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Nice Idea. I would like to be involved in it.
I have a track which is a jam between a gameboy camera and alto sax and an electric bass. Could this be useful for the compilation?
http://chipmusic.org/wandering+genie/mu … ated-world
Anyway, if it must be with GB camera only, I can composse something, depending on the deadline for the project,
Thanks,
Very interesting! I would like to participate.
Just a question, Does the song must be done exclusively with this samples or can we integrate the samples with other sound sources?
Thanks,
I play alto sax and can read fairly well in G clef in second line. As my intrument transposes, I´m used to transpose too, for the alto sax is useful C clef in first line. I can read well F clef in four line. Not long ago I could read F in third as well as C in all the other lines (Third, Four and second line), though not as well as the other clefs. Now, due to lack of practice it coasts me a little more in these last ones.
In fact, as a saxophone player said: reading is easy, the difficult part is the music... if you understand what I mean.
I play alto sax and can read fairly well in G clef in second line. As my intrument transposes, I´m used to transpose too, for the alto sax is useful C clef in first line. I can read well F clef in four line. Not long ago I could read F in third as well as C in all the other lines (Third, Four and second line), though not as well as the other clefs. Now, due to lack of practice it coasts me a little more in these last ones.
In fact, as a saxophone player said: reading is easy, the difficult part is the music... if you understand what I mean.
Well... I think that If you already have the music (all the ones who participated), you could gather the songs an make your own compilation (and maybe, give it for free). If you did this for promotion, you don´t need the guy, you can promote yourselves by creating your very own compilation. After all you already have the music composed. Appart from that, even if there is no contract, I don´t think the guy has the right to use your music, as he is using it in a different way. You gave him permission to use it in a way and he is making a totally different thing. Besides that, there are forums like this one to prevent people from this guy. Just spread the word. Using the correct words in the correct places, the guy can lose more than he can win.
I like it, It has a very calm mood. I don´t know famitracker, so I don´t know if this is possible, but I think that subtles changes in volume in the arpeggio comping would benefit the piece. In my oppinion, the relaxed drums fit better this mood than making them faster.
@ Xuriik You are right! Thanks for the corrections. "10% Toma lo que puedas." and "20% Músculos" are the correct expressions. I forgot the "ú" (stressed graphically) in Músculos and I misunderstood the meaning in the other sentence. I am a native Spanish speaker, so the problem was I confused my interpretation of English. Because of that, the Esperanto sentence "10% Vi prenas tion kion vi ricevas" is wrong too, the correct one should be: "10% Vi prenas tion kion vi povas".
If "It's human to be mistaken" means "to err is human" the correct form in Spanish would be "Errar es humano" (is a common phrase used sometimes in our language.
Also I am doubing with this one: "10% Sin sentido filosófico" could be "10% Sinsentido filosófico" (without the space between the two first words) It has a similar meaning but with some subtle differences. I guess both could be used.
Thanks again for the correction
@ 9-heart please take a look at this corrections as they will fit better the translation you are needing.
by "cookie" do you mean "biscuit" or something similar?
SPANISH
110% Galletita - Mi Galletita
10% Sin sentido filosófico
2% Es humano estar equivocado
10% Tomas lo que recibes
33% La bestia es ELLA
11% Curiosidad y aventura - explorar las pequeñas y grandes maravillas del mundo
4% Torta de nuez
20% Barbacoa
20% Musculos
ESPERANTO
110% kekso - Mia kekso
10% Filozofa sensencaĵo
2% Estas homa erari
10% Vi prenas tion kion vi ricevas
33% La besto estas ŝi
11% Kuriozaĵo kaj aventuro - ekzplori la malgrandajn kaj grandajn mirindaĵojn de la mondo
4% Kuko el nukso
20% kradrostado
20% Muskoloj
I Hope this helps.
Who'd think they'd use a sibelius-type program for the Gameboy?
I certainly think it is a great idea. I am far more comfortable writing music in the traditional way than tracking. It will be helpful for musicians that work in other genres to get involved in chiptunes, as they will face a more familiar environment to work (as would be my case). Also, could be an inspiration for chiptuners that does not read or write music, to learn to do it.
It would be great to use it for composing original pieces.
A secondary use could be use it as a musical sketch portable tool.
SadPanda wrote:And I thought I was clueless on page 1. Straight up Alicia Silverstone clueless now.
Really not as complex as it sounds. Half this stuff we're saying, I know, sounds like pretentious fluff, lol. Like, bluesy music does that kind of stuff all the time.
Take a look at a couple of popular songs. "All Shook Up" by Elvis Presley, at the second bar, over a Bb chord the melody goes for a brief moment to C# (in the downbeat of the second beat), because of its position it blends perfectly with the rest of the melody.
You're talking about the "Lo-OVE" part, where it slides from a C to a C# , right? That actually depends on the version of the song. Sometimes he doesn't do it. That note is the Dominant 7th of E, so it's logical because E is in the key of Bb. In fact, the very next chord progression is E7, F7, Bb.
And, if you're wondering, no I did not know that off-hand. Yes, I did pull out my ukulele and figure it out.
The part I´m talking about is at the very beginning of the song "what´s wrong WITH me?" or when it cames to the other verse "and my KNEES are weak?". "With" and "Knees" fall on the C#.
The progression you are talking should be Eb7, F7, Bb (I think there was a typo in your post and the "b" for Eb did not appeared). Then C# would be sound as dominant 7th of Eb (in fact, in this case it would be Db and not C#) In these kind of situations although they sound alike, they have different names.
By the way, I agree with you, It is better to try all these things we are talking about with an instruments in our hands.
can you share examples?
Try this. Play a D minor chord. D minor basic triad is D - F - A. The corresponding minor harmonic scale is D E F G A Bb C# D. As an experiment , play a sucesion of notes over D minor, and one of the notes will be G#, which does not belong neither to the chord, neither to the scale.
Play in eights over the Dm chord in 4/4, the following notes G# A C D C A C D (Being G# the lowest of them).
Now play A G# A C D C A C. This time the G# will tend to sound more integrated to the musical idea than in the first case (always depending on the way that you play it... we are talking about volume, accent, attack...) This is because the note outside the scale is played on the upbeat. Now, play A C A G# A C D C. This time the G# blends really well, as it is on the upbeat of the second beat which is supposed to be a weak one. Having this in mind, you may decide when you want the "outside" note to be more shocking or when you want it to be more subtle. It will depend of the idea you are trying to transmit as composer, at that particular moment.
Take a look at a couple of popular songs. "All Shook Up" by Elvis Presley, at the second bar, over a Bb chord the melody goes for a brief moment to C# (in the downbeat of the second beat), because of its position it blends perfectly with the rest of the melody.
Another example, the jazz standard "Angel Eyes", in the first bar (Second beat upbeat) it has an Ab over a Dm6 chord, which is an outside note, but this note lasts to the next beat and the chord changes to a Bb9 chord becoming an inside note of the second chord as it is the minor sevenths of Bb.
You´ll find several examples looking in tunes here and there. Certainly, as it was suggested, pay attention to Bach, we could say that the man invented the rules and broke them better than anyone. I think it could be a good excersize, analizing his music with the partitures.
In jazz there are lots of cases of playing outside the harmony from subtle elegant ways, such as Duke Ellington to totally avant garde expresions like Sun Ra.
Hope this can help.
Interesting topic.
I think that the more knowledge about harmony you have, the easier you´ll be able to break the rules. By the way, one should have the criteria to discover when the rules should be broken and whent they shouldn´t.
As it has been said here, you can give totally different harmony to a given note, and of course, on the contrary, you can create very different melodies over a given chord or over a chord progression. In theory, any sound can be preceded or followed by any sound, and any chord can be preceded or followed by any chord, being the only judgement basis, the way it sounds. Of course, there are common chord progressions and scales which fit them easily. (In fact, jazz players tend to think in scales and chords as two different expressions of the same thing). Knowing this kind of relationships between chords and melody can be useful if you want to explore new sounds and break the rules of tonality. It could bealso useful to know how to harmonize a given scale.
Theoretically, any note could be played in most situations, the key here is, HOW you play it. Do you play it over a strong or a weak beat? At which volume do you play it? How do you attack it? Which not precedes it? to which note it will be leaded? In traditional instruments (knowing the tecnique of the instrument) it is easier to give the proper expression to a note that does not belong to the tonality, however I think that it can be made also in chipmusic.
Finally, the disonance must not necessary be in the main melodic part, What about a disonance on the bass line? Just listen to jazz walking bass players and you´ll have a huge inspiration resource there.
In no particular order. Tried to select from different genres and not to repeat an artist:
1) The Beatles - Beatles for Sale
2) The Doors - The Doors
3) David Bowie - Space Oddity
4) Frank Zappa - Fillmore East 1971
5) Ennio Morricone - The Very Best of Ennio Morricone
6) Ben Webster - Soulville
7) Duke Ellington - Far East Suite
8) Jimmy Smith - The Cat
9) Maceo Parker - D.I.A.L. Maceo
10) Jimi Hendrix - Are you experienced?
11) Eric Burdon and the Animals - Winds of Change
12) Hiroshi Miyagawa - Yamato Symphonic Suite
13) Basil Poledouris - Conan, The Barbarian
14) Spinal Tap - This is Spinal Tap
15) Iggy Pop - Nude and Rude
I sent you a PM.
I have some didjs. I built some of them myself (it is not difficult at all). I even include it in a song (not chip, but experimental).
http://ia700801.us.archive.org/7/items/ … /01Jes.mp3
However I cannot do circular breathing. It is a nice instrument, but one should spend time in developing skills with it. By the way, there are lots of things appart from "circular breathing" to master the didj. Also, though it is better to master the technique, there are guys who play really well and don´t do circular breathing.
I´m a professional artist and can manage very different graphic styles. You can see samples of my work here:
ChipMusic.org / Forums / Posts by wandering genie
