http://iwitnessbullying.org/
This anti-bullying website features a short but powerful, interactive animation to spread an anti-bullying message. The animation features Jack, a boy who is bullied at school, and shows what happens to him on a bad day at school. These events include being kicked around, having food thrown at him, and being cyberbullied, among other things. What makes this animation so cool is that in each case of bullying there is an interactive feature that allows you to click an eye-shaped emoji to report the bullying, which instantly makes Jack's day better. They literally brighten up his day.
What makes this animation so powerful is how relatable it is. Everybody who has ever been bullied has felt the same way that Jack does, or have had similar things happen to them. The animation also really helps show what a powerful effect bystanders can have on harassment. Just simply reporting the bullying when it happens can help turn somebody's day around and even create friendships, or at the very least, understandings. This video needs to be one everybody is required to watch, due to its powerful and effective message.
Besides for the message, the actual animation and creation of the video was done very well. The animation isn't clean, but it shouldn't be. It helps retain a sense of closeness with the character, and prevents the audience from being too distracted by the animation. It keeps the audience close to what is happening to Jack. The character design of Jack is a bit strange, as he is seen as a one-eyed, blue-skinned boy, but it helps make the video less creepy in a way. A super-realistic animated person feels fake and creepy, so having an unrealsitic character design helps secure Jack to the medium he is presented in. Also, his cyclops nature helps relate to the eye emoji in design.
The music of the video is sweet and simple, just doing its job of supporting the content without drawing attention to itself.
There are, however, other qualities about the video that stand out. One of these things is the fact that there is no dialogue in the entire video, just sounds and music. This is a smart move by the creator- it conveys the message that actions speak louder than words. The other thing that sticks out is the fact that when one clicks the eye emoji, Jack's world literally gets brighter and the once mean actions turn nice- for example, instead of being pushed into his locker, Jack is given a high-five.
Overall, this video is very effective and relatable, and needs to be a video that society should live by. Report bullying when you see it.
Sunday, April 24, 2016
The Pajama Game
Yesterday was the last showing of my high school's musical, The Pajama Game, in which I played keyed bass. While the show was good, it defintly had its faults, some of which stem from the fact it was a high school production, but most coming from the original source material.
Perhaps it is because of last year's musical, Nice Work if You Can Get It, a Gershwin-inspired musical about bootleggers and playboys during 1920's New York, that The Pajama Game took a while to grow on me. Last year's musical had some of the most fun and challenging music I've ever tried to played (tried, not succeeded- I was trying to play one of three piano parts in a Gershwin musical)- so coming from 1920's big-band era jazz features to simple Broadway-style songs was a bit of a letdown. The only number in The Pajama Game that could be considered jazz is Steam Heat, which is a non-plot-related scene inserted at the beginning of the second act, and musical took place during the 1950's in Cedar Rapids between factory workers. I'm not complaining about the setting- I live in Cedar Rapids, and having anything set in Cedar Rapids, scratch that, Iowa, is a rarity. It was fun because I was able to understand the inside jokes that people who haven't lived in Cedar Rapids their whole life wouldn't understand. What I'm complaining about is the era and the plot- the 1950's just weren't as exciting, and the plot took a while to get rolling. We traded in jazz for Broadway, flappers for garment workers, and bootleggers for secrataries. The Pajama Game was simply not as fun.
But, for what it could offer, The Pajama Game was an enjoyable musical, especially the second act. The first act dragged a bit, but how funny the second act was made up for it.
I will say this, The Pajama Game was a perfect choice for our school. The parts were all cast perfectly, and we had just the right amount of talent. In particular, the parts of Heniz, Gladyis, Pops, and Prez all were hilarious, some even earning applause in the middle of a scene. The rest of the less-funny characters were all perfect as well- all in all, the show was a great one to do with what we had.
In conclusion, my school's performances of The Pajama Game were well-done and enjoyable, but lacked the originality and pure fun of last year's Nice Work if You Can Get It. I'll put it this way- I was happy when The Pajama Game was over, but disappointed when Nice Work if You Can Get It closed.
Perhaps it is because of last year's musical, Nice Work if You Can Get It, a Gershwin-inspired musical about bootleggers and playboys during 1920's New York, that The Pajama Game took a while to grow on me. Last year's musical had some of the most fun and challenging music I've ever tried to played (tried, not succeeded- I was trying to play one of three piano parts in a Gershwin musical)- so coming from 1920's big-band era jazz features to simple Broadway-style songs was a bit of a letdown. The only number in The Pajama Game that could be considered jazz is Steam Heat, which is a non-plot-related scene inserted at the beginning of the second act, and musical took place during the 1950's in Cedar Rapids between factory workers. I'm not complaining about the setting- I live in Cedar Rapids, and having anything set in Cedar Rapids, scratch that, Iowa, is a rarity. It was fun because I was able to understand the inside jokes that people who haven't lived in Cedar Rapids their whole life wouldn't understand. What I'm complaining about is the era and the plot- the 1950's just weren't as exciting, and the plot took a while to get rolling. We traded in jazz for Broadway, flappers for garment workers, and bootleggers for secrataries. The Pajama Game was simply not as fun.
But, for what it could offer, The Pajama Game was an enjoyable musical, especially the second act. The first act dragged a bit, but how funny the second act was made up for it.
I will say this, The Pajama Game was a perfect choice for our school. The parts were all cast perfectly, and we had just the right amount of talent. In particular, the parts of Heniz, Gladyis, Pops, and Prez all were hilarious, some even earning applause in the middle of a scene. The rest of the less-funny characters were all perfect as well- all in all, the show was a great one to do with what we had.
In conclusion, my school's performances of The Pajama Game were well-done and enjoyable, but lacked the originality and pure fun of last year's Nice Work if You Can Get It. I'll put it this way- I was happy when The Pajama Game was over, but disappointed when Nice Work if You Can Get It closed.
The Music of Avatar the Last Airbender
You guys are probably getting sick of me talking about this show, but it's my newest obsession, so get used to it.
Anyways, I briefly mentioned the music of Avatar the Last Airbender when I was doing a whole-show review earlier on. Since then, I finished the show and have been listening to the music just on its own (I'm even listening to it as I write!). Let me tell you, there is something magical about this franchise. The music is good enough to stand on its own, but pair it with the actual sequences in the show, and you get pure gold.
So, on with the review. (p.s. I will also be talking about The Legend of Korra, but only a little- I just started it, but already the music is amazing).
The main thing that stands out to the listener when they hear the soundtrack of Avatar the Last Airbender is the Asian influences. This is very fitting for the show, which is primarily based around Asian culture and has many, and I mean many, influences and references to Asia- particularly China.
These influences are most easily heard in the instrumentation, which features instruments such as the duduk, an Armenian instrument with a very sorrowful, beautiful sound. In the series, a duduk is the sound of the tsungi horn (pictured)- an in-universe instrument. Other instruments that are both heard and seen in the series include the pipa, the veena, the ruan, the luo (gong), the erhu, the dungchen, the liuqin, the zheng, the yueqin, the zhong, and various types of flutes. The music of Avatar also is heavy on the percussion, with many of the more action-orientated songs including Asian-war-music-sounding rhythms and timbre. One of the more frequently heard drums is the djembe. Despite originating from West Africa, this drum is often heard in Middle-Eastern sounding music, so it is used reasonably.
Besides for foreign instruments, the Avatar soundtrack includes many normal orchestral instruments, like the violin and french horn and whatnot. Many tracks also include a choir. Personally, I find the instrumentation quite effective. It lends itself to epic orchestrations that still sound oriental and fitting within the show. But, me listing off the instrumentation tells you nothing about its quality or effect on the show.
In general, the music of Avatar the Last Airbender does it's job remarkably well- it adds to the story, provides foreshadowing, gives personality to characters- all in all, support the rest of the show, not distract or take away from it. It knows when to go all out and when to lay back. In fact, the title card of each of the episodes features a small snippet of a musical theme or motif important to that episode, such as the episode "The Painted Lady"- when the title card is shown, a part of the Painted Lady's theme is played.
The opening and credit themes are also quite good. The opening goes for a cinematic and epic feel, which is the perfect choice for a sequence meant to introduce the show and provide a narrative, story-type feel. The credits theme, on the other hand, is a rhythmic drum feature, which does a great job at symbolizing the fact that the show goes on and the action continues.
The best example of a character being portrayed by music is with Azula, one of the main villains of the show. (her theme is the video below). Azula, being fully associated with the Fire Nation, a power-hungry, cold-hearted b*tch, and a slight bit, shall we say, "off", gets a theme that speaks all of those qualities- her theme is very dissonant and creepy. Every part of the instrumentation is a part of her character. The out-of-tune bells and piercing choir perfectly capture her growing insanity: the pulsing drumbeat represents her never-ending fight for more power, and the low string countermelody represents the conniving methods she goes to to come out on top, as well as her tendency to betray, backstab, and strike fear (into) others. A cold, snake-like theme for a cold, snake-like woman.
Not every song represents a character, though. Many songs are heard throughout the series, and others are heard exclusively in only a few scenes, others only playing once- and others on the soundtrack aren't even featured in the show. Nevertheless, these songs are the ones that are the most acclaimed. There are a couple, in particular, that I would like to make note of.
"Scarf Dance"
Despite not actually being heard on the show (I believe it was in a deleted scene), this is a very enjoyable song, with a catchy motif and strong pulse. It doesn't even sound like Avatar- it is much too dance-like and upbeat: most of the songs on the Avatar soundtrack are dramatic orchestral pieces or mysterious, oriental works. Nevertheless, "The Scarf Dance" is a fantastic number.
"Agni Kai"
This is one of the best-known pieces on the Avatar soundtrack, and accompanies the Agni Kai between Admiral Zhao and Zuko early on in the series. This battle piece is remarkable in that we can feel the tension and the urge to fight- not just fight- win in the song, with the minor tonality, fast pace, 16th note theme, and very prevalent pulse. It's a very picturesque theme: it is very easy to visualize the heated confrontation between the two firebending masters. All in all, a remarkable piece of music.
"Last Agni Kai"
One may expect this track to be reminiscent of the first "Agni Kai" soundtrack, but it isn't. Instead of giving us a blaring action piece, "Last Agni Kai" opts for a more slow-paced, dramatic feel. With this track featured exclusively during the Agni Kai between Zuko and Azula, having a more slow and dramatic piece is brilliant. It shows how disjointed their relationship is as siblings, and the ceaseless tension and unresolved chords show how far Azula has fallen and how corrupted she has become. It also conveys how tragic this scene really is- a sibling fight to the death, a former enemy taking a lighting strike for a recently-made friend, and the Freudian excuses for both siblings surfacing and becoming evident. This scene, assisted by the music, finally shows what happens when a person who was abused by their parent at a young age strives for too much power and becomes victim to its clutches. All I can say is the result is devastating. Absolutely devastating.
"Peace"
Serving as the music during the conclusion, "Peace" also includes another song at the very end: "The Avatar's Love". This song goes for dramatic, slow, beautiful, and concluding, and does it deliver. "Peace" is easily the most beautiful of the songs, and is special in that it is the happy end to a literal Hundred Years War, and conveys what Aang fought for and believed in since the very beginning: love and peace. It also shows how far the rest of the Gaang, especially Zuko, have grown and matured since the start of the show. A perfect, emotional, and beautiful end to a perfect, emotional, and beautiful show.
The Legend of Korra continues on with the Asian songs and orchestral songs, but adds one more element: jazz. I personally love The Legend of Korra soundtrack, perhaps even more than Avatar the Last Airbender. Seeing as Korra is set during the 1920's and most of season 1 takes place in an industrial city known as Republic City, the jazz soundtrack is a very smart choice. It shows how out-of place Korra is in the city, and keeps the feel of the original while telling its own story.
Anyways, there is one more piece I would like to bring attention to: "Leaves from the Vine". As one of few lyrical pieces, "Leaves from the Vine" already stands out from the rest. But, I mainly want to draw attention to this song because of its emotional effect. Featured in Iroh's vignette during "Tales of Ba Sing Se", this song is first heard as a goofy \Iroh calms a kid down by singing this song. Later, at the very end of his section, the most emotional and sad scene is seen, and Iroh sings the song again, but this time during a tribute to his fallen son's birthday. If that isn't sad enough, the actor who played Iroh, Mako, had just passed away before the release of the episode, and therefore this scene was made in honor of Mako. If you manage to stay dry-eyed during this scene, you are a rarity: this scene is regularly cited as the most emotional and tear-jerking moment in the entire franchise. Rest in peace, Mako.
Sources:
http://avatar.wikia.com/wiki/Music_in_the_World_of_Avatar
videos/pictures used:
https://www.youtube.com/watch?v=LsgJZ-ngmvo
https://www.youtube.com/watch?v=hDMy6EhDu0Q
http://vignette3.wikia.nocookie.net/avatar/images/d/dd/Iroh_plays_the_tsungi_horn.png/revision/latest?cb=20121228170435
https://www.youtube.com/watch?v=40lWnTM7Bck
https://www.youtube.com/watch?v=Z7f7qDT07Mw
https://www.youtube.com/watch?v=TVxuAJinu3I
https://www.youtube.com/watch?v=yFnnNijn_OI
https://www.youtube.com/watch?v=2ftScS4fLbQ
https://www.youtube.com/watch?v=ErmZRsCIUsE
Anyways, I briefly mentioned the music of Avatar the Last Airbender when I was doing a whole-show review earlier on. Since then, I finished the show and have been listening to the music just on its own (I'm even listening to it as I write!). Let me tell you, there is something magical about this franchise. The music is good enough to stand on its own, but pair it with the actual sequences in the show, and you get pure gold.
So, on with the review. (p.s. I will also be talking about The Legend of Korra, but only a little- I just started it, but already the music is amazing).
The main thing that stands out to the listener when they hear the soundtrack of Avatar the Last Airbender is the Asian influences. This is very fitting for the show, which is primarily based around Asian culture and has many, and I mean many, influences and references to Asia- particularly China.
Besides for foreign instruments, the Avatar soundtrack includes many normal orchestral instruments, like the violin and french horn and whatnot. Many tracks also include a choir. Personally, I find the instrumentation quite effective. It lends itself to epic orchestrations that still sound oriental and fitting within the show. But, me listing off the instrumentation tells you nothing about its quality or effect on the show.
In general, the music of Avatar the Last Airbender does it's job remarkably well- it adds to the story, provides foreshadowing, gives personality to characters- all in all, support the rest of the show, not distract or take away from it. It knows when to go all out and when to lay back. In fact, the title card of each of the episodes features a small snippet of a musical theme or motif important to that episode, such as the episode "The Painted Lady"- when the title card is shown, a part of the Painted Lady's theme is played.
The opening and credit themes are also quite good. The opening goes for a cinematic and epic feel, which is the perfect choice for a sequence meant to introduce the show and provide a narrative, story-type feel. The credits theme, on the other hand, is a rhythmic drum feature, which does a great job at symbolizing the fact that the show goes on and the action continues.
The best example of a character being portrayed by music is with Azula, one of the main villains of the show. (her theme is the video below). Azula, being fully associated with the Fire Nation, a power-hungry, cold-hearted b*tch, and a slight bit, shall we say, "off", gets a theme that speaks all of those qualities- her theme is very dissonant and creepy. Every part of the instrumentation is a part of her character. The out-of-tune bells and piercing choir perfectly capture her growing insanity: the pulsing drumbeat represents her never-ending fight for more power, and the low string countermelody represents the conniving methods she goes to to come out on top, as well as her tendency to betray, backstab, and strike fear (into) others. A cold, snake-like theme for a cold, snake-like woman.
Not every song represents a character, though. Many songs are heard throughout the series, and others are heard exclusively in only a few scenes, others only playing once- and others on the soundtrack aren't even featured in the show. Nevertheless, these songs are the ones that are the most acclaimed. There are a couple, in particular, that I would like to make note of.
"Scarf Dance"
Despite not actually being heard on the show (I believe it was in a deleted scene), this is a very enjoyable song, with a catchy motif and strong pulse. It doesn't even sound like Avatar- it is much too dance-like and upbeat: most of the songs on the Avatar soundtrack are dramatic orchestral pieces or mysterious, oriental works. Nevertheless, "The Scarf Dance" is a fantastic number.
This is one of the best-known pieces on the Avatar soundtrack, and accompanies the Agni Kai between Admiral Zhao and Zuko early on in the series. This battle piece is remarkable in that we can feel the tension and the urge to fight- not just fight- win in the song, with the minor tonality, fast pace, 16th note theme, and very prevalent pulse. It's a very picturesque theme: it is very easy to visualize the heated confrontation between the two firebending masters. All in all, a remarkable piece of music.
"Last Agni Kai"
One may expect this track to be reminiscent of the first "Agni Kai" soundtrack, but it isn't. Instead of giving us a blaring action piece, "Last Agni Kai" opts for a more slow-paced, dramatic feel. With this track featured exclusively during the Agni Kai between Zuko and Azula, having a more slow and dramatic piece is brilliant. It shows how disjointed their relationship is as siblings, and the ceaseless tension and unresolved chords show how far Azula has fallen and how corrupted she has become. It also conveys how tragic this scene really is- a sibling fight to the death, a former enemy taking a lighting strike for a recently-made friend, and the Freudian excuses for both siblings surfacing and becoming evident. This scene, assisted by the music, finally shows what happens when a person who was abused by their parent at a young age strives for too much power and becomes victim to its clutches. All I can say is the result is devastating. Absolutely devastating.
"Peace"
Serving as the music during the conclusion, "Peace" also includes another song at the very end: "The Avatar's Love". This song goes for dramatic, slow, beautiful, and concluding, and does it deliver. "Peace" is easily the most beautiful of the songs, and is special in that it is the happy end to a literal Hundred Years War, and conveys what Aang fought for and believed in since the very beginning: love and peace. It also shows how far the rest of the Gaang, especially Zuko, have grown and matured since the start of the show. A perfect, emotional, and beautiful end to a perfect, emotional, and beautiful show.
The Legend of Korra continues on with the Asian songs and orchestral songs, but adds one more element: jazz. I personally love The Legend of Korra soundtrack, perhaps even more than Avatar the Last Airbender. Seeing as Korra is set during the 1920's and most of season 1 takes place in an industrial city known as Republic City, the jazz soundtrack is a very smart choice. It shows how out-of place Korra is in the city, and keeps the feel of the original while telling its own story.
Anyways, there is one more piece I would like to bring attention to: "Leaves from the Vine". As one of few lyrical pieces, "Leaves from the Vine" already stands out from the rest. But, I mainly want to draw attention to this song because of its emotional effect. Featured in Iroh's vignette during "Tales of Ba Sing Se", this song is first heard as a goofy \Iroh calms a kid down by singing this song. Later, at the very end of his section, the most emotional and sad scene is seen, and Iroh sings the song again, but this time during a tribute to his fallen son's birthday. If that isn't sad enough, the actor who played Iroh, Mako, had just passed away before the release of the episode, and therefore this scene was made in honor of Mako. If you manage to stay dry-eyed during this scene, you are a rarity: this scene is regularly cited as the most emotional and tear-jerking moment in the entire franchise. Rest in peace, Mako.
Sources:
http://avatar.wikia.com/wiki/Music_in_the_World_of_Avatar
videos/pictures used:
https://www.youtube.com/watch?v=LsgJZ-ngmvo
https://www.youtube.com/watch?v=hDMy6EhDu0Q
http://vignette3.wikia.nocookie.net/avatar/images/d/dd/Iroh_plays_the_tsungi_horn.png/revision/latest?cb=20121228170435
https://www.youtube.com/watch?v=40lWnTM7Bck
https://www.youtube.com/watch?v=Z7f7qDT07Mw
https://www.youtube.com/watch?v=TVxuAJinu3I
https://www.youtube.com/watch?v=yFnnNijn_OI
https://www.youtube.com/watch?v=2ftScS4fLbQ
https://www.youtube.com/watch?v=ErmZRsCIUsE
Sunday, April 17, 2016
Why private lessons?
If you play an instrument, you have the opportunity to take lessons, one-on-one, with a professional instructor in what are known as private lessons. Many people take them, myself included. For those of you who are just starting to learn an instrument, or have been playing without private instruction, listen up: private lessons are money worth spending.
To start, the person who is teaching you is a professional. In order to have a sucessful private studio, they need to gain recongition via word of mouth- something that is only possible if they have successfully taught another student. Many of them went to college for performance in their instrument, and some even have teaching degrees. Nevertheless, all private instructors have been playing their instrument for longer than some of you have been alive.
What might turn some individuals away from private lessons is that the idea of going by yourself to another person's house that you barely know seems daunting. Well, to tell you the truth, it does feel a bit intrusive, especially if the instructor has children- and especially if you know the kids from school. But, they are used to it. And, you being there and taking lessons is providing the family with extra cash. So, even though it may seem weird to barge into somebody else's home and play an instrument, its not.
Besides, the benefits of private lessons are many. You get time to spend on your own personal needs and shape the lesson to fit you, whereas in school lessons or group lessons, you have to work at the pace of the group. With private lessons, you move at your pace and work on smaller problems that perhaps only you have. There is a lot more freedom to move at a faster pace and the resources to do so.
Also, when you take private lessons, 9 times out of 10, that teacher and you will form a bond- a bond of not only student teacher and respect, but of friendship. You gain a mentor, friend, and trusted adult when you take private lessons.
Therefore, the pros far outweigh the cons when it comes to lessons, so I hope you will give it a shot or continue taking them.
To start, the person who is teaching you is a professional. In order to have a sucessful private studio, they need to gain recongition via word of mouth- something that is only possible if they have successfully taught another student. Many of them went to college for performance in their instrument, and some even have teaching degrees. Nevertheless, all private instructors have been playing their instrument for longer than some of you have been alive.
What might turn some individuals away from private lessons is that the idea of going by yourself to another person's house that you barely know seems daunting. Well, to tell you the truth, it does feel a bit intrusive, especially if the instructor has children- and especially if you know the kids from school. But, they are used to it. And, you being there and taking lessons is providing the family with extra cash. So, even though it may seem weird to barge into somebody else's home and play an instrument, its not.
Besides, the benefits of private lessons are many. You get time to spend on your own personal needs and shape the lesson to fit you, whereas in school lessons or group lessons, you have to work at the pace of the group. With private lessons, you move at your pace and work on smaller problems that perhaps only you have. There is a lot more freedom to move at a faster pace and the resources to do so.
Also, when you take private lessons, 9 times out of 10, that teacher and you will form a bond- a bond of not only student teacher and respect, but of friendship. You gain a mentor, friend, and trusted adult when you take private lessons.
Therefore, the pros far outweigh the cons when it comes to lessons, so I hope you will give it a shot or continue taking them.
How to practice
The key to a good performance is good practice, after all, practice does make perfect. But how exactly does one practice? Believe it or not, but there are actually right and wrong ways to practice. So, going off of the SMART lunch advertisements, I will be listing the do's and don't's of good practice.
DO practice your scales
You may be surprised at how much music is composed of scales, and how useful scales are after you've mastered them. Almost every high-level audition requires scales of some kind, and they help you in your playing tremendously. Therefore, practice your scales.
DON'T practice at light speed
Practicing quickly or at performance tempo is never a good way to go, especially when you are first learning the piece. Instead, slow and steady wins the race. Practice each piece by section, so you are focusing on one thing at a time. Slow practice helps you get all of the elements in at once- rhythm, articulation, notes, style, etc.- so it will be easier on you down the road.
DO start easy
Starting each practice will a warm-up is a good thing: it will get your mind and instrument functioning and ready to play. Just jumping in and going is not a good way to practice- you are mentally and physically not ready yet to play your actual pieces.
DON'T call it good after a single time
Just running a piece top to bottom is good for later on, but just running through a piece like that once is a bad way to practice. It is very hard to fix mistakes practicing like this, and some mistakes you may learn and have to unlearn later on. Trust me, that is a pain in the butt. Instead, practice in sections, focusing on just one thing, and play each section multiple times.
DO practice like you would perform
Practicing with poor posture is a great way to ruin your future posture and learn something that you don't want to. Also, especially for wind instruments, practicing with bad posture doesn't alot for the same amount of air that you would get normally, thus, throwing off your breathing.
I hope next time you practice you take these simple things into consideration. Practicing correctly can make the difference between an OK and amazing performance.
DO practice your scales
You may be surprised at how much music is composed of scales, and how useful scales are after you've mastered them. Almost every high-level audition requires scales of some kind, and they help you in your playing tremendously. Therefore, practice your scales.
DON'T practice at light speed
Practicing quickly or at performance tempo is never a good way to go, especially when you are first learning the piece. Instead, slow and steady wins the race. Practice each piece by section, so you are focusing on one thing at a time. Slow practice helps you get all of the elements in at once- rhythm, articulation, notes, style, etc.- so it will be easier on you down the road.
DO start easy
Starting each practice will a warm-up is a good thing: it will get your mind and instrument functioning and ready to play. Just jumping in and going is not a good way to practice- you are mentally and physically not ready yet to play your actual pieces.
DON'T call it good after a single time
Just running a piece top to bottom is good for later on, but just running through a piece like that once is a bad way to practice. It is very hard to fix mistakes practicing like this, and some mistakes you may learn and have to unlearn later on. Trust me, that is a pain in the butt. Instead, practice in sections, focusing on just one thing, and play each section multiple times.
DO practice like you would perform
Practicing with poor posture is a great way to ruin your future posture and learn something that you don't want to. Also, especially for wind instruments, practicing with bad posture doesn't alot for the same amount of air that you would get normally, thus, throwing off your breathing.
I hope next time you practice you take these simple things into consideration. Practicing correctly can make the difference between an OK and amazing performance.
Lessons to learn from Avatar: The Last Airbender
As mentioned on an earlier post, Avatar: the Last Airbender is pure genius and amazing. But, it's not just a show to watch: there are some valuable life lessons that we as a society and as individuals can take away from this show. Every character, every action, every event- they all teach us something. Therefore, I will be writing about each of the main characters, and what we can learn from each of them.
Katara
Katara taught me to never stop fighting for those you love. She taught me to stand up for what's right, and challenge what's wrong. The waterbender also taught us to show compassion and protect your loved ones. Finally, Katara taught us that even though forgiveness isn't easy, it is always possible.
Toph
There is much to be said about this blind earthbender. She's sassy, independent, aggressive, assertive, stubborn, and comes with a smart mouth and plenty of attitude. She taught audiences to march to the beat of their own drum and that what may seem like a disability can actually be an advantage. She taught us that the path least taken is sometimes the best path to take.
Sokka
As the show's premier non-bender, Sokka certainly has to have something else to bring to the table, or he wouldn't have been such a central character. To make up for his 'normalness', Sokka is the "meat and sarcasm guy", but above that, he is the creative fuel behind Team Avatar. With a quick mind and boundless creative energy, Sokka taught me that there is more than one way to be 'special'. He also taught me that sometimes all you need in times of trouble is a good laugh, and that there is no wrong way to do something.
Iroh
What didn't Iroh teach us? As the most wise, philosophical, and reflective character, he certainly had a lot of memorable quotes and valuable lessons to teach. Above all else, Iroh taught us to never give up on somebody if they have lost their way: that a supportive, protective friend and guidance can save even the most helpless of souls.
He also taught us that everyone deserves a second chance, and that there is always something beautiful to be seen in life.
Zuko
Zuko is Avatar the Last Airbender's most complex character. You can expect a post just on him later, but for right now, Zuko also taught us many important lessons. For one, he taught us to never give up on your goal or accept failure- to just keep trying and moving forward no matter how slim the chances of success are. He also taught us to face life head-on, accept, and play with the hand you're dealt. Keep marching on and take whatever life throws at you and overcome it. Overcome the struggle, and you will be stronger. Zuko taught us that our struggles and mistakes don't define us, but, instead, it is how we change and react to such things that defines us. Our pasts don't define us, only our actions right now do.
Azula
It may seem that as the show's main antagonist, Azula can't really teach us anything good. However, we can learn from her mistakes: that cold hearted violence is never the right path, and that too much power will only lead to your demise.
Aang
Aang taught me that there is always a better solution and that life is the ultimate gift. Instead of violence and war, Aang taught us to embrace love, peace, and understanding. He also taught us to never give up on a friend and to always approach life with a positive attitude.
In conclusion, there is much to be learned from such well-developed and fleshed-out characters- lessons that everyone in society needs to learn.
Katara
Katara taught me to never stop fighting for those you love. She taught me to stand up for what's right, and challenge what's wrong. The waterbender also taught us to show compassion and protect your loved ones. Finally, Katara taught us that even though forgiveness isn't easy, it is always possible.
Toph
There is much to be said about this blind earthbender. She's sassy, independent, aggressive, assertive, stubborn, and comes with a smart mouth and plenty of attitude. She taught audiences to march to the beat of their own drum and that what may seem like a disability can actually be an advantage. She taught us that the path least taken is sometimes the best path to take.
Sokka
As the show's premier non-bender, Sokka certainly has to have something else to bring to the table, or he wouldn't have been such a central character. To make up for his 'normalness', Sokka is the "meat and sarcasm guy", but above that, he is the creative fuel behind Team Avatar. With a quick mind and boundless creative energy, Sokka taught me that there is more than one way to be 'special'. He also taught me that sometimes all you need in times of trouble is a good laugh, and that there is no wrong way to do something.
Iroh
What didn't Iroh teach us? As the most wise, philosophical, and reflective character, he certainly had a lot of memorable quotes and valuable lessons to teach. Above all else, Iroh taught us to never give up on somebody if they have lost their way: that a supportive, protective friend and guidance can save even the most helpless of souls.
He also taught us that everyone deserves a second chance, and that there is always something beautiful to be seen in life.
Zuko
Zuko is Avatar the Last Airbender's most complex character. You can expect a post just on him later, but for right now, Zuko also taught us many important lessons. For one, he taught us to never give up on your goal or accept failure- to just keep trying and moving forward no matter how slim the chances of success are. He also taught us to face life head-on, accept, and play with the hand you're dealt. Keep marching on and take whatever life throws at you and overcome it. Overcome the struggle, and you will be stronger. Zuko taught us that our struggles and mistakes don't define us, but, instead, it is how we change and react to such things that defines us. Our pasts don't define us, only our actions right now do.
Azula
It may seem that as the show's main antagonist, Azula can't really teach us anything good. However, we can learn from her mistakes: that cold hearted violence is never the right path, and that too much power will only lead to your demise.
Aang
Aang taught me that there is always a better solution and that life is the ultimate gift. Instead of violence and war, Aang taught us to embrace love, peace, and understanding. He also taught us to never give up on a friend and to always approach life with a positive attitude.
In conclusion, there is much to be learned from such well-developed and fleshed-out characters- lessons that everyone in society needs to learn.
Sunday, April 10, 2016
Light or Dark?
Is cartoon violence o.k? Should we expose our kids to dark and controversial animated movies? What about race and gender representation? What about religion or drugs? Should animated movies and shows that will include such elements be made in the first place? Should children be shielded?
However, while this negativity towards other races isn't the best thing to expose young, easily-manipulated children, it won't give them nightmares and very well might soar over their heads. Children not understanding is also the big reason why innuendos are able to be included in kid's shows and movies without repercussion. They simply don't understand what is going on, and will forget the scene ever took place. But, full-on, exposed nudity shouldn't ever be in a kid's show or movie.
Potentially dirty language is also fairly safe for most kids. Many parents or siblings regularly swear at home, and when out in public, children are exposed to all sorts of vulgarity. As long as the parents teach them not to use the words, swearing is fine at small levels.
Religion is a touchy subject for many and should be up to the parents to decide whether they find certain content offensive.
While it isn't uncommon to see characters smoking or drinking, or perhaps tripping out on something like berries (The Good Dinosaur), mushrooms (Cowboy Bebop), or cactus juice (Avatar the Last Airbender) , there should under no circumstances be any other form of drugs.
Dark moments can be hard to determine. The range of reactions kids will show to scary moments in movies and shows is wide and diverse. Some love it, others don't mind, and still others have nightmares for weeks after. Therefore, this is another topic that is up to the parent's decision. If they know their kid is easily frightened, then I would say no to such content. But, for just about everyone else, dark and scary moments don't create any reason for concern.
Finally, similarly to dark moments, exposure to violence and blood in kid's shows and movies depends on the kid. I was personally never bothered by blood (except for Watership Down- which, despite being an animated movie about bunnies- IS NOT A KID'S MOVIE UNDER ANY CIRCUMSTANCES!!!), so I didn't mind if the shows or movies had blood. At least, not a lot for younger kids. A simple nosebleed or scratch is fine. Violence in kid's movies and shows is something that I believe 99% of kids are ok viewing. Considering most animated violence is unrealistic and, well, cartoony, it's hard for kids to find it disturbing or scary, or 'copy' the characters. Even content that has more realistic fighting is not bad for kids to view.
In conclusion, most of the controversial moments in animation are just that, controversial, and while I personally believe most kids are fine being exposed to most controversial content, it is still up to the parent's discretion.
The controversy over what is o.k to show in animation is a real topic. Some parents are concerned for what their kids are exposed to, others don't care at all. The real question comes down to whether it is better to keep them shielded from such things until they are older or rip off the band-aid and let them be exposed to the realities of life from the get-go. My personal opinion is to allow children exposure to certain elements, but forbid others.
There are a plethora of animated features that include the elements I have listed as potentially controversial, many of them considered perfectly safe for younger audiences. This is especially true with the aspect of gender and race representation in Disney films and other animated content. Myriad classic Disney films and older shows and movies, such as Looney Tunes, show complete disregard for politically correct representation of races that aren't white, employing methods such as Blackface and the stereotypical stupid and slow mentality to any African American characters. Such examples include the crows in Dumbo, one of whom is even named Jim Crow, and the orangutans in The Jungle Book, who want to 'be like you' and appear less civilized. Despite incredible bounds forward in this regard with the introduction of the first black princess, Tiana, from The Princess and the Frog, Disney films shows this misrepresentation; an upcoming Disney princess film entitled Princess of North Sudan, the first African princess, will be about a white colonist.
This race issue also extends into other minorities, most notably Native Americans and the Asian races. For instance, two movies, The Aristocats and Lady and the Tramp, include racist scenes of Siamese cats. And, in potentially the most racist Disney movie to date, Native Americans are presented in one of the most offensive manners possible, in Peter Pan.
However, while this negativity towards other races isn't the best thing to expose young, easily-manipulated children, it won't give them nightmares and very well might soar over their heads. Children not understanding is also the big reason why innuendos are able to be included in kid's shows and movies without repercussion. They simply don't understand what is going on, and will forget the scene ever took place. But, full-on, exposed nudity shouldn't ever be in a kid's show or movie.
Potentially dirty language is also fairly safe for most kids. Many parents or siblings regularly swear at home, and when out in public, children are exposed to all sorts of vulgarity. As long as the parents teach them not to use the words, swearing is fine at small levels.
Religion is a touchy subject for many and should be up to the parents to decide whether they find certain content offensive.
While it isn't uncommon to see characters smoking or drinking, or perhaps tripping out on something like berries (The Good Dinosaur), mushrooms (Cowboy Bebop), or cactus juice (Avatar the Last Airbender) , there should under no circumstances be any other form of drugs.
Dark moments can be hard to determine. The range of reactions kids will show to scary moments in movies and shows is wide and diverse. Some love it, others don't mind, and still others have nightmares for weeks after. Therefore, this is another topic that is up to the parent's decision. If they know their kid is easily frightened, then I would say no to such content. But, for just about everyone else, dark and scary moments don't create any reason for concern.
Finally, similarly to dark moments, exposure to violence and blood in kid's shows and movies depends on the kid. I was personally never bothered by blood (except for Watership Down- which, despite being an animated movie about bunnies- IS NOT A KID'S MOVIE UNDER ANY CIRCUMSTANCES!!!), so I didn't mind if the shows or movies had blood. At least, not a lot for younger kids. A simple nosebleed or scratch is fine. Violence in kid's movies and shows is something that I believe 99% of kids are ok viewing. Considering most animated violence is unrealistic and, well, cartoony, it's hard for kids to find it disturbing or scary, or 'copy' the characters. Even content that has more realistic fighting is not bad for kids to view.
In conclusion, most of the controversial moments in animation are just that, controversial, and while I personally believe most kids are fine being exposed to most controversial content, it is still up to the parent's discretion.
Is Avatar an anime?
an·i·me
ˈanəˌmā/
noun
- a style of Japanese film and television animation, typically aimed at adults as well as children.
There is a popular controversy amongst fans of Avatar the Last Airbender over whether the show is an anime. Going by the above defintion, it falls right on the line between Western animation and anime. The show was produced in the United States, not Japan, but the style and certain elements of the show are distinctivly anime qualities.
According to the definition, a show has to be made in Japan or by a Japanese company in order to be considered anime. However, many shows use anime influences, or certain anime use Western influences. For example, Teen Titans is a very anime-esque show, and Cowboy Bebop feels American-made. Some anime even have their biggest following and have entered mainstream culture in America, such as Naruto, Pokemon, and Dragon Ball Z. Still, to be an anime, the show has to have originated from Japan in some way. Therefore, Avatar, which didn't even get released in Japan or have a Japanese dub, can't be anime.
But, Avatar includes more anime sterotypes and influences then some anime do themselves (like Cowboy Bebop). Many anime were used as references or directly influenced the creation and production of Avatar the Last Airbender. Some of these used were the Miyzaki films, and Cowboy Bebop itself. The characters are drawn and animated like anime characters, and have the same kind of development and complexity (not to say cartoon characters can't be complex, just that the way the characters are handled is more similar to anime). Many of the formal nouns (locations, names, etc) are Japanese (almost all are Chinese, but that's besides the point) and the entirity of the show is based on Asian culture (which again, mainly includes China, but there are Japanese influences). There are even a very small number of fully European or white characters. The rest are either Native American or Asian in ethnicity. The story, art style, and characterization is almost exactly as you would find it in an anime.
Also to take into consideration is that anime isn't a genre: it's a style or medium. We don't say cartoons are a genre: we say fantasy or adventure is a genre. Therefore, there can be overlap as styles draw on each other and as shows aren't confined to a singular medium.
Still, thanks to it originating in America from an American studio, Avatar the Last Airbender has to be a cartoon, but it serves as a bridge to anime for American audiences and has a memorable 'feel' to it- the same feel that exists for all cartoons that draw from anime.
As Iroh once said "It is important to draw wisdom from many different places."
Animation: Not Just for Kids
There is a negative stigma in American culture: that only children can enjoy animated movies and shows. This is evident in the large number of light-hearted, G-rated kid’s movies or cartoons, and what the perceived demographic and targeted audience of animated content. However, adults can enjoy and shouldn’t be ashamed of animation; animation is not just for kids.
In other cultures, this stigma about animation is less prevalent and in some cases, nonexistent. For example, Japanese culture is much less convinced that only kids will watch cartoons, seen in the ridiculously wide variety and number of anime, or the Japanese equivalent of cartoons. There are even specific categories of anime, sorted by their intended audience. One such category, and perhaps the most popular, is shounen, or programming aimed at pre-teen boys. While this branch of anime is aimed at children, there is a large fanbase of adults, who are seen fawning over the show; dressing up and showing their obsession at various conventions. These conventions also exist for cartoons, and some of the more popular animated shows and movies enjoy large and diverse audiences.
Besides, most animated movies and some shows receive high critical praise ; placing at the top of ratings lists and opening to high box office yields. In fact, some of the world’s highest grossing films are animated. And for good reason, too. Animated films and shows have their own awards show, the Annies, and their own category at the Oscars. Many animated films have also been nominated or received awards normally given to live-action features. Two films, UP and Beauty and the Beast, have even been nominated for the best picture Oscar.
Animated films and shows don’t just look good in numbers or on paper; they are also, in my opinion, some of the most original and creative films and shows out there. Some things just don’t translate to live action. The best example I can think of is Avatar the Last Airbender. Originating as a tv series that was and continues to be highly praised and received, a live action movie was made, hoping to ride on the success of the show. However, the film was a complete failure, with low ratings and box office reception. Where the show was complex and well-animated, the movie was awkward and had bad effects.
The effects of movies and films are also an area where animation reigns supreme. Live action is limited by current technology, and in many cases, requires animation for certain special effects, such as Rocket Racoon from Guardians of the Galaxy. On the other hand, anything that the animator or creator wants can be seen. Any crazy body shape, or reality warp, or made-up land or creature can come to life within animation. This lends to more diverse and unique movies and shows that show more creative capacity and imaginativeness.
I do understand where those of you that feel the opposite come from; you feel that you shouldn’t be watching animation because it isn’t ‘mature’ or ‘appropriate’ for your age. To this, I say expand the repertoire of movies you have seen Yes, I won’t deny that there are some animated movies and shows that are frankly idiotic and childish, but if you look beyond those, you will find a genre that is respectable and beautiful. For every Ice Age sequel there is a How to Train Your Dragon. For every Spongebob there is a Gravity Falls. You may refuse to see it, but live action and adult swim shows follow this same trend.
Finally, animated shows and movies are good for adults because of the nostalgia they bring. There is nothing more joyful than revisiting your forgotten childhood friends. You still remember them- because they are designed to be memorable, likable, and full of heart. In fact, if there is any quality that all good animated programming has, its heart. You are a liar if you say you didn’t cry for Simba during The Lion King, or at the beginning of UP. You felt yourself connect to those characters.
Therefore, if you are still convinced that animation can’t be enjoyed by adults, then I invite you to pop in one of your old Disney VHS tapes (admit it- you have the entire collection) and revisit your ‘younger self’.
In other cultures, this stigma about animation is less prevalent and in some cases, nonexistent. For example, Japanese culture is much less convinced that only kids will watch cartoons, seen in the ridiculously wide variety and number of anime, or the Japanese equivalent of cartoons. There are even specific categories of anime, sorted by their intended audience. One such category, and perhaps the most popular, is shounen, or programming aimed at pre-teen boys. While this branch of anime is aimed at children, there is a large fanbase of adults, who are seen fawning over the show; dressing up and showing their obsession at various conventions. These conventions also exist for cartoons, and some of the more popular animated shows and movies enjoy large and diverse audiences.
Besides, most animated movies and some shows receive high critical praise ; placing at the top of ratings lists and opening to high box office yields. In fact, some of the world’s highest grossing films are animated. And for good reason, too. Animated films and shows have their own awards show, the Annies, and their own category at the Oscars. Many animated films have also been nominated or received awards normally given to live-action features. Two films, UP and Beauty and the Beast, have even been nominated for the best picture Oscar.
Animated films and shows don’t just look good in numbers or on paper; they are also, in my opinion, some of the most original and creative films and shows out there. Some things just don’t translate to live action. The best example I can think of is Avatar the Last Airbender. Originating as a tv series that was and continues to be highly praised and received, a live action movie was made, hoping to ride on the success of the show. However, the film was a complete failure, with low ratings and box office reception. Where the show was complex and well-animated, the movie was awkward and had bad effects.
The effects of movies and films are also an area where animation reigns supreme. Live action is limited by current technology, and in many cases, requires animation for certain special effects, such as Rocket Racoon from Guardians of the Galaxy. On the other hand, anything that the animator or creator wants can be seen. Any crazy body shape, or reality warp, or made-up land or creature can come to life within animation. This lends to more diverse and unique movies and shows that show more creative capacity and imaginativeness.
I do understand where those of you that feel the opposite come from; you feel that you shouldn’t be watching animation because it isn’t ‘mature’ or ‘appropriate’ for your age. To this, I say expand the repertoire of movies you have seen Yes, I won’t deny that there are some animated movies and shows that are frankly idiotic and childish, but if you look beyond those, you will find a genre that is respectable and beautiful. For every Ice Age sequel there is a How to Train Your Dragon. For every Spongebob there is a Gravity Falls. You may refuse to see it, but live action and adult swim shows follow this same trend.
Finally, animated shows and movies are good for adults because of the nostalgia they bring. There is nothing more joyful than revisiting your forgotten childhood friends. You still remember them- because they are designed to be memorable, likable, and full of heart. In fact, if there is any quality that all good animated programming has, its heart. You are a liar if you say you didn’t cry for Simba during The Lion King, or at the beginning of UP. You felt yourself connect to those characters.
Therefore, if you are still convinced that animation can’t be enjoyed by adults, then I invite you to pop in one of your old Disney VHS tapes (admit it- you have the entire collection) and revisit your ‘younger self’.
Sunday, April 3, 2016
Merchandise- Yes or No?
I know a lot of people get annoyed at merchandise, saying things like "there's too much" and "it's too expensive". I can be one of those people sometimes, especially when it comes to a franchise that is overrated. The best example I can think of is Frozen. Seriously, does anybody need an Elsa bra? (Look it up- it exists) Such merchandising also leads to cultural intrusion or problems with other vendors. Not everybody needs Frozen this and Frozen that- by buying them, you give Disney even more power to knock out smaller sellers and businesses or buy the entire company, leading to Disney continuing to monopolize the entire filmaking and toymaking industry.
Now while the merchandising might be awful for competition, it rakes in massive profits for Disney. I mean, they sold hundreds of thousands of Elsa dresses during Halloween. These profits then go towards supporting future company growth and movie production- which gives Disney more power to make another Frozen movie.
Merchandising also leads towards smaller companies, when they are bought by larger companies, to be forced into doing something they don't want to do. What I'm trying to get at is this: the only reason Cars 2 and soon to be Cars 3, which, at least the second, don't hold up to Pixar's standards, is because of merchandising. In fact, that is why a lot of Pixar's upcoming releases are sequels- Disney wants them to do more franchising. And a big part of franchising is merchandise.
So I do see why people are annoyed with merchandising, but I prefer the opposite standpoint- I personally like merchandise. I enjoy being able to continue my obssessions by buying things like clothing and Pillow Pets. It's not only Disney- I like being able to buy my Toothless and Barf and Belch Build-A-Bears and my Fullmetal Alchemist shirts. It helps define who I am and what I like, as well as help create more of a connection to the franchise. I probably wouldn't like Disney as much if I wasn't free to buy stuffed Dumbos or Cinderella dresses.
In conclusion, I support merchandising because it helps you create a connection with the franchise and supports the company.
Now while the merchandising might be awful for competition, it rakes in massive profits for Disney. I mean, they sold hundreds of thousands of Elsa dresses during Halloween. These profits then go towards supporting future company growth and movie production- which gives Disney more power to make another Frozen movie.
Merchandising also leads towards smaller companies, when they are bought by larger companies, to be forced into doing something they don't want to do. What I'm trying to get at is this: the only reason Cars 2 and soon to be Cars 3, which, at least the second, don't hold up to Pixar's standards, is because of merchandising. In fact, that is why a lot of Pixar's upcoming releases are sequels- Disney wants them to do more franchising. And a big part of franchising is merchandise.
So I do see why people are annoyed with merchandising, but I prefer the opposite standpoint- I personally like merchandise. I enjoy being able to continue my obssessions by buying things like clothing and Pillow Pets. It's not only Disney- I like being able to buy my Toothless and Barf and Belch Build-A-Bears and my Fullmetal Alchemist shirts. It helps define who I am and what I like, as well as help create more of a connection to the franchise. I probably wouldn't like Disney as much if I wasn't free to buy stuffed Dumbos or Cinderella dresses.
In conclusion, I support merchandising because it helps you create a connection with the franchise and supports the company.
AMV
AMV stands for animated music video, and those are short videos set to songs of clips/pictures from the franchise. These are made by fans, and many can be seen on Youtube.
These videos range greatly in quality, with some being barely passable and others winning awards at conventions and being acclaimed by the creators of the franchise.
I will likely do a later post on how to make your own AMV, but for this post I will be discussing some that have already been made, and the qualities that make an AMV good.
1. The song choice
The song that the video uses is a big part of an AMV. A good AMV will use a song that fits with the movie/show, either in style or lyrics, sometimes both. If you can picture the franchise while just listening to the song on its own, then it is a good song choice. There are a couple of songs that are used in AMVs a lot, no matter the franchise. These songs, which include "This is War" from Thirty Seconds to Mars, "Centuries" from Fall Out Boy, "Dance With the Devil" from Breaking Benjamin, and "Angel With a Shotgun" from Nightcore, among others, are amazing when done correctly. If not, they are even more susceptible to being mediocre, since the song is overrate. But, there is a reason everybody uses songs like these- they fit almost anything. In general, the best animated music videos have a unique song that fits the franchise.
2. Pacing
Pace is very important in AMVs, and depends on the song and the source material. For example, you wouldn't want a bunch of in-your-face short action clips for an emotional video designed to be sad, and you wouldn't want long clips for an action video. In general, good AMVs will pace with an element of the song, such as the bass or vocals.
3. Song/video harmony
Going hand in hand with pacing, there should be a clean mesh between the video and the song. with the clips matching the instrumentation or lyrics in meaning/content. The best of the best try to match up specific scenes with specific parts/words of the song. I have even seen a few where they try to make the characters appear like they are singing the song, see "Be Prepared" with Invader Zim to see what I am talking about.
4. Timing
The last element crucial to every AMV is timing. This is similar to 2 and 3, but extends further to include specific character movements or moments from the show and editing the video so they occur at the exact time of something in the song. For example, a gunshot happening at the exact same time as a huge downbeat. There are some really cool AMVs that take advantage of this, using a motif or an idea of something that occurs in the movie/show frequently and timing it to a vamping section of the music (see "Transmutayshun " and "Counting Stars").
AMVs will sometimes include quotes and special effects. These also depend on the content, and in general, are best used in moderation.
Another similar kind of video are tribute videos, which clip together many franchises to one studio or company, or just make a video to commemorate something. These are based more on the video, with the music being chosen to fit the video, rather then the video to fit the music. Like AMVs, these are either amazing or awful. Likewise, one of the videos on the list below is a tribute video.
Some videos that show these aforementioned qualities (aka in my opinion the best AMVs I have seen):
They come from all sorts of franchises
These videos range greatly in quality, with some being barely passable and others winning awards at conventions and being acclaimed by the creators of the franchise.
I will likely do a later post on how to make your own AMV, but for this post I will be discussing some that have already been made, and the qualities that make an AMV good.
1. The song choice
The song that the video uses is a big part of an AMV. A good AMV will use a song that fits with the movie/show, either in style or lyrics, sometimes both. If you can picture the franchise while just listening to the song on its own, then it is a good song choice. There are a couple of songs that are used in AMVs a lot, no matter the franchise. These songs, which include "This is War" from Thirty Seconds to Mars, "Centuries" from Fall Out Boy, "Dance With the Devil" from Breaking Benjamin, and "Angel With a Shotgun" from Nightcore, among others, are amazing when done correctly. If not, they are even more susceptible to being mediocre, since the song is overrate. But, there is a reason everybody uses songs like these- they fit almost anything. In general, the best animated music videos have a unique song that fits the franchise.
2. Pacing
Pace is very important in AMVs, and depends on the song and the source material. For example, you wouldn't want a bunch of in-your-face short action clips for an emotional video designed to be sad, and you wouldn't want long clips for an action video. In general, good AMVs will pace with an element of the song, such as the bass or vocals.
3. Song/video harmony
Going hand in hand with pacing, there should be a clean mesh between the video and the song. with the clips matching the instrumentation or lyrics in meaning/content. The best of the best try to match up specific scenes with specific parts/words of the song. I have even seen a few where they try to make the characters appear like they are singing the song, see "Be Prepared" with Invader Zim to see what I am talking about.
4. Timing
The last element crucial to every AMV is timing. This is similar to 2 and 3, but extends further to include specific character movements or moments from the show and editing the video so they occur at the exact time of something in the song. For example, a gunshot happening at the exact same time as a huge downbeat. There are some really cool AMVs that take advantage of this, using a motif or an idea of something that occurs in the movie/show frequently and timing it to a vamping section of the music (see "Transmutayshun " and "Counting Stars").
AMVs will sometimes include quotes and special effects. These also depend on the content, and in general, are best used in moderation.
Another similar kind of video are tribute videos, which clip together many franchises to one studio or company, or just make a video to commemorate something. These are based more on the video, with the music being chosen to fit the video, rather then the video to fit the music. Like AMVs, these are either amazing or awful. Likewise, one of the videos on the list below is a tribute video.
Some videos that show these aforementioned qualities (aka in my opinion the best AMVs I have seen):
They come from all sorts of franchises
"Transmutayshun"- Fullmetal Alchemist
"The Hero Tale of Hiccup"- How to Train Your Dragon
"Be Prepared"- Invader Zim
"Counting Stars"- Gravity Falls
"25 Years of Pixar Animation"- Pixar
Show Choir Nationals
I know I am not supposed to be blogging diary type posts, so this post will be more of a review/reflection then a recounting of everything we did. Anyway, the reason why I am prefacing this post with that statement is because my show choir that I play in the band for, Happiness, Inc., recently, as in like today, got back from Nashville, TN where we competed against the top groups in the nation, coming out in 6th and winning best tech crew. It was actually my second time at nationals, the first being when I was a freshman two years ago.
Even though there were no groups from Nashville, or to my knowledge, TN, it was still the perfect place to host such an event. All of the performances were in the Grand Ole Opry, which could not be a better choice for the performances. It is a gorgeous concert hall, with excellent acoustics and big-name celebrities, at least in the country music world. The seating is also great, with it seating over 3000 people and having an expansive balcony. All in all the perfect performance venue for show choir.
The hotel, Gaylord Opryland, was similarly amazing and memorable, with just the size and amount of activities to do for a bunch of high-energy teenagers. It is about the size of the Mall of America, but without a giant roller coaster in the middle to help you navigate. Instead, it is split into four sections: Magnolia, Delta, Garden, and Cascades, each of which contains a major feature of the hotel: the shopping/restaurants, a river, the indoor garden, and waterfalls respectively. We stayed in the Garden freshman year, and this year in the Delta. I personally like the Cascades. The hotel as a whole is unbelievable and your entire vacation could be spent in the hotel and you wouldn't get bored. It's that big. I do have a couple complaints, though. First, the prices were way too high, but that's to be expected for a fancy hotel. Second, the rooms were rather small, but the rest of the hotel more than made up for the lack in the rooms. Finally, there were a bunch of other people that weren't very pleasant and talked behind our backs, but that's not under the hotel's control. Overall, the Gaylord Opryland Hotel was very memorable and easily the greatest hotel ever, at least of the ones that I have stayed at.
Opryland also includes a mall, known as the Opry Mills Mall, and is a large mall that includes an I-Max theater and sections based on what the shops are. Since I have been to Mall of America many times, I can't say it is the best mall ever, but it definitely tops any in Iowa.
We also attended the Wildhorse Saloon, which personally, I would find a lot more fun if I even in the slightest enjoyed dancing. Because I don't, and since I've already been there, I mostly just people watched, which is fun- its a bunch of hyped-up, showy teenagers. The food was great, though.
In terms of the actual competition, I found the results to be very fair. Of the shows that made it to finals, I agree with their placement, although I feel like some choirs need to be given a price limit. The winning group, who was from CA but I won't name because I can't spell the name to save my life, was the same group that won when we were there before. They did Edward Scissorhands before, and this time, a space-themed show. Yes, they were amazing, but the story was extremely difficult to follow.
What makes me the most excited and happy, however, is that show choirs mainly come from 3 places: the South, California, and the Midwest. California show choirs spend a ridiculous amount of money and are turning into Broadway productions, and the South is doing the same, but to a much less extent. The Midwest (this is the part I like), however, is the only place where show choir is still traditional and more focused on the singing and dancing, not the theme. In fact, many Midwestern shows don't even have a theme, and if they do, they don't use props and elaborate costumes. If they do, it's very minimal and is still balanced out by the rest of the show. Yes, there are a couple exceptions (I'm talking to you, Prairie), but for the most part, they are still down-to-earth classic show choir shows.
Overall, nationals were really fun and a memorable experience.
Even though there were no groups from Nashville, or to my knowledge, TN, it was still the perfect place to host such an event. All of the performances were in the Grand Ole Opry, which could not be a better choice for the performances. It is a gorgeous concert hall, with excellent acoustics and big-name celebrities, at least in the country music world. The seating is also great, with it seating over 3000 people and having an expansive balcony. All in all the perfect performance venue for show choir.
The hotel, Gaylord Opryland, was similarly amazing and memorable, with just the size and amount of activities to do for a bunch of high-energy teenagers. It is about the size of the Mall of America, but without a giant roller coaster in the middle to help you navigate. Instead, it is split into four sections: Magnolia, Delta, Garden, and Cascades, each of which contains a major feature of the hotel: the shopping/restaurants, a river, the indoor garden, and waterfalls respectively. We stayed in the Garden freshman year, and this year in the Delta. I personally like the Cascades. The hotel as a whole is unbelievable and your entire vacation could be spent in the hotel and you wouldn't get bored. It's that big. I do have a couple complaints, though. First, the prices were way too high, but that's to be expected for a fancy hotel. Second, the rooms were rather small, but the rest of the hotel more than made up for the lack in the rooms. Finally, there were a bunch of other people that weren't very pleasant and talked behind our backs, but that's not under the hotel's control. Overall, the Gaylord Opryland Hotel was very memorable and easily the greatest hotel ever, at least of the ones that I have stayed at.
Opryland also includes a mall, known as the Opry Mills Mall, and is a large mall that includes an I-Max theater and sections based on what the shops are. Since I have been to Mall of America many times, I can't say it is the best mall ever, but it definitely tops any in Iowa.
We also attended the Wildhorse Saloon, which personally, I would find a lot more fun if I even in the slightest enjoyed dancing. Because I don't, and since I've already been there, I mostly just people watched, which is fun- its a bunch of hyped-up, showy teenagers. The food was great, though.
In terms of the actual competition, I found the results to be very fair. Of the shows that made it to finals, I agree with their placement, although I feel like some choirs need to be given a price limit. The winning group, who was from CA but I won't name because I can't spell the name to save my life, was the same group that won when we were there before. They did Edward Scissorhands before, and this time, a space-themed show. Yes, they were amazing, but the story was extremely difficult to follow.
What makes me the most excited and happy, however, is that show choirs mainly come from 3 places: the South, California, and the Midwest. California show choirs spend a ridiculous amount of money and are turning into Broadway productions, and the South is doing the same, but to a much less extent. The Midwest (this is the part I like), however, is the only place where show choir is still traditional and more focused on the singing and dancing, not the theme. In fact, many Midwestern shows don't even have a theme, and if they do, they don't use props and elaborate costumes. If they do, it's very minimal and is still balanced out by the rest of the show. Yes, there are a couple exceptions (I'm talking to you, Prairie), but for the most part, they are still down-to-earth classic show choir shows.
Overall, nationals were really fun and a memorable experience.
Sunday, March 27, 2016
The Good Dinosaur
With how obsessed I am with Pixar, it's surprising that it took this long for me to watch The Good Dinosaur. I had read reviews saying it was no where near typical Pixar quality, but I didn't care, it was still Pixar. The movie wasn't bad, but considering Pixar's track record, it was a bit of a disappointment.
For starters, it had an unoriginal and boring plot- with the story of two friends becoming lost then trying to find their way home and the adventures they run into on the way home. We've seen it a million times, and especially when their last movie was Inside Out, the simplistic plot just wasn't cutting it.
There's no denying that the backgrounds, setting, and environments of this movie are beautiful and almost lifelike, with possibly the best background animation I have ever seen. I mean, some of the shots are so photo realistic they look like you filmed somewhere like Colorado then just stuck the characters on it. Speaking of Rarely does one find a movie or show where there is more than one character with a physical of which, the characters seem out of place with how cartoony and unrealistic they are. They look like stickers on a photograph.
The music is decent, but nowhere along the lines of Michael Giacchino.
The characters are also decent, with Arlo and Spot both being fairly likable, albeit not complex. What is great though, is their relationship. It's a bit strange at first, with a pet and owner type relation, but not how you would normally see it. Arlo is a dinosaur and Spot is a boy, and it is Spot who acts like an animal and Arlo who is the intelligent, self-aware creature. It is really bizarre, especially seeing dinosaurs practice ranching and agriculture, but at least it's unique.
Where this movie really shines is in said relationship between boy and dinosaur. In particular, one scene, where the two use symbolism in sticks and circles to demonstrate their lost loved ones- Arlo, his father, and Spot, his parents. It is a sad and heartfelt scene, one that shows that even though it isn't as great as Up or Inside Out, The Good Dinosaur still has the heart and soul of a Pixar movie.
For starters, it had an unoriginal and boring plot- with the story of two friends becoming lost then trying to find their way home and the adventures they run into on the way home. We've seen it a million times, and especially when their last movie was Inside Out, the simplistic plot just wasn't cutting it.
There's no denying that the backgrounds, setting, and environments of this movie are beautiful and almost lifelike, with possibly the best background animation I have ever seen. I mean, some of the shots are so photo realistic they look like you filmed somewhere like Colorado then just stuck the characters on it. Speaking of Rarely does one find a movie or show where there is more than one character with a physical of which, the characters seem out of place with how cartoony and unrealistic they are. They look like stickers on a photograph.
The music is decent, but nowhere along the lines of Michael Giacchino.
The characters are also decent, with Arlo and Spot both being fairly likable, albeit not complex. What is great though, is their relationship. It's a bit strange at first, with a pet and owner type relation, but not how you would normally see it. Arlo is a dinosaur and Spot is a boy, and it is Spot who acts like an animal and Arlo who is the intelligent, self-aware creature. It is really bizarre, especially seeing dinosaurs practice ranching and agriculture, but at least it's unique.
Where this movie really shines is in said relationship between boy and dinosaur. In particular, one scene, where the two use symbolism in sticks and circles to demonstrate their lost loved ones- Arlo, his father, and Spot, his parents. It is a sad and heartfelt scene, one that shows that even though it isn't as great as Up or Inside Out, The Good Dinosaur still has the heart and soul of a Pixar movie.
Avatar the Last Airbender
This is a show that I have been meaning to watch for a while, but never truly started. Just recently, I actually started it and have watched all of season 1, and let me tell you- this show is fantastic.
For those of you unfamiliar with Avatar the Last Airbender or who have only watched the awful, live-action movie, stop reading and start watching. I guarantee that you won't be disappointed. But, you should probably read the next paragraph, which is a summary of the show.
Anyway, the show, which features people called Benders who are able to manipulate one of th four elements: water, earth, fire, or air. Each one of the elements had a civilization, all of whom lived in peace through the Avatar, a bender serving as a link between the mortal and spirit worlds and able to bend all four elements. The peace ended when the Avatar disappeared and the Fire Nation attacked. Zip forward 100 years and the Avatar is discovered by Katara and Sakka, two members of the water tribe. As the name of the show implies, this incarnation of the Avatar is an Airbender named Aang, and the last of his kind. The rest of the show follows Aang as he masters the elements and learns how to become the Avatar to defeat the Fire Nation.
In terms of story, Avatar the Last Airbender has a stereotypical but still intriguing story. While we have seen the Reluctant Hero as the Choosen One a million times, there is something about Avatar that makes it different and more likable. Those somethings are in the other aspects of the show.
One of those somethings is the animation, which is somewhat of a cross between Western animation and anime. This leads to a rich art style that lends itself well to both stylized characters and awesome fight scenes. The area of the show that has the best animation is easily the bending. We get to see fireballs, tornadoes , rockslides, and tsunamis all in the same show, all controlled by people who move in ways inspired by Chinese martial arts. It's pretty cool.
Also, the music in this show is amazing as well, drawing influences from Asian dance, tribal, and war music, and featuring unique instrumentation.
But, perhaps the most acclaimed part of Avatar the Last Airbender is the characters. All of the main characters, both protagonist and antagonist (with the exception of a couple villains), are sympathetic and likable characters, all with their own story and own conflict. The most polarizing character is Zuko. I will not go into more detail now, but will do a character analysis of him when I finish the show. All I will say about him is that he marches to the beat of his own drum and isn't really a hero or a villain.
All in all, I recommend Avatar the Last Airbender to everyone, regardless of age, gender, or interest. This is an extremely charming and acclaimed show, and you can most certainly expect future blog posts on it.
For those of you unfamiliar with Avatar the Last Airbender or who have only watched the awful, live-action movie, stop reading and start watching. I guarantee that you won't be disappointed. But, you should probably read the next paragraph, which is a summary of the show.
Anyway, the show, which features people called Benders who are able to manipulate one of th four elements: water, earth, fire, or air. Each one of the elements had a civilization, all of whom lived in peace through the Avatar, a bender serving as a link between the mortal and spirit worlds and able to bend all four elements. The peace ended when the Avatar disappeared and the Fire Nation attacked. Zip forward 100 years and the Avatar is discovered by Katara and Sakka, two members of the water tribe. As the name of the show implies, this incarnation of the Avatar is an Airbender named Aang, and the last of his kind. The rest of the show follows Aang as he masters the elements and learns how to become the Avatar to defeat the Fire Nation.
In terms of story, Avatar the Last Airbender has a stereotypical but still intriguing story. While we have seen the Reluctant Hero as the Choosen One a million times, there is something about Avatar that makes it different and more likable. Those somethings are in the other aspects of the show.
One of those somethings is the animation, which is somewhat of a cross between Western animation and anime. This leads to a rich art style that lends itself well to both stylized characters and awesome fight scenes. The area of the show that has the best animation is easily the bending. We get to see fireballs, tornadoes , rockslides, and tsunamis all in the same show, all controlled by people who move in ways inspired by Chinese martial arts. It's pretty cool.
Also, the music in this show is amazing as well, drawing influences from Asian dance, tribal, and war music, and featuring unique instrumentation.
But, perhaps the most acclaimed part of Avatar the Last Airbender is the characters. All of the main characters, both protagonist and antagonist (with the exception of a couple villains), are sympathetic and likable characters, all with their own story and own conflict. The most polarizing character is Zuko. I will not go into more detail now, but will do a character analysis of him when I finish the show. All I will say about him is that he marches to the beat of his own drum and isn't really a hero or a villain.
All in all, I recommend Avatar the Last Airbender to everyone, regardless of age, gender, or interest. This is an extremely charming and acclaimed show, and you can most certainly expect future blog posts on it.
Godus
Godus is a mobile game where the player gets to basically 'play God'. Yes, I know that my blog is focused on music and animation, but seeing that this game employs both, I don't see why I can't review it.
My first remarks are that the gameplay is really innovative and original, unlike anything I've seen before. The way that the game is set up, where you become more powerful as you go, keeps players playing out of a need for more power. That sounds like a bad thing, but it is a game where you literally play God.
Another aspect of the game that is pretty well done is the graphics. While they aren't as incredible as some other Indie games (Godus is an Indie game), as the gameplay is the focus of the game, they are unique and kind of cute. I especially love how the land is presented in layers: it is a cool way to look at the land and makes for some pretty spectacular geographic features, in the form of rivers, oceans, cliffs, and mountains.
The way that the Astari are presented is kind of cool as well. They aren't truly evil, they just want to convert people to their own religion. Also, when you play the game, new features are unlocked through cards and stickers, with the stickers being found in treasure chests hidden throughout your land. But, this relates to the Astari in that through opening some of the chests, you get a narration piece by piece, a story if you will, that tells the origin of the Astari. I think that this aspect of the game is one of the best.
Overall, Godus is a great game with unique gameplay that keeps you playing.
Anyway, as aforementioned, in this game you play as a God. The game starts with you assisting a couple of people to a 'promised land'. To be honest, I started this game a while ago and don't fully remember how it starts. When the people get to the so-called Promised Land, the game instructs you to sculpt the land and inspire them to build housing, known as abodes within the game.
The rest of the game involves you sculpting the land, literally using your finger to change the way the land looks. You can do just about anything your heart desires. You are also trying to gain as many followers as possible, through telling your people to build more abodes. They then offer you belief, which is the currency in the game, mainly spent towards sculpting the land and by using your powers, which consist of both good and bad things. You can even start a meteor shower!
As the game progresses, you unlock both farming and mining, which create essential resources. You may also start to notice other people- noisy, mask-donning people called Astari. They mostly stand outside your civilization and harass your Followers, but every 24 hours, their village throws a celebration. If they are happier, your Followers join them, and vice-versa. Therefore, the happiness of your Followers is perhaps one of the most important aspects of the game.
All in all, Godus is a well-made game that I have noticed only a few flaws in. For example, the biggest bug is in the loading of the game- the game is played landscape and sometimes loads portrait style and won't auto rotate. I discovered a trick to overcome this- shut out of almost everything else that you aren't using, including Godus. Then reload the game, being sure to keep it portrait but flip it once the white screen appears. If that doesn't work, restart your device.
Of course, what's a review without my honest opinion and interpretation of the game?
Of course, what's a review without my honest opinion and interpretation of the game?
My first remarks are that the gameplay is really innovative and original, unlike anything I've seen before. The way that the game is set up, where you become more powerful as you go, keeps players playing out of a need for more power. That sounds like a bad thing, but it is a game where you literally play God.
Another aspect of the game that is pretty well done is the graphics. While they aren't as incredible as some other Indie games (Godus is an Indie game), as the gameplay is the focus of the game, they are unique and kind of cute. I especially love how the land is presented in layers: it is a cool way to look at the land and makes for some pretty spectacular geographic features, in the form of rivers, oceans, cliffs, and mountains.
The way that the Astari are presented is kind of cool as well. They aren't truly evil, they just want to convert people to their own religion. Also, when you play the game, new features are unlocked through cards and stickers, with the stickers being found in treasure chests hidden throughout your land. But, this relates to the Astari in that through opening some of the chests, you get a narration piece by piece, a story if you will, that tells the origin of the Astari. I think that this aspect of the game is one of the best.
Overall, Godus is a great game with unique gameplay that keeps you playing.
Sunday, March 13, 2016
My Singing Monsters
This game is an app developed by Big Blue Bubble where you breed and collect monsters. These monsters each have a unique 'song' that, when they come together, forms a song overall. There are two versions of this game, My Singing Monsters and My Singing Monsters: Dawn of Fire. The latter is the sequel, and while it features fire monsters as well, I do not like it as much as the original. The graphics are little bit convoluted, and some of the monsters are downright annoying. Also, the game is set up way differently, where leveling up your monsters unlocks new areas, not buying new places. Personally, I find that aspect of the game tedious and not as fun- you have to be checking the game constantly in order to create new items to give to your monsters.
On the other hand, the only true complaint I have about the original game is that some of the timers in the game are way too long. For example, many of the breeding/incubating timers, especially for the dual element monsters, are way too long. I mean, I understand the long timers for 4 element, legendary, and ethereal monsters- they are rare for a reason. But the two element monsters should not take 8 hours to hatch and breed. Also, the prices can be a bit ridiculous, especially to upgrade the castles and feed your monsters, but that is a bit more tolerable.
Otherwise, I love this game. There are only a few monsters that I just can't stand the song of- namely the Blabbit and Entbrat. The rest of the monsters I either like the song or can tolerate it.
The island songs I either love or can tolerate. Here is a countdown and description of the songs in order of what I think of them
9. Water
To put it simply, this song is boring, and it is really easy to hear the Blabbit, which I already mentioned is one of the only monster songs I can't stand. The song is just there- it doesn't really get interesting at any point, and is very laid-back.
8. Air
This song is kind of ugly. Some of the harmonies are not well done, and the song is too busy. Also, the Schmoochle sounds like the chipmunks from Alvin and the Chipmunks- not a good thing. I will say that this song sounds better faster, and at the very least the part played by Riff is fabulous and well-done.
7. Gold
This song has one thing going for it- you can put almost every monster on it. Of course, this means some monsters clash with each other, and also, this song isn't very original. It is clearly a rip off of Pachelbal's Canon in D, and some of the monsters that usually don't sound bad sound really bad, like the Potbelly, Schmoochle, and the Furcorn.
6. Earth
This song is an entirely different style- it is more along the lines of what an orchestra would play, with an organ and an epic choir. I like the song a lot, but have a few problems with it. Firstly, the Bowgart needs to be on that island. Second, the Cybop and Potbelly are really annoying on this island.
5. Tribal
A bit of a different song, this island is a social island, where you create or join existing tribes, each of you contributing a monster. I will say that this song can either be really good or a bit bad depending on the monster, but it's featured monster, Kayna, is amazing.
4. Shugabush
The closest this game ever gets to a song with lyrics, this song has some pretty good instrumentalists and a nice song, but it is hard to distinguish between all of the string players. I like being able to hear each individual part, and you can't do that with this song. But, it is still a good song, and is similar to a song by a band.
3. Plant
As your first song in the game, this song had better make a good first impression on you. I will say this, the monsters you first get make hearing this song over and over again when you are first song a bit annoying, but as you get the song more and more developed, it gains more charm, especially when you partner the Ghaz and the Shugabush. But that stupid Entbrat!
2. Cold
A song that almost sounds like a possessed version of a Christmas song, this song is reminiscent of a drinking song or something along those lines, with its minor tonality and Mammot-based song. I also really love the strong percussion on this island, especially with the Thumpies. My real complainant with this island lies in the fact that I like this song better without all the techno stuff as the island is advanced. But, that Furcorn makes up for it! Also, it has the only enjoyable season monster song.
1. Ethereal
I am in love with the song, and it features my favorite monster- the Sox. I just love that saxophone sound so much! Also, it has the coolest looking monsters, and it's the only song that isn't in four, and it mixes synthesized sounds with acoustic instruments making it have a unique sound that sounds like it comes from another planet. I have nothing but praise for this song. I just wish that the creators would add 3-element ethereal monsters so we could get an even better song.
In conclusion, this game is enjoyable and will keep you playing until you get the full song.
videos used:
https://www.youtube.com/watch?v=dfHumniCPwU&index=4&list=PLMQkzlqhokI2nOc9MSRRaLJEMQXBhdZv7
https://www.youtube.com/watch?v=X95EpYFlqDY&index=3&list=PLMQkzlqhokI2nOc9MSRRaLJEMQXBhdZv7
https://www.youtube.com/watch?v=jtFCiyfMYFQ&index=1&list=PLMQkzlqhokI2nOc9MSRRaLJEMQXBhdZv7
https://www.youtube.com/watch?v=nOERzzfxW9Q&list=PLMQkzlqhokI2nOc9MSRRaLJEMQXBhdZv7&index=9
https://www.youtube.com/watch?v=h9BAEUcQ1wk&index=5&list=PLMQkzlqhokI2nOc9MSRRaLJEMQXBhdZv7
https://www.youtube.com/watch?v=nOERzzfxW9Q&index=9&list=PLMQkzlqhokI2nOc9MSRRaLJEMQXBhdZv7
https://www.youtube.com/watch?v=dnzrNGxYjxo&list=PLMQkzlqhokI2nOc9MSRRaLJEMQXBhdZv7&index=8
https://www.youtube.com/watch?v=GdxVjK6ObJE&list=PLMQkzlqhokI2nOc9MSRRaLJEMQXBhdZv7&index=2
https://www.youtube.com/watch?v=GdxVjK6ObJE&index=2&list=PLMQkzlqhokI2nOc9MSRRaLJEMQXBhdZv7
https://www.youtube.com/watch?v=4hev_IXpCA0&list=PLMQkzlqhokI2nOc9MSRRaLJEMQXBhdZv7&index=7
On the other hand, the only true complaint I have about the original game is that some of the timers in the game are way too long. For example, many of the breeding/incubating timers, especially for the dual element monsters, are way too long. I mean, I understand the long timers for 4 element, legendary, and ethereal monsters- they are rare for a reason. But the two element monsters should not take 8 hours to hatch and breed. Also, the prices can be a bit ridiculous, especially to upgrade the castles and feed your monsters, but that is a bit more tolerable.
Otherwise, I love this game. There are only a few monsters that I just can't stand the song of- namely the Blabbit and Entbrat. The rest of the monsters I either like the song or can tolerate it.
The island songs I either love or can tolerate. Here is a countdown and description of the songs in order of what I think of them
9. Water
To put it simply, this song is boring, and it is really easy to hear the Blabbit, which I already mentioned is one of the only monster songs I can't stand. The song is just there- it doesn't really get interesting at any point, and is very laid-back.
8. Air
This song is kind of ugly. Some of the harmonies are not well done, and the song is too busy. Also, the Schmoochle sounds like the chipmunks from Alvin and the Chipmunks- not a good thing. I will say that this song sounds better faster, and at the very least the part played by Riff is fabulous and well-done.
7. Gold
This song has one thing going for it- you can put almost every monster on it. Of course, this means some monsters clash with each other, and also, this song isn't very original. It is clearly a rip off of Pachelbal's Canon in D, and some of the monsters that usually don't sound bad sound really bad, like the Potbelly, Schmoochle, and the Furcorn.
6. Earth
This song is an entirely different style- it is more along the lines of what an orchestra would play, with an organ and an epic choir. I like the song a lot, but have a few problems with it. Firstly, the Bowgart needs to be on that island. Second, the Cybop and Potbelly are really annoying on this island.
5. Tribal
A bit of a different song, this island is a social island, where you create or join existing tribes, each of you contributing a monster. I will say that this song can either be really good or a bit bad depending on the monster, but it's featured monster, Kayna, is amazing.
4. Shugabush
The closest this game ever gets to a song with lyrics, this song has some pretty good instrumentalists and a nice song, but it is hard to distinguish between all of the string players. I like being able to hear each individual part, and you can't do that with this song. But, it is still a good song, and is similar to a song by a band.
3. Plant
As your first song in the game, this song had better make a good first impression on you. I will say this, the monsters you first get make hearing this song over and over again when you are first song a bit annoying, but as you get the song more and more developed, it gains more charm, especially when you partner the Ghaz and the Shugabush. But that stupid Entbrat!
2. Cold
A song that almost sounds like a possessed version of a Christmas song, this song is reminiscent of a drinking song or something along those lines, with its minor tonality and Mammot-based song. I also really love the strong percussion on this island, especially with the Thumpies. My real complainant with this island lies in the fact that I like this song better without all the techno stuff as the island is advanced. But, that Furcorn makes up for it! Also, it has the only enjoyable season monster song.
1. Ethereal
I am in love with the song, and it features my favorite monster- the Sox. I just love that saxophone sound so much! Also, it has the coolest looking monsters, and it's the only song that isn't in four, and it mixes synthesized sounds with acoustic instruments making it have a unique sound that sounds like it comes from another planet. I have nothing but praise for this song. I just wish that the creators would add 3-element ethereal monsters so we could get an even better song.
In conclusion, this game is enjoyable and will keep you playing until you get the full song.
videos used:
https://www.youtube.com/watch?v=dfHumniCPwU&index=4&list=PLMQkzlqhokI2nOc9MSRRaLJEMQXBhdZv7
https://www.youtube.com/watch?v=X95EpYFlqDY&index=3&list=PLMQkzlqhokI2nOc9MSRRaLJEMQXBhdZv7
https://www.youtube.com/watch?v=jtFCiyfMYFQ&index=1&list=PLMQkzlqhokI2nOc9MSRRaLJEMQXBhdZv7
https://www.youtube.com/watch?v=nOERzzfxW9Q&list=PLMQkzlqhokI2nOc9MSRRaLJEMQXBhdZv7&index=9
https://www.youtube.com/watch?v=h9BAEUcQ1wk&index=5&list=PLMQkzlqhokI2nOc9MSRRaLJEMQXBhdZv7
https://www.youtube.com/watch?v=nOERzzfxW9Q&index=9&list=PLMQkzlqhokI2nOc9MSRRaLJEMQXBhdZv7
https://www.youtube.com/watch?v=dnzrNGxYjxo&list=PLMQkzlqhokI2nOc9MSRRaLJEMQXBhdZv7&index=8
https://www.youtube.com/watch?v=GdxVjK6ObJE&list=PLMQkzlqhokI2nOc9MSRRaLJEMQXBhdZv7&index=2
https://www.youtube.com/watch?v=GdxVjK6ObJE&index=2&list=PLMQkzlqhokI2nOc9MSRRaLJEMQXBhdZv7
https://www.youtube.com/watch?v=4hev_IXpCA0&list=PLMQkzlqhokI2nOc9MSRRaLJEMQXBhdZv7&index=7
How to Solo
If you are a member of a jazz ensemble, you may be asked to or want to solo. In jazz, 9 out of 10 times that solo will be improvisation. Improvisation is a skill, like playing an instrument, although some are naturally better at it. Fortunately, there are a couple things you can do to help make your solo sound convincing.
Follow the Chords
If your director is considerate, they will provide you with either the chords, scales, or notes of the solo section. If not, they will be written in your part or you can ask the piano player- the chords will be in their part 99% of the time (I'm a pianist- I know). If you are unsure on how to read the chord notation, then just google it. Most chords will be there, and those that aren't are usually just minor alterations to other chords. Either way, once you know the notes and the chord changes, just use the notes of the chords, particularly the thirds and the sevenths.
Account for the Style
Different styles of jazz will have different solo styles. There are some that are perfectly fine resting or playing separated notes or long notes: in other words, limited motion. Other songs, most notably big band swing and Latin, require constant motion- trying using running eighth notes for those solos, and doing more with the articulation. In any event, make sure to listen to a recording of the chart to get a feel for the style, and maybe even transcribe a little of the solo.
Phrase the solo
In general, solos will be around 8-24 bars in length, with most being a multiple of 4. On occasion, you may be asked to do a solo the length of the entire song. For those, ask your private instructor/director. Otherwise, phrase your solo so the solo gradually builds as the solo advances, growing in complexity and volume, and even working your way up the scale.
Pick a Motif
The song you are soloing in will always, like any song, include a melody, or another motif, within the music. To make your solo sound like it belongs in the song, try using or manipulating one of these themes in your solo. Just make sure that your solo is not the exact same thing, or it won't be improvisation.
In conclusion, if you follow those tips and use your imagination, you should come up with a good solo. Remember, vary the solo each time and try to expand on it each time.
Follow the Chords
If your director is considerate, they will provide you with either the chords, scales, or notes of the solo section. If not, they will be written in your part or you can ask the piano player- the chords will be in their part 99% of the time (I'm a pianist- I know). If you are unsure on how to read the chord notation, then just google it. Most chords will be there, and those that aren't are usually just minor alterations to other chords. Either way, once you know the notes and the chord changes, just use the notes of the chords, particularly the thirds and the sevenths.
Account for the Style
Different styles of jazz will have different solo styles. There are some that are perfectly fine resting or playing separated notes or long notes: in other words, limited motion. Other songs, most notably big band swing and Latin, require constant motion- trying using running eighth notes for those solos, and doing more with the articulation. In any event, make sure to listen to a recording of the chart to get a feel for the style, and maybe even transcribe a little of the solo.
Phrase the solo
In general, solos will be around 8-24 bars in length, with most being a multiple of 4. On occasion, you may be asked to do a solo the length of the entire song. For those, ask your private instructor/director. Otherwise, phrase your solo so the solo gradually builds as the solo advances, growing in complexity and volume, and even working your way up the scale.
Pick a Motif
The song you are soloing in will always, like any song, include a melody, or another motif, within the music. To make your solo sound like it belongs in the song, try using or manipulating one of these themes in your solo. Just make sure that your solo is not the exact same thing, or it won't be improvisation.
In conclusion, if you follow those tips and use your imagination, you should come up with a good solo. Remember, vary the solo each time and try to expand on it each time.
Dreamworks Dragons
The hit franchise How to Train Your Dragon includes not only two movies, specials, and an arena show, but an entire t.v. series as well called Dreamworks Dragons. Currently on its fourth season, the show has been featured on both Cartoon Network and Netflix, with the later seasons being only available on Netflix.
In general, this is a much better Dreamworks movie-based show than the others, and has a similarly darker tone. But, while the animation is still fantastic on its own, the superior animation of the movies, especially the second, is very noticeable. Also, the movies are both very dark, deep, and mature, and the show tends to stray from that a bit. There are moments where the characters don't act like themselves, and where the humor is obviously aimed at a younger audience. Despite this, the show in general is well done and boasts good stories.
One thing that the show does very well, perhaps even better than the movies, is introduce new dragons. Compared with the movies, there are many more dragons interacting with the teens in the show. They include the Skrill, Whispering Death, Screaming Death, Scauldron, Thunderdrum, Changewing, Razorwhip, and Sea Shocker, to name a few (there are many, many, more, but that list would be way too long). Each new dragon to the franchise is explained as it usually wrecks havoc on Berk or Dragon's Edge, given a motivation and a complete story revolving around it. And, once the dragons are introduced, they are established within the universe, and will usually show up again in the show another time.
One thing that I particularly find interesting and memorable about the Race to the Edge episodes is their inclusion of aspects in the second movie, only in an introductory way. For example, it shows Stoick meeting his future dragon, the Rumblehorn known as Skullcrusher, and Hiccup first making his flight suit, the outfit he will eventually bare in the second film. This really shows the continuity in the franchise as a whole (maybe not over individual episodes). Speaking of continuity, Race to the Edge has been much better in that regard, developing and staying true to a definite story about dragon trappers.
The show has also done a fairly decent job at adding in some of their new characters. Some of them, aka Mildew and Trader Johann, are downright annoying, but they are supposed to be. Others, like Bucket, Alvin, and Spitelout are boring and one-dimensional. But, the additions of Dagur and Heather are good. While Dagur is not a likable character, he poses a real threat to the teens and is a more interesting character. Meanwhile, Heather is a very interesting, complex character who is likable and hard to read- all that you want in a character who is essentially neutral in the conflict.
I can't say the same about some of the main characters. There are all of two characters who have kept their original personalities in the franchise, and that is Hiccup and Toothless. Everybody else has either been dumbed down to even dumber than they are in the movie- aka Snotlout and the twins- or their character oversimplified to exhibit only one quality that the character original possessed- like Astrid's aggression, Gobber's strangeness, Stoick's commanding nature, or Fishleg's intelligence.
Overall, while the show is far from perfect, it has continued to make strides in the positive direction and is a lot better than some of the current shows.
In general, this is a much better Dreamworks movie-based show than the others, and has a similarly darker tone. But, while the animation is still fantastic on its own, the superior animation of the movies, especially the second, is very noticeable. Also, the movies are both very dark, deep, and mature, and the show tends to stray from that a bit. There are moments where the characters don't act like themselves, and where the humor is obviously aimed at a younger audience. Despite this, the show in general is well done and boasts good stories.
One thing that the show does very well, perhaps even better than the movies, is introduce new dragons. Compared with the movies, there are many more dragons interacting with the teens in the show. They include the Skrill, Whispering Death, Screaming Death, Scauldron, Thunderdrum, Changewing, Razorwhip, and Sea Shocker, to name a few (there are many, many, more, but that list would be way too long). Each new dragon to the franchise is explained as it usually wrecks havoc on Berk or Dragon's Edge, given a motivation and a complete story revolving around it. And, once the dragons are introduced, they are established within the universe, and will usually show up again in the show another time.
One thing that I particularly find interesting and memorable about the Race to the Edge episodes is their inclusion of aspects in the second movie, only in an introductory way. For example, it shows Stoick meeting his future dragon, the Rumblehorn known as Skullcrusher, and Hiccup first making his flight suit, the outfit he will eventually bare in the second film. This really shows the continuity in the franchise as a whole (maybe not over individual episodes). Speaking of continuity, Race to the Edge has been much better in that regard, developing and staying true to a definite story about dragon trappers.
The show has also done a fairly decent job at adding in some of their new characters. Some of them, aka Mildew and Trader Johann, are downright annoying, but they are supposed to be. Others, like Bucket, Alvin, and Spitelout are boring and one-dimensional. But, the additions of Dagur and Heather are good. While Dagur is not a likable character, he poses a real threat to the teens and is a more interesting character. Meanwhile, Heather is a very interesting, complex character who is likable and hard to read- all that you want in a character who is essentially neutral in the conflict.
I can't say the same about some of the main characters. There are all of two characters who have kept their original personalities in the franchise, and that is Hiccup and Toothless. Everybody else has either been dumbed down to even dumber than they are in the movie- aka Snotlout and the twins- or their character oversimplified to exhibit only one quality that the character original possessed- like Astrid's aggression, Gobber's strangeness, Stoick's commanding nature, or Fishleg's intelligence.
Overall, while the show is far from perfect, it has continued to make strides in the positive direction and is a lot better than some of the current shows.
Sunday, February 28, 2016
How to transcribe
In music, to transcribe is to listen to an already-composed song or piece and write it down as you hear it, with the correct key, time signature, notes, rhythms, instrumentation, etc.- everything exactly as it appears in the original.
So how does one transcribe? While it is a very difficult process, and it takes some practice- I'm no professional by any means- there are a few tips and tricks that I've learned.
1. Figure out the key
The basis for any song, unless it is on unpicthed percussion, is the key signature, therefore, it is the first piece of information you need about the song you are going to be transcribing.
Finding the key is actually much easier than you might think- just listen to the song, and ask yourself if it sounds major or minor. A major song will sound happy and light, whereas a minor song will be scary and sad. Most songs will be easy to identify as major or minor, with the exception of some jazzier songs that are very chromatic.
After you figure out if its major or minor, figure out the tonic. Another word for the 'starting note', the tonic is the note that the rest of the song is based on- it is "Do" for you Solfege people. To do this, take the first chord of the progression, or the chord that sounds like home base, and find what note sounds best when you play it with it. You can use a pitch giver or any instrument, but I find that online pianos work nicely. Then, once you find that note, write out itself corresponding scale, either major or minor.
2. Listen for instrumentation
Next, you want to find out every instrument that plays in the piece, if you want to write down note-for-note and fully transcribe the piece, without arranging or compensating the instrumentation. To do this, simply listen to the song on endless repeat, and keep listening until you are absolute 100% sure you hear everything that is going on in the song. Keep a list as you go. This may be a bit more complicated for full-on orchestra pieces, but eventually, you will hear everything.
For less common instruments that maybe you can't figure out what they are exactly, first figure out what instrument family the sound is coming from- is it percussion, strings, woodwind, or brass? Maybe an electronic synth? Next, eliminate any sounds that you know it CAN'T be. Then, taking the style into consideration, do some research. A modern pop song isn't going to use bagpipes: a Mozart Concerto isn't going to use electric guitar. Think logically- what other instruments does it sound like? A hint- if you can't tell what it is in a modern setting, it's probably some synth or guitar setting. In a film soundtrack or world music, it will probably be an ethnic instrument- most likely a unique instrument or a flute or percussion instrument of some kind. Keep looking, and maybe ask others- eventually you will find the instrument or something that sounds pretty darn close.
For every different instrument you hear, you will need to write a part.
3. Figure out the time signature
The rhythmic pulse of the song, a time signature helps dictate how the music is subdivided. Some signatures are REALLY easy to hear, like 3/4 time, or really anything that is simple time, like 2/4, 3/4, or 4/4. Fortunately, most modern songs are almost exclusively in one of these three signatures, with the rare few being in compound meter.
Perhaps the next easiest to hear are 3/8, 6/8, 9/8, and 12/8- which have a triplet-like pulse that is either grouped by 1, 2, 3, or 4 respectively. Cut time (2/2) is also very easy to hear; if a song sounds like a fast 4/4, its probably cut time.
You might encounter 5/4, 7/8, and 5/8- they are also easier to hear- they are irregular and if you know a song in one of them, you can fairly simply hear it in other songs. While I don't know any 5/4 or 5/8 songs off the top of my head, "I am the Doctor" from Dr. Who is in 7/8. The biggest help I can be for the others is listen to how the beats are grouped- it will either be 3+2 or 2+3.
The rest of the time signatures are where things start to get a little messy. Rarely will you encounter ones that aren't any of the previously stated, especially in modern popular music. But for those of you that are a bit more ambitious and want to take on the most notorious style of music for time signatures: soundtrack music, you very well might encounter something along the lines of 3/2, 4/8, 6/8 + 2/4, or my personal favorite- 27/16 ("L's Theme" from Death Note). For those particular pieces, the best I can offer you is listen for one measure. When you hear a measure, listen to whether it sounds completed or unfinished- if it has a 2, 3, 4, (5), 6, 9, or 12 on top, it will sound completed. 5 will sometimes sound completed, sometimes not. If it is some crazy number like (5), 7, 15, or yes, 27, it will sound like the music is almost skipping a beat. Next, listen for the bottom number, which will always be a 2. 4, 8, 16, 32, or 64. Rarely, and I mean very rarely, will you get the 32 or 64, but they do exist. Put two and two together, and you have a time signature.
4. Bassline
To write the bassline, listen for the lowest sounding note in the chord. Oftentimes it will be more of an ambiance than an actual, extremely audible thing. Listen for when it changes, and using your online keyboard or pitch giver, find those notes, and write them down. You will, 9 times out of 10, start to hear a pattern. Then, write in the rhythm with those notes, and you have the bassline.
5. Chord Progression
Remember the bassline from step 4? Now you are going to determine the actual chords for that moment in time. The note in the bass sometimes is the root, sometimes it's not. For the easiest way to find the chord, listen for how many notes are sounding. This should be very easy to hear unless it is a jazz piece, which uses all sorts of funky notes not stacked in triads- if it's a jazz piece, just write part by part and skip this step. For other songs, use the determined chord progression to help you in voicing the other parts- unless it is an accidental or a non chord tone, it will be within that chord.
6. Melody
I actually like to write my melody first, even before the bass. Since I am a flutist, I naturally tend to hear the melody's pitches. Write the pitches the same way as with the bassline- by using something that provides the pitch and comparing. You might be able to hear the intervals between pitches, like octaves or fifths or any of the others. If you think you hear a melodic interval within the melody, write it in and check it- you are probably right. Look out for instrumentation- the melody may move between different instruments, especially in an orchestral setting. The only hard thing about the melody might be the rhythm, especially for modern popular music or jazz, which tend to have some of the most complicated rhythms in all music. If there is a tricky rhythm, try memorizing it and singing it slowly back to yourself, listening for the beats as you go.
7. Accompaniment
There will most likely be other parts that aren't the melody going on, such as fanfares, chords, runs, harmony, counter melodies, or any other number of lines. For these, listen to how many there are in the piece. In most cases, another instrument will be doubled on it. Write these the same way as the melody- by comparing pitches and slowing down for rhythms. If you happened to pick a piece with a lot of runs, listen for the starting and ending note of each run, and dictate the scale starting on that note of the key that the song is in. If it doesn't sound right, alter the missounding pitches until it is correct. I say this because as a flutist, I can safely say that every run is either a scale or based on a scale.
8. Finishing the piece
At this point, add in any other parts that may be missing from the score. The biggest culprit is percussion. Unfortunately, I have absolutely no idea how to write a part for drumset. But for other percussion instruments, the only thing you have to write is rhythm.
Once you are confident that you have the piece completely written and it sounds correctly when played back digitally (I write my music using a program called MuseScore), try publishing it online or sharing it with others! There will be somebody out there who appreciates all the hard work you put into writing your piece and will maybe provide you constructive criticism.
Just remember, transcribing isn't easy and takes a lot of practice. So just keep at it, and you will improve and greatly benefit yourself musically as well. Many people, including myself, see transcribing as a stepping stone for composing. So go out and be the next Mozart!
So how does one transcribe? While it is a very difficult process, and it takes some practice- I'm no professional by any means- there are a few tips and tricks that I've learned.
1. Figure out the key
The basis for any song, unless it is on unpicthed percussion, is the key signature, therefore, it is the first piece of information you need about the song you are going to be transcribing.
Finding the key is actually much easier than you might think- just listen to the song, and ask yourself if it sounds major or minor. A major song will sound happy and light, whereas a minor song will be scary and sad. Most songs will be easy to identify as major or minor, with the exception of some jazzier songs that are very chromatic.
After you figure out if its major or minor, figure out the tonic. Another word for the 'starting note', the tonic is the note that the rest of the song is based on- it is "Do" for you Solfege people. To do this, take the first chord of the progression, or the chord that sounds like home base, and find what note sounds best when you play it with it. You can use a pitch giver or any instrument, but I find that online pianos work nicely. Then, once you find that note, write out itself corresponding scale, either major or minor.
2. Listen for instrumentation
Next, you want to find out every instrument that plays in the piece, if you want to write down note-for-note and fully transcribe the piece, without arranging or compensating the instrumentation. To do this, simply listen to the song on endless repeat, and keep listening until you are absolute 100% sure you hear everything that is going on in the song. Keep a list as you go. This may be a bit more complicated for full-on orchestra pieces, but eventually, you will hear everything.
For less common instruments that maybe you can't figure out what they are exactly, first figure out what instrument family the sound is coming from- is it percussion, strings, woodwind, or brass? Maybe an electronic synth? Next, eliminate any sounds that you know it CAN'T be. Then, taking the style into consideration, do some research. A modern pop song isn't going to use bagpipes: a Mozart Concerto isn't going to use electric guitar. Think logically- what other instruments does it sound like? A hint- if you can't tell what it is in a modern setting, it's probably some synth or guitar setting. In a film soundtrack or world music, it will probably be an ethnic instrument- most likely a unique instrument or a flute or percussion instrument of some kind. Keep looking, and maybe ask others- eventually you will find the instrument or something that sounds pretty darn close.
For every different instrument you hear, you will need to write a part.
3. Figure out the time signature
The rhythmic pulse of the song, a time signature helps dictate how the music is subdivided. Some signatures are REALLY easy to hear, like 3/4 time, or really anything that is simple time, like 2/4, 3/4, or 4/4. Fortunately, most modern songs are almost exclusively in one of these three signatures, with the rare few being in compound meter.
Perhaps the next easiest to hear are 3/8, 6/8, 9/8, and 12/8- which have a triplet-like pulse that is either grouped by 1, 2, 3, or 4 respectively. Cut time (2/2) is also very easy to hear; if a song sounds like a fast 4/4, its probably cut time.
You might encounter 5/4, 7/8, and 5/8- they are also easier to hear- they are irregular and if you know a song in one of them, you can fairly simply hear it in other songs. While I don't know any 5/4 or 5/8 songs off the top of my head, "I am the Doctor" from Dr. Who is in 7/8. The biggest help I can be for the others is listen to how the beats are grouped- it will either be 3+2 or 2+3.
The rest of the time signatures are where things start to get a little messy. Rarely will you encounter ones that aren't any of the previously stated, especially in modern popular music. But for those of you that are a bit more ambitious and want to take on the most notorious style of music for time signatures: soundtrack music, you very well might encounter something along the lines of 3/2, 4/8, 6/8 + 2/4, or my personal favorite- 27/16 ("L's Theme" from Death Note). For those particular pieces, the best I can offer you is listen for one measure. When you hear a measure, listen to whether it sounds completed or unfinished- if it has a 2, 3, 4, (5), 6, 9, or 12 on top, it will sound completed. 5 will sometimes sound completed, sometimes not. If it is some crazy number like (5), 7, 15, or yes, 27, it will sound like the music is almost skipping a beat. Next, listen for the bottom number, which will always be a 2. 4, 8, 16, 32, or 64. Rarely, and I mean very rarely, will you get the 32 or 64, but they do exist. Put two and two together, and you have a time signature.
4. Bassline
To write the bassline, listen for the lowest sounding note in the chord. Oftentimes it will be more of an ambiance than an actual, extremely audible thing. Listen for when it changes, and using your online keyboard or pitch giver, find those notes, and write them down. You will, 9 times out of 10, start to hear a pattern. Then, write in the rhythm with those notes, and you have the bassline.
5. Chord Progression
Remember the bassline from step 4? Now you are going to determine the actual chords for that moment in time. The note in the bass sometimes is the root, sometimes it's not. For the easiest way to find the chord, listen for how many notes are sounding. This should be very easy to hear unless it is a jazz piece, which uses all sorts of funky notes not stacked in triads- if it's a jazz piece, just write part by part and skip this step. For other songs, use the determined chord progression to help you in voicing the other parts- unless it is an accidental or a non chord tone, it will be within that chord.
6. Melody
I actually like to write my melody first, even before the bass. Since I am a flutist, I naturally tend to hear the melody's pitches. Write the pitches the same way as with the bassline- by using something that provides the pitch and comparing. You might be able to hear the intervals between pitches, like octaves or fifths or any of the others. If you think you hear a melodic interval within the melody, write it in and check it- you are probably right. Look out for instrumentation- the melody may move between different instruments, especially in an orchestral setting. The only hard thing about the melody might be the rhythm, especially for modern popular music or jazz, which tend to have some of the most complicated rhythms in all music. If there is a tricky rhythm, try memorizing it and singing it slowly back to yourself, listening for the beats as you go.
7. Accompaniment
There will most likely be other parts that aren't the melody going on, such as fanfares, chords, runs, harmony, counter melodies, or any other number of lines. For these, listen to how many there are in the piece. In most cases, another instrument will be doubled on it. Write these the same way as the melody- by comparing pitches and slowing down for rhythms. If you happened to pick a piece with a lot of runs, listen for the starting and ending note of each run, and dictate the scale starting on that note of the key that the song is in. If it doesn't sound right, alter the missounding pitches until it is correct. I say this because as a flutist, I can safely say that every run is either a scale or based on a scale.
8. Finishing the piece
At this point, add in any other parts that may be missing from the score. The biggest culprit is percussion. Unfortunately, I have absolutely no idea how to write a part for drumset. But for other percussion instruments, the only thing you have to write is rhythm.
Once you are confident that you have the piece completely written and it sounds correctly when played back digitally (I write my music using a program called MuseScore), try publishing it online or sharing it with others! There will be somebody out there who appreciates all the hard work you put into writing your piece and will maybe provide you constructive criticism.
Just remember, transcribing isn't easy and takes a lot of practice. So just keep at it, and you will improve and greatly benefit yourself musically as well. Many people, including myself, see transcribing as a stepping stone for composing. So go out and be the next Mozart!
Disney in Concert Review
Today I had the pleasure of attending the Orchestra Iowa concert entitled "Disney in Concert". As the name suggests, the concert involved Disney music- but it wasn't just the music. There were songs, as well as pieces from the instrumental scores. Four vocalists, two male, two female, all amazing, were featured as well, on a variety of different songs. There was a screen in the backdrop showing clips from the Disney movie that the music came from as well.
The concert started with a medley of music from many different movies, and clips from an even wider assortment of movies- all accompanied by the talented instrumentalists of Orchestra Iowa. While this opening was fantastic and incredibly well-done, there were some parts that, if there hadn't been a program and the movie clips, I would have a hard time making out what movie they were from. And I am a die hard Disney fan.
A Tangled compilation came next, which featured a vocalist who was so incredible she sounded exactly like Mandy Moore, who voiced Rapunzel in the film. I have two complaints about this part: one, the film being played was behind the music during the song "When Will My Life Begin?", and that the part that included "Kingdom Dance"- the best instrumental piece on the soundtrack, was much too short- they only played the intro, while the song really gets good towards the end, and it was as background for narration/introduction to the movie- less than ideal circumstances for which to hear the song. In the movie, "Kingdom Dance" is a montage dance scene, not background noise for talking.
Now, I could go part by part and review each individual song, or I could do a broad, general review and point out some highlights and general comments. I'm going to do the latter.
Overall, the concert was very enjoyable for all ages, with excellent programming and performances, especially with the four soloists they had. They all had great voices, able to manipulate them in ways that only voice actors should, and sing in crazy voices that sounded exactly like the characters they were playing- one guy was able to make his voice sound like the Genie, Olaf, and Sebastian! One of the two guys managed to hold a French accent for the entirety of "Be Our Guest". The only thing that I have to say that isn't good about the four singers is that one of the two girls, the girl with the darker hair, had an indescribable 'thing' to her voice that I just didn't like- her voice just didn't sound as full or dark as the other girl's.
Besides for that, my other real complaints were that the canopy above the stage was blocking part of the screen, the clips weren't with the music, there were really annoying kids behind me, and, lastly, and probably most importantly, it didn't last long enough- I wanted more, especially instrumentally, with perhaps some Pixar music, or at least more music from non-princess Disney movies- the only one they truly did in that regard was Lion King.
For everything that was a negative, there were many more good things. Like the aforementioned singers. The orchestra itself was also quite good, with many notable musicians- shout out to Joanne Chadima.
The arrangements were quite good, and some of my personal favorites included the Frozen medley, "Circle of Life", the Princess and the Frog medley, the Sidekick compilation, and the Villain compilation. I know that sounds like the whole show- because it is almost the whole show! I found every second of this show enjoyable, and recommend it to anyone and everyone.
The concert started with a medley of music from many different movies, and clips from an even wider assortment of movies- all accompanied by the talented instrumentalists of Orchestra Iowa. While this opening was fantastic and incredibly well-done, there were some parts that, if there hadn't been a program and the movie clips, I would have a hard time making out what movie they were from. And I am a die hard Disney fan.
A Tangled compilation came next, which featured a vocalist who was so incredible she sounded exactly like Mandy Moore, who voiced Rapunzel in the film. I have two complaints about this part: one, the film being played was behind the music during the song "When Will My Life Begin?", and that the part that included "Kingdom Dance"- the best instrumental piece on the soundtrack, was much too short- they only played the intro, while the song really gets good towards the end, and it was as background for narration/introduction to the movie- less than ideal circumstances for which to hear the song. In the movie, "Kingdom Dance" is a montage dance scene, not background noise for talking.
Now, I could go part by part and review each individual song, or I could do a broad, general review and point out some highlights and general comments. I'm going to do the latter.
Overall, the concert was very enjoyable for all ages, with excellent programming and performances, especially with the four soloists they had. They all had great voices, able to manipulate them in ways that only voice actors should, and sing in crazy voices that sounded exactly like the characters they were playing- one guy was able to make his voice sound like the Genie, Olaf, and Sebastian! One of the two guys managed to hold a French accent for the entirety of "Be Our Guest". The only thing that I have to say that isn't good about the four singers is that one of the two girls, the girl with the darker hair, had an indescribable 'thing' to her voice that I just didn't like- her voice just didn't sound as full or dark as the other girl's.
Besides for that, my other real complaints were that the canopy above the stage was blocking part of the screen, the clips weren't with the music, there were really annoying kids behind me, and, lastly, and probably most importantly, it didn't last long enough- I wanted more, especially instrumentally, with perhaps some Pixar music, or at least more music from non-princess Disney movies- the only one they truly did in that regard was Lion King.
For everything that was a negative, there were many more good things. Like the aforementioned singers. The orchestra itself was also quite good, with many notable musicians- shout out to Joanne Chadima.
The arrangements were quite good, and some of my personal favorites included the Frozen medley, "Circle of Life", the Princess and the Frog medley, the Sidekick compilation, and the Villain compilation. I know that sounds like the whole show- because it is almost the whole show! I found every second of this show enjoyable, and recommend it to anyone and everyone.
Friday, February 26, 2016
Music as a Language
There are many different definitions of language. Here are some of them:
- the system of words or signs that people use to express thoughts and feelings to each other: http://www.merriam-webster.com/dictionary/language
- any set or system of such symbols as used in a more or less uniform fashion by a number of people, who are thus enabled to communicate intelligibly with one another :http://dictionary.reference.com/browse/language
- communication of meaning in any way; medium that is expressive, significant http://dictionary.reference.com/browse/language
In general, language is defined as a system of symbols used to communicate meaning- often thought or emotion, between people of a group. By these definitions, music certainly qualifies as a language, and easily the most widespread and universal of them. There are some of you that might disagree, but hear me out.
To start, a language must involve a system of symbols. This means that there need to be symbols that have an assigned meaning. Music has these- since it is composed (pun intended) of notes, accidentals, articulation markings, dynamics, and many other set-in-stone symbols. Such markings always mean the same thing- telling the same information to everyone, no matter the piece or person. While some forms of dynamics, ornamentation, and articulations can change depending on the style, there is a similar effect in spoken languages. Words can have multiple meanings, and depending on the context, are interpreted differently, just like a forte marking means different volumes and strengths depending on the piece.
The next part of the definition of language is that said symbols need to communicate meaning. In written/spoken languages this criteria is meet through the definitions of the words and the syntax of the statement. In music, meaning is communication through the symbols, like notes and articulations, used and their placement on the page in relation to each other and the staff. A comma placed between two words means a break in the sentence, much like a note placed on the first space of the treble clef staff is a F.
Next, the meaning communicated when a language is involved is often thought or emotion. Through other languages, this is achieved by the particular word choice and again, the syntax and grammar involved. Those who claim music doesn't communicate thought or emotion have never heard an expressive piece, like a requiem or ballad, which use phrasing and dynamics to communicate the message and meaning behind the piece, or what the composer wants you to think and that point in time. There are pieces based on stories where you can hear the story taking place as the music progresses, and on more than one occasion I have shed tears when listening to certain songs. In fact, I attended a honor band, and the other band played a piece called "Song for My Children". This piece was absolutely gorgeous and at one point, at least half the audience were crying. To really see the effect music has on your emotions, try watching a movie without the music. If it is a horror flick, you will not be as scared. If it is a drama, you won't feel the same anguish as the characters, and if it is an action movie you won't be as excited during the big climax. All in all, music and emotion are so closely intertwined it is not unrealistic to say they have a cause and effect relationship. When you are feeling a certain emotion, you want to listen to a certain style of music: a certain kind of music can make you feel a certain emotion. They go hand-in-hand.
Finally, the last part of the definition of language is that it needs to be shared between people of a certain group. Music is a man-made idea- there was no concept of music before people. Also, not everyone can read or interpret music, much like not everyone is fluent in French, or Chinese, or any other language. Learning a language takes hard work and time. Anybody who has just recently started playing their first instrument can tell you- reading music takes time, and it is extraordinarily hard when you first start. Learning a different language is the same way.
Therefore, due to music meeting the criteria for the definition of a language, I can say that music is a language. I mean, we even say "reading music".
The next part of the definition of language is that said symbols need to communicate meaning. In written/spoken languages this criteria is meet through the definitions of the words and the syntax of the statement. In music, meaning is communication through the symbols, like notes and articulations, used and their placement on the page in relation to each other and the staff. A comma placed between two words means a break in the sentence, much like a note placed on the first space of the treble clef staff is a F.
Next, the meaning communicated when a language is involved is often thought or emotion. Through other languages, this is achieved by the particular word choice and again, the syntax and grammar involved. Those who claim music doesn't communicate thought or emotion have never heard an expressive piece, like a requiem or ballad, which use phrasing and dynamics to communicate the message and meaning behind the piece, or what the composer wants you to think and that point in time. There are pieces based on stories where you can hear the story taking place as the music progresses, and on more than one occasion I have shed tears when listening to certain songs. In fact, I attended a honor band, and the other band played a piece called "Song for My Children". This piece was absolutely gorgeous and at one point, at least half the audience were crying. To really see the effect music has on your emotions, try watching a movie without the music. If it is a horror flick, you will not be as scared. If it is a drama, you won't feel the same anguish as the characters, and if it is an action movie you won't be as excited during the big climax. All in all, music and emotion are so closely intertwined it is not unrealistic to say they have a cause and effect relationship. When you are feeling a certain emotion, you want to listen to a certain style of music: a certain kind of music can make you feel a certain emotion. They go hand-in-hand.
Finally, the last part of the definition of language is that it needs to be shared between people of a certain group. Music is a man-made idea- there was no concept of music before people. Also, not everyone can read or interpret music, much like not everyone is fluent in French, or Chinese, or any other language. Learning a language takes hard work and time. Anybody who has just recently started playing their first instrument can tell you- reading music takes time, and it is extraordinarily hard when you first start. Learning a different language is the same way.
Therefore, due to music meeting the criteria for the definition of a language, I can say that music is a language. I mean, we even say "reading music".
Sunday, February 21, 2016
Country and Rap
I am a huge fan of music, and have a very wide taste in genre- I like everything from ambient Icelandic tonal poems to heavy metal. Now that may seem like I will listen to anything, but there are two genres I just can't stand- rap and country.
Country music, while many of the artists do have respectable voices, there is just a certain 'twang' to their voices that I just can't stand. It's not their fault- it's just the style of the music. I have never liked said 'twang', and just find it plain annoying nine times out of ten. The only times I tolerate country are with bluegrass or folk, and when it is country rock/pop- either way, that noticeable 'twang' is absent. If I had to listen to any country artist, it would be Carrie Underwood, who has a beautiful voice and whose songs are a little less country-sounding.
The main reason why I can't stand rap is that it has no melody. Music, by my books, involves actual notes and pitches, meaning to me, rapping is just talking. Even if the lyrics are really memorable and poetic, to me, it's still just them talking quickly. I would have less of a problem with it if the accompaniment is unique and interesting, but most the time, it's repetitive, way too loud bass and drums, forming an unchanging and uninteresting, often irritating, beat. There are some exceptions to this 'no rap' policy, though. I generally like non-English rap, and I know that sounds really weird, but in general, non-English rap has influences from that particular country's music style, like a Latin beat if it is Spanish or synth-heavy pads if it is Japanese (aka I mainly like Spanish and Japanese rap). I also like artists like Ed Sheeran who have musical merit, but sometimes include rap in their songs. Another good example of that would be Linkin Park. It's artists like Lil' Wayne and Kayne West that I just can't stand.
I know that it is isn't in the title or mentioned in the introduction, but some kinds of pop also drive me crazy. I find that pop is a very broad genre, encompassing many different musical and singing abilities. Some pop artists, in most cases those that are a little more on the rock side of pop, can actually sing really well and don't use much, if any, autotune in their songs. Their songs also tend to be a bit more interesting, dynamic, and original, if a pop song can be classified as any of those things. Other times, pop artists, like Ke$ha, David Guetta, and way too many boy bands to count, only use autotune, leading to generic, synthesized-sounding voices and songs that, to be brutally honest, are really stupid and annoying.
While I can be very critical of music, and there are a couple genres that I for the most part despise, there are always exceptions. After all, if you love something as much as I love music, you only want the very best of it.
Country music, while many of the artists do have respectable voices, there is just a certain 'twang' to their voices that I just can't stand. It's not their fault- it's just the style of the music. I have never liked said 'twang', and just find it plain annoying nine times out of ten. The only times I tolerate country are with bluegrass or folk, and when it is country rock/pop- either way, that noticeable 'twang' is absent. If I had to listen to any country artist, it would be Carrie Underwood, who has a beautiful voice and whose songs are a little less country-sounding.
The main reason why I can't stand rap is that it has no melody. Music, by my books, involves actual notes and pitches, meaning to me, rapping is just talking. Even if the lyrics are really memorable and poetic, to me, it's still just them talking quickly. I would have less of a problem with it if the accompaniment is unique and interesting, but most the time, it's repetitive, way too loud bass and drums, forming an unchanging and uninteresting, often irritating, beat. There are some exceptions to this 'no rap' policy, though. I generally like non-English rap, and I know that sounds really weird, but in general, non-English rap has influences from that particular country's music style, like a Latin beat if it is Spanish or synth-heavy pads if it is Japanese (aka I mainly like Spanish and Japanese rap). I also like artists like Ed Sheeran who have musical merit, but sometimes include rap in their songs. Another good example of that would be Linkin Park. It's artists like Lil' Wayne and Kayne West that I just can't stand.
I know that it is isn't in the title or mentioned in the introduction, but some kinds of pop also drive me crazy. I find that pop is a very broad genre, encompassing many different musical and singing abilities. Some pop artists, in most cases those that are a little more on the rock side of pop, can actually sing really well and don't use much, if any, autotune in their songs. Their songs also tend to be a bit more interesting, dynamic, and original, if a pop song can be classified as any of those things. Other times, pop artists, like Ke$ha, David Guetta, and way too many boy bands to count, only use autotune, leading to generic, synthesized-sounding voices and songs that, to be brutally honest, are really stupid and annoying.
While I can be very critical of music, and there are a couple genres that I for the most part despise, there are always exceptions. After all, if you love something as much as I love music, you only want the very best of it.
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