I've missed all of these songs ..

There should be a second edition that includes "Little Mermaid's Vacation," "CONGRABULATIONS!" and "So Kawaii Space Puppy" (It could easily be done; Kulor has enough songs tongue )

Music you can drift off to smile Great stuff


(13 replies, posted in General Discussion)

Only a month huh? Well, I guess we've had lots of notice for it though..

(Also, someone can feel free to close/remove my thread for this as I forgot one already existed for this topic tongue )


(15 replies, posted in General Discussion)

Knock yourself out.
8-bit fusions are great (chiptune fused with "real" instruments)


(16 replies, posted in Nintendo Consoles)

So I suppose I should mention that this is happening soon: http://midr2.under.jp/compo/vol9/index.html

Entry forms are still under construction but people should be able to enter soon.
For people who haven't heard of this; Famicompo Mini is a yearly Japanese contest, but people from around the world enter. It gets some really awesome/fun entries

Rules I think are the same as last year:
- Up to 2 entries allowed (one original, one cover) per artist
- Up to 5 songs per .nsf

Woo! smile


(102 replies, posted in General Discussion)

Dr Treble wrote:
rasta_dan wrote:

i can read treble clef and bass clef well, and i can kinda read alto and tenor clef, but they're kinda useless...
i can't read drum music (and neither can i write it)

I've never even seen a tenor clef. mind bown.

Tenor clef looks exactly like an alto clef, but positioned on the next line up.
Middle C is on the "D" line (4th line of the stave)

Alto clef is very useful for viola players. It's rarely used otherwise though, and almost never in keyboard music.


(102 replies, posted in General Discussion)

an0va wrote:

I've always thought that was crazy how pianists can sightread dual clef action. I imagine one clef being okay, because one note has one location on the piano (middle C is...middle C). But on a six string guitar that same middle C can be found on five different strings in five different positions and all are fair game to play from. yikes

Learning to read music for guitar sounds like a handfull. As you said, there are many possible different ways to play a melody on guitar. Then again, I know almost nothing about guitars and music notation for them (except that they use tab notation) tongue I tried learning guitar for a bit, but it wasn't really my thing.

Sight reading for piano is really just difficult because there's sometimes lots of stuff going on at once. It can get especially entertaining when there's three/four part counterpoint going on. Other than that, it ain't too bad as it doesn't transpose and as you said, there's only one place to play a note.


(102 replies, posted in General Discussion)

I can sight read, though not right off the bat. I'm a piano player, and I used to be in a choir. In piano exams, sight reading tests for me were a bit of a nightmare as I've never been fully comfortable with reading both treble and bass clef at once. I can read single lines on a first go easily though (providing they're not ludicrously difficult).

Not bad smile (better than my first Modplug tunes for sure tongue )

I think the melody lead could've used some vibrato/expression, which is my main critique

ModArchive.org has a plethora of modules that are good to study, if you plan to keep using Modplug; it's a powerful piece of equipment when used well


I can pretty much echo what Chainsaw Police has said; gradual tempo changes, expressive dynamics, great use of harmony etc. There's a real sense of musicianship in this album, and it's rare to find chip/electronic musicians that incorperate these kinds of details into their music. Congrats big_smile


(34 replies, posted in Collaborations)

I miss Steady C

SketchMan3 wrote:
an0va wrote:

edit: also, wtf is the "that Avril Lavigne chord progression?"

In major keys: The I V vi IV


And the vi IV I V

I know that she didn't invent those, but those are pretty much all she uses, and she was the one who caused me to discover the prominence of those two progressions, so that's what I call it.

Ah, the "Stereotypical Pop Chord Progression." Yup, 90% of pop music uses that progression. It's annoying

Yeah, you're right. I should have said "Getting away from conventional western tonality" instead.

And Bach is awesome. He made a composition based on the letters of his name, (H is A, if I'm not mistaken). That's awesome.

Bach is probably my favourite classical composer.

Another way of "breaking the tonal centre" which you could be describing in your first post can be achieved by using whole tone scales. Unlike normal major/minor/modal scales, these just go up in whole tones (eg. C, D, E, F#, G#, A#, C). Because there are no semitones in a whole tone scale, there are no resolutions (ie. You can't create proper cadences). This produces a "mysterious" effect.

Although the composition could have an actual key signature, whole tones are a way of disguising it in order to create tension/make things more interesting.

An example, Berg's "Nacht" (whole tones right from the start, but then at 0:49 we get a cadence) : http://www.youtube.com/watch?v=3RzlaMU1RVA
A chiptune example is Velathnos's "Action 53" : http://www.youtube.com/watch?v=ItbJ7r__ … ature=plcp (again, whole tones from the start)

It is also permissible to drive tension by a means other than harmony, such as rhythm, lyric rhyme, or outright storytelling. Just something to think about.

This is also very true.
Dynamics are a great way to produce tension, and it's one that's often overlooked in chiptune I've found.

boomglitch wrote:

I'd just suggest listening to and studying Stravinsky's works.

Stravinsky's a VERY good composer to study. "The Rite of Spring" (and other 20th century works) frequently uses a tonal technique called "Bi-tonality" where there are essentially two key signatures going on at once. It sounds very dissonant at times (I guess to can say it sounds atonal, even though it really isn't), the way he does this, but at other points, it sounds beautiful.  This is because of the conflicting nature of each key signature.

For example, a little way into this piece, he combines Eb Major and E Major, and it ends up sounding very clashy, but the music is still tonal.
Certain combinations can sound good (eg. Tonic + Dominant works well). It's a trick that's fun to experement with.

There are no "rules" to tonality, but you can reinforce them if you want to (ie. 16th Century Counterpoint). But, even geniuses like Bach broke the "rules"


(121 replies, posted in General Discussion)

Frostbyte wrote:

For me the graph is the opposite way around


(13 replies, posted in General Discussion)

So soon!