo and tuned percussion.
Below is the sheet music for this piece. Make sure you grab the right part!
Audio & Click Track (Recommended)
The final date to submit your recordings is April 12th!
*Please include your reddit user name, or what you want to be credited as, and instrument in the file name. Thank you!
Be sure to join us on Discord!
While it's not as clean of a round number like ten, these top eleven albums are the peaks of solo Genesis music, and are truly the best of the best in my eyes. I love them all to death and they each have a special place in my heart. It was unbelievably hard to sort all of these by preference, and #11-#4 are all about equal for me, so keep that in mind if anything seems a bit too low.
Released in 1980
Never have I ever heard an artist that changed their sound so drastically, and completely reinvented themself with a single album, in the way Peter Gabriel did with Melt. Even Genesis, who transformed from prog legends into hit-makers, didn't see such a dramatic change in sound overnight, only gradually becoming more commercial with each album - far from an instant process. With Peter, I think he realized that continuing in the vein of Scratch simply wasn't going to work or do him any favors. Additionally, Peter is someone constantly searching for ways to broaden his horizons, always willing to try something new.
>I think that the third album was quite important for me in terms of really having a defining sound and the band coming through. It was the first record where I was clearly doing something different from what other people were doing.^(1)
Melt came with two massive overhauls to Peter's brand as an artist. Firstly, the rawness of Robert Fripp's production on Scratch, was replaced with a slick and fresh sound, thanks to Peter's new producer Steve Lillywhite. The two would prove to have a great chemistry with each other, resulting in experimental and unorthodox methods and ideas in terms of production - namely the choice to omit all forms of cymbals from the album.
>I was looking around for some young, new and interesting people that I could work with. Steve Lillywhite and Hugh Padgham had worked on the XTC record, and some other what were then alternative bands, and of the people I had met I enjoyed their work a lot.^(1)
And secondly, Peter's creative process of songwriting was completely turned on its head, as he began to write songs from the ground up, focusing on the rhythm first, before considering any kind of melody or chords. This focus on rhythm and percussion tied right into Peter's newfound interest of African music, which played a large role in the album's character, on a few songs in... keep reading on reddit ➡
Here it is, the second last ranking thread of the series (until they comeback again, in which case I'll definitely make another post). It's kinda weird to me that I started with the TSB post not so long ago and now we're already at EWO. We've watched a five year musical Bildungsroman pass by so quickly in the span of two months - is this what parents feel like when they watch their children grow? OK that might be too much of an exaggeration, but still, I've really enjoyed giving my thoughts on each album and song and I hope they were interesting to read for you guys.
Say Something Wow I really cannot believe how much this song grew on me since my first listen. It's now one of my favourite Twice songs ever, and when people were posting their top songs of 2020, I ranked it as my no.1. Thank Chaeyoung for suggesting to put a city pop song in the album. When they performed it on the 5th Anniversary Special Live I thought it was decent, but not anything to write home about. Fast forward a few weeks after EWO dropped and I'm absolutely in love with it and I have no idea why - one random day, it just clicked for me. The soft, groovy mood makes me imagine being in an 80s movie drinking cocktails with a Bond girl in a hotel bar. Maybe that's why I love it so much - the narrative it created through the girls' voices and the instruments makes it more memorable and potent than any song could be by just sounding good. I really like how smooth the transitions are from the verses into the chorus. There's nothing to overtly state that the chorus is starting, but it's still unmistakably there. My favourite part definitely has to be the ending saxophone solo though. We haven't gotten a fade out like that since Jaljayo Good Night, and I wish there were more because IMO, it's the best way to end a song.
Up No More Honestly, if Say Something was ranked 1.a. then Up No More would be ranked 1.b. I love these two songs so much and every time I relisten to EWO I always play these two first. Jihyo injecting her experiences with insomnia into the lyrics was a great idea, and that reminds me, Mera has a video about the writing styles of Twice which I thought was very interesting and definitely worth checking out if you haven't already. Anyway, while Say Something is more city than pop, Up No More is definitely more pop than city. I l
Edit: From the L2T mod team: After much discussion amongst the mods, we've decided to re-approve this post as a rare exception to the rule. u/mgraunk puts in a ton of work every year, and while the sub does not officially allow playlists posts, u/mgraunk has worked with the mod team to thoroughly vet each artist included to make sure they're within our limits. Thank you to everyone who commented sharing your thoughts on the decision.
Spotify playlist is here
2020 was a crazy year, so it’s understandable if you had a hard time keeping up with new music releases. I was in that other camp of people who found themselves listening to music even more than normal. I continued my (admittedly obsessive) tradition of listening to as many new albums as possible each week, and once again I’d like to share a few hidden gems.
These are not my top 25 albums. These are just 25 albums that I felt were sorely overlooked, based on the criteria that (almost) none of these artists have more than three songs with over half a million plays on Spotify. Hopefully we can bring their music to a wider audience. Without further ado, here are 25 great albums you might have missed in 2020:
1. Keleketla! - Keleketla! (Released 7/3/20, Multinational)
I’m going to break the rules right off the bat by including my absolute favorite album of 2020, which includes contributions from internationally famous recording artists like Tony Allen, Antibalas, and ColdCut. But in addition to these names, the musical project known as Keleketla! features many obscure and underrated artists, both from across the African continent and from members of the diaspora living around the world. It may not meet the letter of the law, but it certainly fits the spirit of this community. It’s a funky, jazzy, groovy blend of musical styles that’s truly unparalleled among album releases this past year. The vocals are carefully selected and powerfully performed, with lyrics that serve as a reminder of the many perspectives often overlooked by western-centric media.
Standout Tracks: Future Toyi Toyi, International Love Affair, Freedom Groove, Crystallise
2. Frankie and the Witch Fingers - Monsters Eating People Eating Monsters... (Released 10/2/20, California, US)
If you’ve listened to my playlis... keep reading on reddit ➡
Hello Everyone! I'm back again with another recording project. This time I'm hoping to do the whole Dvorak 8 symphony. A rather ambitious project I know but it will be fun nonetheless. This particular post is for the first Movement. I know this may be controversial, but for my sake of editing and my acoustical preferences, I will only be taking one recording a piece for Brass and Woodwind parts. First people to submit me their recordings get it! Feel free to send as many string parts as you'd like however! You will notice the first oboe part is missing as I will be playing that myself. Note: Brass with the trumpet soli and then the following trombone solo around the 7:00 mark before the English Horn solo: Have at it!!! I know you all like being loud :)
EDIT: PLEASE MESSAGE ME TO CLAIM PARTS/MAKE SURE THEY ARENT TAKEN THIS WAS A HUGE OVERSIGHT ON MY PART
EDIT 2: Apparently there is way more interest in this project than I expected, so I'm removing the part limit for most parts. I would still like people to message me before they record just so I can have a good grasp of what parts I need for each weekly update. Sorry for the confusion I didn't expect so many people to want to do this which is great!
Below is the sheet music for this piece. Make sure you grab the right part!
**[Dvorak Symphony 8](https://drive.google.com/drive/folders/1pu2GWAdNNyOPQEh0uw130E1EhlF6SErN?usp=sharing)**
* [Audio & Click Track](https://drive.google.com/drive/folders/1pu2GWAdNNyOPQEh0uw130E1EhlF6SErN?usp=sharing)
**The final date to submit your recordings is March 31***
**[Send your final recordings here!](https://www.dropbox.com/request/tnsA8zpj94pHY8CGtEzG)**
_*Please include your reddit user name, or what you want to be credited as, and instrument in the file name. Thank you!_
**_Be sure to [join us on Discord!](https://discord.gg/B2t8vYk)_**
* Piccolo (x1)
* Flute 1
* Flute 2
* Oboe 1
* Oboe 2
* English Horn (x1)
* Clarinet 1
* Clarinet 2
* Bassoon 1
* Bassoon 2
* Horn 1
* Horn 2
* Horn 3
* Horn 4
* Trumpet 1
* Trumpet 2
* Trombone 1
* Trombone 2
* Trombone 3/Bass Trombone
* Timpani (x1)
* Violin 1
* Violin 2
* Viola... keep reading on reddit ➡
Illuminations Reflections of Earth by Gavin Greenaway was the piece that accompanied Epcot’s nightly fireworks show from 1999 to 2020. The main purpose of this piece was to celebrate the world and the cultures within it that bring us all together. It is a challenging piece with funky time signatures, but it is extremely fun to play and hope you all enjoy it! This piece comes in two parts, the main part (Reflections of Earth), and the post-show song, “We Go On”. We will be performing both! Special thanks for TenorKicksBrass, Nikko N, and Justin Miller for transcribing the piece, and zmand97 for transcribing/arranging We Go On!
Below is the sheet music for this piece. Make sure you grab the right part! AND PLEASE BE SURE TO DO BOTH PARTS (Reflections of Earth and We Go On)! https://drive.google.com/drive/folders/1ppwIflaMZAP0aUcv49tEFwK8Zz_AVwHM?usp=sharing
The final date to submit your recordings is APRIL 5TH!*
*Please include your reddit user name, or what you want to be credited as, and instrument in the file name. Thank you!
Be sure to join us on Discord!
Oboe (1,2/English Horn)
Horn in F (1,2,3,4,5,6)
Bass Trombone (3,4)
Released in 1981
There's no better example of someone making the best out of a tragedy than how Phil Collins was able to channel the brutal feelings that came with his divorce and put them to song, in turn becoming one of the most successful solo artists of all time.
By 1978, Phil was more devoted to Genesis than ever, now quite comfortable as the group's lead singer, embarking on large tours and playing to sold out venues, thanks to ...And Then There Were Three's success; but as a result was growing distant from his family, particularly his wife Andrea. He received an ultimatum to either choose between her or the band; and left with no choice, Phil took a sabbatical from Genesis. To further add to all the marital tension, Phil had discovered an affair that had begun between Andrea and a home decorator. In the end, his attempt to salvage the marriage in Vancouver was a failure, and the grueling process of divorce began.
And so, in a state of overwhelming pain and depression, Phil turned to his piano and CR-78 drum machine, and began writing. Up until this point, Phil was never much of a writer in Genesis, only really offering bits and pieces to band, and lyrically, his contributions ranked amongst the group's silliest ("Robbery, Assault & Battery", "Ballad of Big", "Scenes From a Night's Dream"). But now, with this newfound source of inspiration, the words came naturally - and from the heart, while the musical ideas flowed out just as potently.
>I program some pretty simple drum-machine parts, and I mess about on the eight-track. Come back from the pub at lunchtime—after two pints of bitter, max—and mess about some more. Over a year these doodles of mine slowly take shape. But they are doodles. Nothing is really prepared, or finished. Yet nonetheless, gradually, without me even noticing really, doodles become sketches become outlines become mini-portraits. Become songs.^(1)
>You must understand that the material came before any desire on my part to be "the solo artiste". Piece by piece the songs came into evidence until finally I had a body of work that I felt deserved to be released.^(2)
Any plans Phil had for a solo album were briefly put on hold, as Genesis came back together to record Duke. Tony and Mike chose their favorites from Phil's new batch of songs, in the end going with "Misunderstanding" and th... keep reading on reddit ➡
UPDATE: Thanks to all who said they prefer chewy chips ahoy, I now know who I need to block now <3
Artist: Dua Lipa
Album: Future Nostalgia
Release Date: March 27th, 2020
Discussion Threads: Megathread
WELCOME TO FUTURE NOSTALGIA
So here’s a scenario: I’m kidnapped/forced by a buddy of mine to go on a road trip during mid july trying to find a certain species of snake(it’s a long, unrelated story) - and every single night we’re are on a highway listening to “Future Nostalgia” by Dua Lipa - her sophomore record after her smash hit, “New Rules” took the globe by storm.
We were just in love with this album - from the groovy bass lines, the intense flute melodies, the catchy beats and Dua Lipa’s wonderful voice. The album cover captures it perfectly - this really is a great album for driving in the dark.
2020 was Dua Lipa’s year for sure - before I dive into all ten tracks of this sonically cohesive album - I think we should really talk about why Dua Lipa’s sophomore album was so successful.
Even before the pandemic began - it was clear that Dua Lipa dedicated everything to making an era full of performances and moments people won’t forget - In late 2019 alone, the lead single, Don’t Start Now was performed at -
The Graham Norton Show
2019 Europe Music Awards
Radio 2 Breakfast Show
The Voice (Germany)
OnePlus Music Festival
2019 American Music Awards
2019 ARIA Music Awards
2019 Mnet Asian Music Awards
The Voice (USA)
The Tonight Show (Jimmy Fallon)
Good Morning America
Dick Clark’s New Years Rockin Eve
All of this was in the months of November and January for her lead single. And it paid off - Don’t Start Now landed #4 on the Billboard 2020 Year End List, peaked at #2 on the Hot 100 and was in the top 10 for 20 weeks.
These performances weren’t just for Don’t Start Now - she’d go on to perform throughout the entirety of 2020 of other songs on the album, inclu... keep reading on reddit ➡
Album of the Year #?: Boldy James & Sterling Toles - Manger On McNichols
Artist: Boldy James, Sterling Toles
Album: Manger on McNichols
Date Released: July 24, 2020
Boldy James, born James Clay Jones III, is a product of his hometown of Detroit, MI, through and through. James has been releasing music for years, with a number of appearances on mixtapes and tracks with other artists dating back to 2009, before releasing his debut mixtape, Trappers Alley Pros and Cons, in 2011, followed by his debut album My 1st Chemistry Set, entirely produced by The Alchemist, in 2013. The record touted features from Action Bronson, Earl Sweatshirt, Vince Staples, and more. Yet, the acknowledgement that Boldy’s rise in the public eye came about in 2020 seems inescapable, and for good reason; Boldly’s output and growth in 2020 was close to unrivaled. His full-length collaboration with The Alchemist, The Price of Tea In China, turned heads earlier this year and highlighted James’ abilities as a wordsmith. Boldy also linked up with Griselda this year, and released The Versace Tape, a short, if less notable, project produced by Jay Versace. Finally, Boldy’s (underrated) collaboration with producer Real Bad Man, Real Bad Boldy, released at the end of the year, with a short but sweet collection of gritty tracks that don’t overstay their welcome.
However, the real highlight of Boldy’s year was, of course, his work with Sterling Toles. To be clear, to attribute this record to this year alone is perhaps disingenuous; the two’s collaborative project was well over the decade in the making, with some of Boldy’s vocals dating back to 2007. Toles, another Detroit native, is a musician, visual artist, and producer, blends avant-garde, jazz, experimentation, and a number of other influences on Manger on McNichols to create a soundscape that is both chaotic, gorgeous, and stirring. The pair’s work finally graced the ears of the public this year, and the result is one of the most affecting and personal albums in years.
The Middle of Next Month
The most immediately arresting aspect of this... keep reading on reddit ➡
As was originally written for the Server vs Server Competition, this is my own work of "A Dream from the Past"
Please don't judge my composing. I'm not that good at it!
In my own words, I describe this piece as a romantic Debussy-like piece, dreaming off to a place that I've might've been here before, or sometimes forget about what takes place in a dream that you've visited from the past, hence the title "A Dream from the Past", meaning that it's hard to understand where you last dreamed to somewhere that you've never been before.
While you're playing this piece, imagine yourself that you're dreaming, going off to some beautiful places you've seen from your childhood, and think about where you have been after all these years.
This piece of music is simple and easy enough for you all to record within a day or two, and I'm really looking forward to hearing what comes out at the end of the project!
Sheet Music Notes all Harpists!: I've removed the clicks on the gliss that you can play as an ad lib, so once the clicks stop, feel-free to add some beautiful ad lib glissandos, and make them sound DREAMY as possible! This is supposed to represent a flashback or the start of someone's dream to happen.
If you need any help with your individual parts, please contact me on Reddit as u/AriannaC0807, or on Discord as Arianna#8280.
You can enter a fake name & email.
Please include your Reddit Username, or whoever you wanted to be credited as, and Instrument in the filename.
Be sure to join us on Discord!
Welcome to the top 10!
Released in 1977
The choice to leave Genesis would be one of the most important decisions of Peter Gabriel's life, and would prove to be the ideal option in both the short and long-term. Not only did it free him from the demanding and grueling lifestyle that came with being the front man of an intensely devoted band, but it also gave him a much needed break to spend time with his wife and newborn daughter, Anna.
>Success no longer holds the key to happiness for me. I wanted it badly once but it's an experience I had. Now I can get on with being a human being among other things. I won't throw myself into it quite the same way I did before. [...] The rock biz is a strange hybrid of hypocrisy. You get to the point where you're not really being yourself. You're selling something. You get the feeling that the rock star is really some sort of teenage creation realised for the most part by people who are no longer teenagers. All that tends to devalue things. It makes people eat out of their souls because they begin separating what they are from what they're selling, yet still trying to sell themselves as an entity. I could see myself becoming that. I just didn't want to go on being a member of a rock group, growing old like the rest of them. Although there was a lot in Genesis that I'm proud of, there was always some sort of time clause on it for me for freshness and vitality.^(1)
And so after a year of recuperation, a well-rested Gabriel was finally ready to get back into the music business, and set off on his solo career. After working out a collection of demos with the help of Anthony Phillips, Mike Rutherford, and Phil Collins, Peter joined forces with producer Bob Ezrin (Kiss, Alice Cooper) and was introduced to a host of session players including Robert Fripp and Tony Levin.
Eager to prove his merit as an individual songwriter, Peter would put together the most miscellaneous bunch of songs imaginable, as a sort of musical resume that covered all of his influences and interests, in a way of demonstrating all that he was capable of. And despite Car being such a diverse album, these songs somehow feel like they were meant for each other, even if the pacing can be a tad off-putting at times.
>I particularly wanted to get away from my past. It would have been very easy for me to come up wit... keep reading on reddit ➡
Given that Babymetal is in the midst of their 10th anniversary year... I wanted to make an attempt to do a review of their albums (both the three studio albums and the four commercially released live albums). However... as much as I have entertained the notion of being a reviewer of music over my many decades of listening to music... I have never actually written a review. But, much like Babymetal always trying new things... I figured, no time like the present.
The Backstory: Three and a half months after releasing their third studio album, Metal Galaxy, Babymetal put on a pair of Special Concerts (as noted on the cover of the CD... Metal Galaxy World Tour in Japan Extra Show. They do like long concert names...) at Makuhari Messe Halls 1-3... with somewhere between 40-50 thousand people present over the two nights. The combined shows showcased Metal Galaxy in all of it's duality, presenting the "light side" on Day 1 (Featuring the "traditional" Japanese Kami Band of Leda, Ohmura, Boh, and Hideki) as well as all three of the Avengers (Kano, Riho, and Momoko) that had participated in the Metal Galaxy Shows that had begun in the late spring of 2019.
The pair of CDs represent a departure of sorts from the previous two Babymetal live discs as it does not directly celebrate the studio album release (A Live from the Forum would have been the obvious choice to match the "debut" aspect)... giving the audience time to have knowledge of the songs that had yet to be debuted live.
The Songs: The album includes contains seven of the eight compositions on the light side of the Japan complete edition (with only Japanese Exclusive track BBAB missing) as well as three tracks from MR (Yava, The One, and Road of Resistance) and two from BM (Gimme Choco and Megitsune)
The Sound: Live albums live and die with the answer to a rather simple question: "Does it sound live?"
Live albums do not (normally) just get recorded at the arena and pressed onto a CD for sale. There is some matter of post-production. Sometimes, parts are re-recorded in the studio in order to paste over significant errors from any one of the musicians. Sometimes, the albums that are said to be live were fully recorded in the studio with sounds of the audience mixed in to make it sound "plausibly live."
Of course, on the other end of the spectrum is taking the live recordings and tweaking the various instruments. Basically, a mix so that the guitars aren't too loud or the bass isn't too low. While thi... keep reading on reddit ➡
"Madness in the Desert” the documentary that showcases the heart and pain behind the making of this masterpiece of Indian Cinema is so good that it’s rating on IMDB is higher than the actual movie. I would definitely recommend watching the madness even if u don’t love this movie but are a Bollywood aficionado. The story of this movie starts with a young actor-writer-director whose acting career didn’t takeoff after 20+ side character roles in mostly average movies and both his writing-directing efforts were also below average fares. This was to be his magnum opus with aspirations to become something unparalleled and unequal with any other movie in Bollywood history. A movie about a subject, set in an era, written in a language and shot in a manner which was literally a “No No” for mainstream Bollywood movies. No one wanted to make this movie, put their money behind his vision and unknown to anyone become part of one of India’s greatest triumphs of the last few decades. The movie which is listed in the 100 international movies to watch before dying and the one which literally drove it’s creators, it’s fans, India and many many many across the globe “Mad” was none other than “Lagaan”.
Never make a movie about sports, movies set in previous centuries don’t do well at the box office, movies in regional languages or dialects have an uphill task to be recognized as mainstream and always record the dialogs in the studio not on location. These are the golden rules of movie making in India. Ashutosh Gowariker had written a movie in Awadhi language about a cricket contest set in pre-independence India between the British colonists and a small Indian village with a plan to shoot with live sync sound recording on location in Bhuj, Gujarat and not in a studio. Not only was this a recipe for disaster but an absolute non starter. Ashutosh narrated the concept to Aamir who he worked with on his previous film “Baazi” and was literally shooed away. Aamir had already bombed with a “Cricket” movie called “Awwal Number" with the legendary Dev Anand. He wanted no part in this movie. Ashutosh reached out to SRK, his costar of the TV series “Circus”, but with no success. After banging his head on every studio’s door for 4 years while detailing out the characters, building the story and refining the script, Ashutosh returned again to Aamir. Listening to the story again and again with Ashutosh’s increasing passion to make this happen, eventually grew on Aamir. He proposed that not... keep reading on reddit ➡
What with the current fascination with sea shanties and sea songs, I figured that some folks might be interested in trying out the musical instruments of Western sailors of the 1800s and early 1900s. While a classic shanty tended to be sung just with vocals, sailors played a variety of musical instruments popular in their eras, and in the Folk Revivals of the mid 1900s, lots of musicians did fine work adding instrumentation to the old tunes.
Maybe you’re an experienced musician looking to try a new sound after discovering sea songs, or maybe you’ve never played a note and hearing these great old tunes has inspired you to learn. In whatever case, in this little write-up I’m going to lay out some of the traditional instruments of the era which were favored by sailors, and explain for each how affordable and easy to learn they can be, and link you in some examples to listen to and places to learn more about each instrument.
I’m not a PhD musicologist, but I do have a lot of research background, been playing traditional music for over 30 years, and have a general handle on the scene and the era. And I have for over a decade done little projects online to encourage people to push their boundaries and break away from the mainstream by trying musical instruments beyond the most common ones. Being entranced by a new genre of music is a fine time to further expand your horizons by taking up an instrument and making music yourself.
#TABLE OF CONTENTS
NOT TRADITIONAL SAILOR INSTRUMENTS, BUT WOULD SOUND AWESOME WITH SHANTIES
I will note before we begin, especially in the budget category, there are some real bargains but plenty of junk, so please use this article as a starting point, but read up a little on best buys. Don’t just say “oh, I dig Irish flute, and I see a new one on eBay for $50, sounds like a bargain!” and buy it without doing a little research, or you’ll get stuck wasting time and money on unplayable junk. All the more so for used instruments, which can offer great savings, but you really want to buy from a reputable dealer or a musician, or have an iro... keep reading on reddit ➡
Today, I’ll be talking about one of the most important albums in the history of industrial music, and certainly one of the most...infamous. If you've ever seen the cover of this album before, perhaps gracing some tier list or primer for industrial, you may well have wondered how an album that looks like that fits in with the rest. The short answer is, it’s essentially a bait and switch. It looks like a dorky, “family band” record from the bargain bin, but when you put it on, it sounds like this!
...well, not really. I’ve fibbed a bit with what I linked you to, much like Throbbing Gristle lied to you with 1979's 20 Jazz Funk Greats. “What a Day,” one of the most sonically abrasive tracks on this album, is actually the second to last track! They take a little time to warm you up to the heavier stuff, actually. The first two tracks, the title track and “Beachy Head,” are still not really “jazz funk” by anybody’s standards, but they ARE decidedly softer than some of the other stuff you’ll encounter here.
Things arguably don’t start really heating up until we reach the third track on the album: “Still Walking,” which introduces us to ear-splitting distortion, rapid, disorienting percussion, and buried, albeit deeply ominous vocals, sounding like the first “typical” Throbbing Gristle track. It’s dense and almost comically busy, almost exhausting to listen to--and yet we have only just begun.
So, where do we go from here? 20 Jazz Funk Greats wouldn’t be the legendary album that it is, if it was a one-note knock-knock joke, a jack in the box that emerges fully within the first few minutes of the album. What I think it really excels at is its ability to keep us on our toes throughout its entire runtime--it goes back and forth between showing a slightly friendlier face, and peeling back the skin of that face to show us the gory skull underneath. The whole thing vibrates along that contrast. Side two of the album, for instance, opens with one of Throbbing Gristle’s best-known tracks: [“Hot on the Heels of Love.”](https://w... keep reading on reddit ➡
Hello - I am hoping that someone here can answer some questions that I have.
I am an adult, mid 20's, and married. I've recently been reading up on the symptoms of ASD, particularly high-functioning ASD in adults who were undiagnosed as children.
I have a handful of issues that align with symptoms of ASD which I've had my whole life. On the other hand, I also have some personality traits that not only do not align with people on the spectrum, but are downright antithetical to them (at least in what I'm able to research on my own). I've been casually curious that I may have ASD for a while now, and I've done some research here and there; but nothing above taking an online test or reading a few articles, which is hardly real scientific evidence of anything. Recently, I realized that there may actually be something to this, as my wife told me that she had been researching autism on her own as she felt that some of the issues I've been dealing with (and that we've been working on together) sound like it could be ASD. Additionally, she found a handful of stories of wives with husbands that have high-functioning ASD, and said that it was uncanny how similar they were to us. I've never once mentioned my own suspicions to her, so the coincidence has made me feel like I should probably seek real medical advice.
I understand that there's no possible way to diagnose autism without seeing a therapist, but I thought that asking for any advice on here might be a good place to start; especially because I have no idea how to even find a doctor or tell them what's going on, what with the pandemic. I fully recognize that I'm not an expert, and I don't want to be one of those "but I found a blog post" people.
My symptoms that may support ASD:
I am very obsessive on the "topic of the month". I nearly always have something which I am obsessing over, and find it very difficult to get it off of my mind. Nearly every conversation I start with my wife will be on that topic. Currently, that topic is ASD! Other examples include sewing, sound systems, calligraphy, and various games. Often times I will have trouble falling asleep because my mind is racing thinking about this topic.
I fidget nearly all the time. Sometimes in the same ways (e.g. I roll my ring in my fingers a lot, and there's a spot on my desk that I've chipped the paint away by scraping my ring on it). Other times it will be with whatever small objects are at hand, playing with my hair, or picking at spot... keep reading on reddit ➡
Welcome to the famous Florentiner March by Czech composer Julius Fucik. This march is also known as the Italian Grand March and is one of the most famous marches for concert band. This march is also meme worthy due to its 24 fs in the end. While the PD edition we're playing by M.L. Lake doesn't have the 24 fs for obvious reasons, all I'm saying is don't hold back.
We're adding a twist in this project. The final part of the trio has a flute/piccolo feature. This is the final a tempo after the ritardando. There is a folder in the sheet music link below for those who want to take on the challenge in playing that part in ANY instrument. That folder has parts in the following ranges.
Below is the sheet music for this piece. Make sure you grab the right part! This edition has Eb French Horn parts available so please let me know if you need those parts.
The final date to submit your recordings is March 20th!*
*Please include your reddit user name, or what you want to be credited as, and instrument in the file name. Thank you!
Be sure to join us on Discord!
###Percu... keep reading on reddit ➡
Today, I'm tackling Soft Cell’s 1981 debut, Non-Stop Erotic Cabaret. While “Non-Stop Erotic Cabaret” is not necessarily a household name, this album did produce one track that I can just about guarantee that you’ve already heard, assuming you have any familiarity with Western popular music..."Tainted Love."
“Tainted Love” is one of those classics that’s almost too big for its own good, with an enormous shadow in popular culture. Few compositions from the 1980s, from the general arena of synth-pop, or, indeed, in the popular music canon, have quite as much of a legacy. As an introduction to the significance of Non-Stop Erotic Cabaret, it’s not an awful start, but it does have a bit of an “obvious single choice” feel--not only for that huge hook, but also for how tame, even quaint, it starts to feel compared to the other stuff here. “Tainted Love” is a gay song, sure, but it’s only expressing that idea in an abstract manner--it is a cover, after all. What the remainder of the album lacks in, uh, “DUN DUN,” it makes up for in frankness and remarkably candid handling of sexuality, which still manages to be a bit shocking, even as this album reaches its 40th birthday. Could anyone but Soft Cell’s Marc Almond really have sold us the raw, lurid raunchiness of “Sex Dwarf”?
Beyond the outrageously explicit nature of “Sex Dwarf,” its most noteworthy characteristic is just how playfully, cartoonishly devilish it is. I’ve always read it as a work in the grand tradition of the queer community reclaiming the trope of the camp gay villain, seen so often in popular media. In its purest form, this gay villain archetype is the ultimate expression of chaos and disorder--their rejection of social norms of gender and sexuality and their threat to the status quo go hand in hand. While it’s reprehensible to simply equate queerness with evil, there’s a long tradition of reclaiming that same imagery, turning the lavish power of such transgressor figures into a badge of strength, and that’s how I tend to interpret “Sex Dwarf.” That said, for as much as tracks like these seem to almost force a specifically gay reading of the album, it also seems interested in themes of sexuality and sin, more broadly. Take the track [“Seedy Films,”](https://www.youtube.com/watch?v=9reAQffvzWo&list... keep reading on reddit ➡
I'll be honest: I have tracks from True Beauty: Original Soundtrack (2021) in my phone's music library, but out of the 50 tracks compiled in the album, I only have three. Most K-drama fans would have, perhaps, Hwang In-youp's "It Starts Today," Cha Eun-woo's "Love So Fine" or Kang Chan-hee's "Starlight" or any other singles from the popular tvN 2020-21 webtoon-turned-drama. But, as you can see in the following screenshots, I only have Lee Nyum's "My New Birth", Park Se-joon & Na Yoon-shik's "Regret" and Park Se-joon & Woo Ji-hoon's "Become Goddess."
I can already imagine someone saying to me: "Just what in the world are those?"
Those are soundtracks. Soundtrack? Yes, soundtrack, but they are, specifically, the television scores or simply score (aka "background music").
I tend to consume K-dramas with a critical eye, with a mindset that K-dramas, like film or literature, are also works of art. While watching, I take note of what they could offer me in terms of various literary, technical and dramatic aspects, to name a few: screenwriting, direction, acting, cinematography and music.
And for this write-up, I would like to focus on the last aspect that I mentioned in that list: MUSIC.
Yes, as a consumer of K-dramas, I am a viewer-listener. While watching the scenes, my ears prick not only for the dialogue and the ambient sounds in the set but also for the music that accompanies the drama... the musical rhythms, melodies, harmonies and timbres that set the emotion, atmosphere or drama of the scenes. Here in this post, I'll be sharing, not the theme songs or singles used in dramas which are virtually the ones that get ALL the attention during viewing and during and after the release of the OST album, but the tracks of the OST that gets the least or no attention at all but are quite valuable and important to the whole work of drama: the television scores.
For me, some of the unsung heroes during the production of K-dramas are the drama's composers, who are in charge of writing, arranging and recording the score for... keep reading on reddit ➡
Hello everyone! This is my first project and I’m super excited. Pines of Rome is one of my favorite orchestral pieces, especially the fourth movement which we’ll be playing here (and it’s not JUST because the bass clarinet part is so great. It helps, but it’s not the ONLY reason lol). It’s a bit of a beast, but I’m sure with practice we’ll be able to pull it off!
Below is the sheet music for this piece. Make sure you grab the right part!
The final date to submit your recordings is
Sunday, February 28th SUNDAY MARCH 7TH (extended)!*
*Please include your reddit user name, or who you want to be credited as, and instrument in the file name. Thank you!
Be sure to join us on Discord!
*Violin I (Upper Staff, Lower Staff)
Cello (Upper Staff, Lower Staff)
*Basses (Upper Staff, Lower Staff)
*The buccine is an ancient Roman bugle that doesn’t really exist anymore (and if it did, it physically couldn’t play the chromatic parts Resphigi wrote). Instead, parts 1,2,3,4 will be played on Flugelhorns, and parts 5,6 will be played on baritones/euphoniums. The first and second part require mutes. If you don’t own a mute but would still like to play these parts, I ask that you please just skip the muted line.
** Considering that most people don’t have a pipe organ in their basement closet, and that covid restrictions may make it more difficult for people to use facilities that do have organs, using a synthesizer is acceptable. If you choose to do this, you may need to split up the part into multiple recordings. If you need to do this, I would recommend not combining these recordings if you don’t... keep reading on reddit ➡
Here we go again! From the top this time, we’ll be tackling a relatively long section, including Nacht (Night), Sonnenaufgang (Sunrise), Der Anstieg (The Ascent), and some of Eintritt in den Wald (Entry into the Forest). Thanks to everyone who submitted for the last section, it turned out great! If you missed out, there is a folder within this project’s sheet music folder which contains the sheet music and click for the last section we did. I will add in new recordings and edit the credits appropriately when the sections are combined into the final product.
Below is the sheet music for this piece. Make sure you grab the right part! Please message me or leave a comment here if you need a transposed part for your instrument.
IMPORTANT: I have included brackets with letters around certain locations in the parts. If your recording setup makes it difficult to record a 10 minute take, feel free to record one section at a time, indicated by the brackets, and include the letter on your submission file.
Please listen through the click and try playing with it before recording, there are a lot of tempo fluctuations throughout. There is also a folder here for clicks that begin and end closer to the bracketed letters in the sheet music, if you plan to record in sections.
The final date to submit your recordings is March 14th!*
This section will probably be more difficult than the last, so I’ll gladly give extensions for late submissions.
*Please include your reddit/discord username, the name you want to be credited as, and instrument in the file name. Thank you!
Be sure to join us on Discord!
*I highlighted the points at which the doubling players switch instruments. If you don't have access to the doubled instrument, you can just skip wherever that instrument is playing.
#Week #2: In Concert/MTV Plugged
Red Headed Woman – 2:51
Better Days (from Lucky Town) – 4:27
Atlantic City (from Nebraska) – 5:38
Darkness on the Edge of Town (from Darkness on the Edge of Town) – 4:40
Man's Job (from Human Touch) – 5:43
Human Touch (from Human Touch) – 7:30
Lucky Town (from Lucky Town) – 5:08
I Wish I Were Blind (from Human Touch) – 5:14
Thunder Road (from Born to Run) – 5:28
Light of Day (from the soundtrack to the film Light of Day)
If I Should Fall Behind (from Lucky Town) – 4:45
Living Proof (from Lucky Town) – 6:05
The album is part of MTV's Unplugged series, recorded on September 22, 1992 at the Warner Hollywood Studios in Los Angeles near the start of Springsteen's tour for Human Touch and Lucky Town. The concert originally aired on MTV on November 11, 1992 with a one-hour Springsteen documentary beforehand.
Springsteen played one song, Red Headed Woman, solo on acoustic guitar, then he and his hired band, which included Springsteen's wife Patti Scialfa Roy Bittan, used amplified instruments the rest of the show; hence, the concert was called MTV Plugged (sometimes written XXPlugged after the album cover art). Reportedly Springsteen had been unhappy with the touring band's rehearsals of acoustic arrangements, and this is what led him to break the Unplugged format. Commercially the album was certified Gold in the US.
On home release there are songs included which did not feature on the original airing of the show:
The Big Muddy
57 Channels (And Nothin' On)
Roll of the Dice
Bruce Springsteen – lead vocals, lead and rhythm guitar and harmonica
Zack Alford (as Zachary Alford) – drums
Roy Bittan – keyboards
Shane Fontayne – lead and rhythm guitar
Tommy Sims – bass
Crystal Taliefero – acoustic guitar, percussion and background vocals
Gia Ciambotti – background vocals
Carol Dennis – background vocals
Cleopatra Kennedy – background vocals
Bobby King – background vocals
Angel Rogers – background vocals
Patti Scialfa – acoustic guitar and harmony vocals on Human Touch
[Link to the Album Cover ](http://imgur.com/... keep reading on reddit ➡
I'm starting a new campaign in a few weeks and one of the players is interested in making an Audiomancer (see: http://www.unnaturalphenomena.com/wp/?p=3461). I'm updating the school to 3e and adding in some additional formula spells that deal more closely with the theme of the timing and arrangement of events, but I've noticed that the charging structure is a bit too powerful (I think). Here is the original charging structure and taboo:
Minor Charges: Spend an hour listening to music you haven’t heard before.
Significant Charge: Spend an hour listening to a type music you haven’t listened to before, either new genre or a new instrument.
Major Charge: Hear a completely new type of music. This could be a completely new genre of music, but must be significantly different than any present genre. For example metal was a significant break from rhythm and blues, but hair, speed any other metal are not significant breaks from metal.
An instrument only count as new if it produces sound in a completely new way. So The first stringed instrument would have generated a charge, but then no other. Also ANYTHING that is played by hitting something with a stick is a percussion instrument.
The audiomancer must listen to this music at least 3 hours a day for 111 days to absorb the charge. If another earwig starts listening during this time, the charge may be lost to both.
Taboo: Every moment you can’t hear the rhythm of life you fall further out of beat. Every five minutes a Beatfreak goes without hearing music they lose a minor charge. If they have no minor charges, a significant charge is broken down and one of the ten minors is lost.
A Earwig can avoid this by singing or playing an instrument, but simply humming or clapping a beat is not enough. The earwig must be able to hear this music, so electric instruments must be plugged in and turned on and headphones are fine.
The quality of music does not matter for this taboo, but the volume does. (in game terms, this should be a penalty to all Notice check related to hearing of at least~5.)
So far I've changed it to the following to clarify some things and make it a little stricter:
Generate a minor charge: Spend an hour listening to music that you haven't heard before. You must actually be listening to the music and giving it your attention (you can't be sleeping or performing a task that requires a signi... keep reading on reddit ➡
Today, I’m going to be digging into the work of Frank Tovey, better known as “Fad Gadget.” While Tovey was the very first artist signed to Daniel Miller’s Mute Records, his legacy doesn’t seem to be remembered quite as strongly as many of his labelmates. He never achieved the heights of pop stardom that Depeche Mode did, and despite being a daring and experimental artist in his own right, he doesn’t have quite as prominent a cult following as, say, Einstürzende Neubauten. Fad Gadget may not be for everybody, but he’ll always be an important artist to me. As a teenager, he helped me bridge the gap between listening almost exclusively to mainstream synth-pop, and becoming much more interested in underground styles like industrial. And my first love was this album, Tovey’s third: Under the Flag.
Tovey’s first 7” release, featuring the tracks “Back to Nature” and “The Box,” was released on Mute Records in 1979, as MUTE 002, second only to Daniel Miller’s own “Warm Leatherette.” His early singles, as well as his debut album, Fireside Favourites, stuck to a similar sonic template as “Warm Leatherette”: sharp, punkish assaults on common decency, propelled by a harsh synthesised pulse or two. But for his second LP, 1981’s Incontinent, Tovey went in a different direction. On tracks like "Blind Eyes,", he maintained his bile, and impatience with the societal status quo ante, but assumed the guise of a Medieval fool, and incorporated a substantially larger proportion of traditional instruments into his sound.
For his follow-up to Incontinent, Tovey would straddle the line between gritty, industrial synth lashings and that counter-cultural dark cabaret. And sometimes, he’d even do it within the same track, as on the fearful “The Sheep Look Up.” On “The Sheep Look Up,” a sparse, piano-driven intro unfurls to reveal a menacing electronic undercurrent. But the piano doesn’t depart from the track--in fact, it keeps up with the pace just fine. As jarring as the synth’s entry feels initially, it’s never the only source of tension in the track. Like a lot of great electronic music, Under the Flag ap... keep reading on reddit ➡
This is my next and current project, Symphony in A Minor, Movement 4, Finale: Allegro Moderato by Louis Vierne, Op. 24. I thought it would be a wonderful idea to feature a work by a visually impaired composer, and I stumbled across this and thought "hey I think this would be really suitable for RSO to perform" so here we are. You can listen to the whole symphony here. This is the only recording that exists on YouTube, hence it is the one featured in the click track provided with this project. Since the first two movements are 13 minutes each with an attacca in between and the third movement is a fast paced scherzo, I felt that the fourth movement would be the most suitable one for an RSO project piece.
Louis Vierne (1870-1937) was a French organist and composer. He toured Europe and the United States as a concert organist, and served as the organist of Notre-Dame de Paris from 1900 till his death. Vierne died while giving an organ concert at the Notre-Dame in1937. He focused on composing organ music. His output includes six organ symphonies and a Messe solennelle for choir and two organs. His Symphony in A Minor Op. 24 is his only orchestral composition. Louis was born nearly blind due to congenital cataracts and underwent eye surgery at age six. He only had enough vision to distinguish shapes and people and read large print.
Vierne wrote his Symphony in A Minor in the summers of 1907 and 1908. However it was not premiered until January 26, 1919 at the Salle Gaveau in Paris by the orchestra of the Colonne-Lamoureux Association with Gabriel Pierné conducting. It was dedicated to Gabriel Fauré. Writing a work for full orchestra was an extra challenge for Vierne because his limited vision made it difficult to write large scores for orchestra. This work was also written during a time of personal struggle and difficulty related to his marriage and family.
As someone who is visually impaired myself, Vierne's story is one that is dear to my heart and one that reminds us that you can do anything you put your mind to and set your own limits, rather than letting others define your limits for you. Vierne also lived during a time where opportunities for people with disabilities was quite limited, and those with disabilities still face many challenges today. For those reasons I felt it was very appropriate to do this piece as a project over here at the RSO, and to share a personal story that's so clos... keep reading on reddit ➡
I saw a conversation earlier this week about why there is so little criticism of electronic music, and I was wondering if rock (at least the stuff that relies on distorted electric guitar and studio processing) could be considered a style of electronic music. Here are some possible points:
Yes, because it relies on electricity. If you pull the plug the music stops. This has been stated by the early electronic rock band Silver Apples, who argued that all electrified rock music should be considered electronic music.
Yes, or at least as a key influence on electronic music, because of how closely tied early electronic music was to rock. Although there were other influences (jazz and experimental classical composers like Raymond Scott and Stockhausen), most commercially successful electronic bands and projects from the 1950s-1970s were associated with or grew out of rock projects and genres. Joe Meek grew out of the 1950s English skiffle craze, Kraftwerk came from krautrock, Silver Apples came from psychedelic rock, Yellow Magic Orchestra came from folk rock, Brian Eno came from Roxy Music-style glam rock, Throbbing Gristle were associated with underground punk, and early British synthpop came from post-punk. In addition, the synthesizer was popularized largely by rock musicians; a list of the first synth songs will include Del Shannon, the Beatles, and the Monkees and many of the first users of the first mass-producer synthesizer, the Moog, were rock bands. Admittedly, though, modern electronic dance music is more heavily influenced by funk and disco via house than early electronic music.
Maybe; it depends on the band and song. If you only consider synths, DAWs, and samples/remixes to be electronic instruments (sorry, electromechanical instruments like electric guitars and Hammond organs), then only songs and bands that heavily use them are electronic music. This would make lots of 1980s rock electronic music, as well as some individual songs by for instance Pink Floyd, the Beatles, and the Monkees.
It's irrelevant. Electronic music is a descriptor, not a real genre. By this standard, it's unimportant whether or not a particular piece or project is "electronic music" because to call a piece electronic is no more meaningful than to call a piece with drums "percussive music" or to call a piece made in Hungary "Hungarian music." Even if rock is considered to be electronic music, it'... keep reading on reddit ➡
Q&A with Teruo Sato (Director), Yasushi Nagura (Sound Director), Kaoru Wada (Composer) from Yashahime OST CD booklet released on March 3, 2021.
This English translation is directly from the booklet. Some of the translation is a bit wonky. I tried to edit it when and where needed. For example, at one point in the interview, Sesshoumaru is spelled as "Sashoumaru". I'm not sure if this is intentional but I felt it made sense to edit his name in this instance. I didn't want to edit more than necessary.
I am taking excerpts from the three page Q&A. I'm mostly picking and choosing what I personally find to be the most interesting or noteworthy from the interview, in particular the development of the series because there's a lot of great new info here.
TOPIC -- First of all, please tell us how you all came to be involved in "Yashahime: Princess Half-Demon"
SATO: "I've joined the team through directing "Inuyasha", and I was asked by the producer to be a part of this anime. I worked on Inuyasha: The Final Act as an assistant director and was told "how about making a new series inheriting the worldview (of Inuyasha: The Final Act)?". I gladly accepted the offer."
NAGURA: "I was working as a recording engineer on Inuyasha. The cast and crew of "Inuyasha" got along very well and met regularly every year. We always talked about doing a story beyond "Inuyasha". I was a little surprised to be asked to be the sound director. Since the story was not for "Inuyasha" but for the next generation, I decided to accept the job. I probably wouldn't have accepted if it were "Inuyasha". But actually, when I was working for "Inuyasha" I was working not only as a recording engineer but also the curator of the music, around the time of "Band of Seven" series. In that sense, I was involved one step further from the recording in this series, so I was able to take it straightforwardly without much pressure. Although I was told that this anime is about the next generation, since the first episode was almost like "Inuyasha", I thought, "shouldn't the sound director be Youta Tsuruoka (who worked on "Inuyasha" and "Inuyasha: The Final Act")? (laughs)."
SATO: "Tsuruoka-san visited the recording session of the first episode (laughs)."
NAGURA: "That's right. That's how we enjoy working on this anime as a team (laughs)."
WADA: "Since "Inuyasha" had such great teamwork, I was also able to continue my participation with my trusted friends. Michihiko Suwa (of ytv nextry, who is... keep reading on reddit ➡
-Keep trainee discussion in here. Please let me know if I made any errors-
list found here: https://produce101.jp/profile/list
|Name||Age||Blood Type||Height||Weight||Hobby||Special Skill|
|Azumi Muta (安積 夢大)||19||O||175||57||Dance||Speedy cashier, grocery packing|
|Abe Hajime (阿部 創)||20||O||178||60||Thrift shopping||Masuo-san impression (TL Note: Sazae-san Character)|
|Arai Haruki (新井 遥紀)||19||A||170||52||Golf, manga||Dance: "LiteFeet," R&B / Other: Hat tricks|
|Iinuma Anthony (飯沼 アントニー)||16||AB||172||51||Badminton, drawing||Funny faces, walking on knees|
|Iiyoshi Rui (飯吉 流生)||22||B||178||59||Hikigatari (TL Note: musical storytelling. Example here.)||Soccer|
|Ikezaki Rihito (池﨑 理人)||19||O||178||63||Watching movies||Instrument: Drums / Vocals: Western music, guitar Hikigatari / Caricatures|
|Ikeda Yuri (池田 悠里)||19||A||179||62||Singing, petting cats||Face impressions, jackknife crunch (exercise)|
|Ikemoto Katsuhisa (池本 勝久)||16||B||172||57||Watching football, reading manga||Ballads, football|
|Izutsu Yuta (井筒 裕太)||17||A||171||58||Gaming, dance||Lifting|
|Iwata Kazuma (岩田 和真)||20||O||170||57||Watching YouTube, video production||Freestyle dance|
|Vasayegh Hikaru (ヴァサイェガ 光)||21||?||182||68||Weight training, choreography||Dance (HIPHOP/R&B), driving, speaking Persian|
|Ueda Masato (上田 将人)||21||A||184||70||Eating, music, movies, weight training||Cooking (fried rice, pasta)|
|Uehara Takahiro (上原 貴博)||21||A||171||54||Dancing, parkour, video production||Acrobatics|
|Uchida Masaki (内田 正紀)||23||B||171||55||Hikigatari, karaoke||Yosakoi (dance from Kochi Prefecture using naruko), Shorinji Kempo (Japanese MMA based on Shaolin kung fu)|
|Edamoto Raia (枝元 雷亜)||21||A||180||63||Taiko (J|
It's time for our next ranking discussion, this one for our second JP album. &Twice is one of my favourites from them and has some great b-sides. For me, 2019 has so far been their best year musically, I loved everything they released.
Happy Happy As the title suggests, this song makes me super happy happy. This might actually be my favourite JP title track, which is funny since I actually like the official collapsedone remix better. More than just the 'cute' concepts, I think Twice's true specialty are the upbeat, positive-sounding songs, and Happy Happy is the epitome of that style. The MV is really fun as well. The way they did the day/night switch between Happy Happy and Breakthrough while still using the same sets was creative and I'd like to see them try something similar in the future with another dual title track release. Favpurite part has to be Mina's soft falsetto in the bridge. Totally angelic from her.
Swing I'm surprised that this doesn't have an MV considering it was the new track on the repackaged album. I've talked in previous ranking threads about how those electric guitar parts are always really good, and I'll mention it again here. Something about the sound just gives me a seratonin boost. I liked the way they pronounced "Swing" as "Seu-wing" instead. It made the hook more memorable even though it's pretty catchy already. I wonder if they will perform this at the JP online concert. I'd like to see a choreo, I think it would be pretty fun.
Changing! That grungy bass had me hooked from the very start. The brass instruments were a nice addition in the chorus to give the song some flair. Actually what's strange about this song is that nothing particularly stands out as a great part to me, but it just sounds great as a whole.
Stronger This has a very similar production to Changing! Some of the instruments/synths they used must have been the same. I have the same comment as above for Changing! as well, in that no singular part stands out as something special, but everything meshed together well and still created a great song overall.
What You Waiting For Twice's first original all-English song, and they put it on a JP album. Strange, but I'm not complaining, because I really like it. The song is very EDM-like with the drop in the chorus, which I enjoy since EDM was the main type of music I listened to before I got i
Artist: Metro Boomin & 21 Savage
Album: Savage Mode II
Background by u/djreshiram
The story of Savage Mode II would not exist without an amazing origin story, after all this is a sequel.
The year was 2016. After a slew of mixtapes and an unfavorable appearance as XXL’s 2016 Freshman List, 21 Savage was a hot topic for good reason. The now infamous 2016 Freshman cypher featured 5 up-and-comers labeled “mumble rappers” who many believed would not last in the industry. It’s quite romantic how arguably all 5 of those artists are still relevant. It felt that so many people wanted them to fail, as they exclaimed hip-hop was dying and this was the nail in the coffin. The beautiful irony was that all these artists were trailblazers; unique individuals who were far from “killing hip-hop”. They’re innovators, who have and continue to craft amazing works of art in the ever-evolving world of music we love.
To be a fan of 21 Savage, one must understand who he is. The coldest fucking rapper to speak on the mic in a long ass time. 21 Savage is the lean sippin, gun wielding, hood oracle we didn’t know we wanted. A man who suffered so much, you can hear it in his voice of earlier music. You can hear the trauma of being failed by an education system, the trauma of having to sell drugs to survive, the trauma of losing a brother, and 2 friends, one at 19 and one on his 21st birthday, where 21 was also shot 6 times. All those atrocities birthed arguably one of the best gangsta rappers since 50 Cent.
Personally, I remember not being a fan of 21 in the early days. I thought he was one-dimensional with a barrier around him, that he could never break. It was hard to see the 2016 Savage have any range, it really seemed like he’d be another run-of-the-mill street rapper. Thank fuck, I was wrong.
After living a hell of a life, at age... keep reading on reddit ➡
Released in 1979
When Phil's marriage was beginning to fall apart in 1979, Genesis decided to go on hiatus. Phil flew off to Vancouver in a final attempt to prevent any chance of a divorce, while the group's future was left up in the air. For Mike and Tony, this would come as a blessing in disguise, as the two finally got the opportunity to make their first solo projects (something both had been firmly against just two years earlier with Steve). So Tony headed off to ABBA's studio in Stockholm to begin work on his first solo record.
Wanting to challenge himself as a musician, (along with how much time and money he'd save without hiring session players), Tony decided to play all the bass and guitar parts himself. For the drums, he turned to his pal Chester Thompson, who he believed would be a great fit. As for the vocals, Tony knew he wouldn't be able to do a convincing job himself, and ended up going with folk/rock singer Kim Beacon, from String Driven Thing. Together this trio, along with producer David Hentschel, would record A Curious Feeling - Tony's crowing achievement.
>I think I’d had the idea for a solo album back in the seventies. I had one around the time Steve wrote his album. That was about 1976 and then in 1978, Phil needed a hiatus from the band. He wanted to work on his first marriage, so this gave Mike and I the chances to record our solo albums. There’s a lot of material here, I’ve never really thought what’s a Tony Banks song or a Genesis song. I like all of it and it happens to be what I’m writing and what I’ll be writing next.^(1)
Much like Genesis' latest record, And Then There Were Three, Tony's debut would be filled with moody and keyboard-heavy songs, with dense and complex arrangements typical of his writing style in Genesis. And heavily inspired by Daniel Keyes' classic novel Flowers For Algernon, Tony went about on turning the story into a concept album. For marketing purposes, several alterations were made to the plot, but the overarching themes remained intact.
>The original idea for A Curious Feeling came from a book I’d read called Flowers For Algernon. I really liked the story, but was advised to change it because there was a musical starring Michael Crawford opening with the same name.^(1)
>So it is a little different but the overall sense of a man losi
Released in 1988
The year was 1986. Genesis were on top of the world, playing sold out shows every night in support of their bestselling album, Invisible Touch, and were proving to be an unstoppable force.
>The tour began in mid-September in Detroit, Michigan. It was like we had entered the stratosphere: private planes, police escorts, packed stadiums every night. And everywhere we went there’d be a Genesis song or a Genesis video playing. For the next eleven months it was like being royalty. People would often say, don’t you get tired on tour? Perhaps what they don’t understand is the connection you have with a crowd on stage: the energy you get from 50,000 people in a sold-out stadium is incredible. You’re standing there and the noise is just a roar: it’s like a battle cry but everybody’s on your side.^(1)
But then, out of the blue, Mike received a call from his wife telling him that his father had died. This was a man who Mike deeply loved and admired but had always had a hard time communicating and relating with. His death came as a shock and Mike felt that the two hadn't ended on the best of terms - It was the darkest time in his life, and at first he tried to suppress these feelings.
>The tour carried on as normal, as though nothing had happened. It was surreal. I found I could go on stage and get lost in the music for two and a half hours and even enjoy it. I could switch off. The thinking process stopped. But then the show would end and the realization of what had happened would hit me all over again. There was a sense of security, of safety, playing with Tony and Phil but we never discussed what was happening. Our friendship just wasn’t like that – Tony and I just weren’t brought up to talk about our feelings.
>When I stood there playing ‘Mama’, hoping that I was showing my father how my life had been shaped by what he’d taught me – duty, honour, commitment – I was aware that I had not always demonstrated those values towards him when he was alive. As a teenager I’d been so intent on rebelling, so intent on making sure that I was everything that he was not. Now, I hoped that, before he died, he had seen something he was proud of in me, something of the right spirit. I had many of the regrets that so many of us suffer: all the things I hadn’t told him, all the th
Released in 1985
At last we arrive at the best selling and most popular record from any Genesis member. No Jacket Required saw Mr. Collins fully embrace 80s pop, and largely abandon the art rock leanings of his first two albums in place of dance-oriented, electric, and at times, artificial pop songs. It's his least personal record to date, and it showed that he could still earn massive success without "milking" his divorce and heartbreak as some would say.
>The songs are a lot harder and more danceable. I wanted to write a few dance songs, I wanted to try and change as much as possible, but not just out of bloody-mindedness, I wanted to change just to see if I could change, just to see if I could write different types of songs, and I think I've succeeded in that. There are still a lot of things in the album that will be typical of me, but there are quite a few things that aren't. I think the album lyrically is happier, and it's just more of an "up" album. I'm much happier with the way this has turned out [...] than I think I was on the last album.^(1)
Every single track on here is simply irresistible, and I think any of them would've gained plenty of radio-play had they all been released as singles. Interestingly enough, on Phil's previous album, eight of the ten songs became singles, whereas No Jacket Required was limited to four.
No doubt the album's most recognizable song, "Sussudio" was one such single, hitting the number one spot on the US charts. It's four minutes of addicting and synthetic funk, sure to ingrain itself in your head for hours on end. Much like "Abacab", the chorus and title are utter nonsense - and yet it doesn't matter in the slightest, simply due to how catchy this song is. The energetic horns, those bright synths - everything about it is memorable.
While nearly everything that Patrick Bateman says about music in American Psycho is pretentious and misinformed, I find this quote to be quite accurate:
>"Phil Collins’ solo efforts seem to be more commercial and therefore more satisfying in a narrower way, especially No Jacket Required".^(2)
There's nothing thought provoking on this album, or anything that reaches the creative heights of Genesis; but the immediate nature of it all just makes it so access... keep reading on reddit ➡
Released in 1991
With Still, Tony made it clear that he had learned from all the mistakes that came with the commercial and artistic failure that was Bankstatement. The uninterested vocals of Alistair Gordon were swapped out for three strong male voices, while Jayney Klimek, (female singer of Bankstatement) remained on board. The array of vocalists, along with the album's stylistic variety, resulted in Still being Tony's most varied album to date, and his strongest pop effort. The production also proved to be a huge improvement over Bankstatement, with the dated synth tones all but gone, and the album having a much cleaner sound overall, thanks to Tony's newfound producer, Nick Davis. (Yep, that Nick Davis)
While Tony was still very much on the never-ending quest for a hit single, his writing is far more natural on this album, with plenty of his signature quirks and peculiarities thrown in with the accessible melodies and more conventional pop tropes, similar to his method of writing in Genesis.
You won't find a better example of this then with our opener, "Red Day on Blue Street". With the intro we get a dark and almost industrial sound similar to "Second Home By The Sea" that you're not quite sure what to make of at first, until Nik Kershaw comes in with his smooth voice for a bouncy verse and even catchier chorus, with lyrics that touch on corrupt and insincere politicians. It's high quality pop that shows just how far Tony has come along in writing more mainstream music.
But as we move into the song's middle sections, Tony's prog tendencies take over, going "a chord too far" as he'd put it. -A dark bridge with many twists and turns, followed by both a keyboard and saxophone solo. It's about as developed of a pop song you can get, and quite a strong opener too.
>["Red Day On Blue Street" is] one of the more intricate songs on the album.
>There is a Genesis flavor that pervades the album and I can't really stop it, because that's what I do. I suppose that through many of the band's periods, my own taste has tended to govern the direction the music has taken a lot of the time. So, left to my own devices, I'm bound to do a similar thing.^(1)
"Angel Face" see... keep reading on reddit ➡
Released in 2018
I'm sure I won't ruffle any feathers when I say that Tony Banks was the best composer in Genesis. Not only did he write more for the group than any other member, but his songs were always amongst the group's grandest and most explorative. "Firth of Fifth", "The Lamia", "Mad Man Moon", "One For The Vine", "Burning Rope", "Cul-De-Sac" - I mean the list goes on and on. Tony's expansive arrangements and wondrous chord sequences are one of the main reasons I love Genesis so much, and he truly was the heart of the band.
His solo career started out equally striking with A Curious Feeling, but after that album's meager sales, he took off his prog cape, in favor of writing more accessible music - always in search of a hit single. Due to this pursuit of success, his adventurous spirit had largely died out when it came to his solo work, but traces of his progressive roots would occasionally rise to the surface ("Another Murder of a Day", "An Island In The Darkness").
And after the failure of Strictly Inc., Mr Banks turned towards orchestral music. With Seven, Tony no longer had to worry about the conformity and pressure that came with writing pop music, and was free to make his songs as long and complex as he wanted! However, the transition from pop to classical wasn't as easy as Tony had thought it would be. He was really entering into an entire different world of music, and had to learn all of the genre's rules, regulations, and expectations from scratch. Additionally, his unfamiliarity meant that he had very little control over the orchestral arrangements, and was rather displeased with how some of the orchestration on Seven turned out.
Six came along eight years later and would prove to be a large step forward. Everything about it was more focused, as Tony had played a greater role in the album's production, while also working with a much more efficient orchestra. Six had plenty of great pieces, but it sometimes felt like Tony was mainly fixated on trying to fit in with his classical contemporaries, rather than make something completely true to himself. But with Five we get just that. After decades, Tony's spirit of adventure is finally (fully) rekindled, writing some of the best pieces in his entire career, that ooze with a Genesis kind of sound. It may be fully orchestral, but Tony's distinct chords and expert talent o... keep reading on reddit ➡
Hello! It's been a few months since I ran a project here, and with the apparent demise of the original attempt of this project, I've decided to take on the mantle myself. This is three minutes or so of some of the best brass writing ever and one of those rare occasions where I feel like a small portion of one movement of a symphony can truly stand on its own as a separate piece of music.
Below is the sheet music for this piece. Make sure you grab the right part!
The final date to submit your recordings is January 31!*
*Please include your reddit user name, or who you want to be credited as, and instrument in the file name. Thank you!
Be sure to join us on Discord!
Clarinet (E-flat) (1,2)
Clarinet (B-flat) (1,2,3+bcl) note: 3rd clarinet and bass clarinet are on the same sheet
Horn in F (1,2,3,4,5,6)
Trumpet in F (1,2,3,4,5,6) note: B-flat transposed parts also available
Trombone (1,2,3,4) note: my preference is TTTB on the parts
Violin I, II
Not much to say here honestly, but brass, these notes need to be held full value even if they're marked marcato, just give them a nice front edge. Big, heavy, Teutonic.
Strings have a lot of divisi. Sorry. And basses, if you don't have a C extension, that's fine--record a second track of the upper octave notes and I'll just fake it from there.