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!
Sunday, February 28, 2016
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.
Composer Study: Samuel R. Hazo
Composer Samuel R. Hazo has some pretty spectacular band music out there, for all levels, although his compositions for more advanced, older groups are particularly amazing. Easily his most popular or widest known is Arabesque, but there are others that are incredible as well. In this post, I will be looking at four of his pieces; Arabesque, Fantasy on a Japanese Folk Song, Ride, and Solas Ane.
Fantasy on a Japanese Folk Song
A masterpiece with a plot, this song tells the story of a Japanese girl as she falls in love with an American man, only to be conflicted between the love for her country and him. Beautiful and heartfelt, it is very easy to hear the story; the song is quite picturesque. Beginning with a simple flute solo representing a music box, the main melody is absolutely gorgeous. In fact, woodwind solos are a common theme in Hazo's work. Then we hear the American's theme as the brass enter with a grand counter melody. As the two themes collide, the piece builds and builds, adding opposing percussion beats as it goes, until the climax of the piece, where the girl is facing the most inner conflict, unsure of her love for her country or the man she loves. She chooses her country, as the song ends with the same flute melody heard at the beginning and the girl cries up listening to the music box. Overall, it is a stunning piece of music that sounds like it belongs in a Studio Ghibli film.
Ride
Much more forceful, upbeat, and energetic than Fantasy on a Japanese Folk, Ride has some pretty spectacular horn rips and an alto sax solo that makes the piece. Although the part at 1:23 is reminiscent of it, as the woodwinds, brass, and percussion are all playing different things on top of each other. That is actually a key feature of Hazo's music- you can guarantee at some point in any of his songs, those three groups are all doing something different all at the same time. Also unlike Fantasy other than the style, this piece also stays fairly loud and in your face for the whole song, with the exception of a brief middle section, and includes much more unison work. Overall, while it is much different than some of his other work, Ride is most certainly a Hazo piece.
Ride
Arabesque
As previously mentioned, Arabesque is Hazo's main claim to fame, and probably technically the most challenging, at least for the poor woodwinds. Another one of his world-type compositions, this piece is Middle-Eastern in style, with a minor tonality and plenty of complicated woodwind lines. Featuring both the counter melodies, grandiose nature, and world influences of Fantasy on a Japanese Folk Song and the energy, drive, unison lines, and volume of Ride, Arabesque is the essential Hazo piece. I would also like to bring special attention to the oboe and flute solos- they are well-written, and very befitting for the style. Arabesque is certainly one stellar song, worthy of its status and Hazo at his finest.
Solas Ane
Translated to Yesterday's Joy, I had the pleasure of playing this song at an honor band as a flutist, so I can confidently say this is a fabulous piece of music. Again featuring the woodwind solos, this piece draws influence from Celtic and Scottish folk music. This piece, however, strays from the crowd as it focuses more on the beautiful, softer stuff than the loud, epic, immersing sections, although in that regard, this piece has one of the best, starting at 2:01. I don't even have the words to describe the awesome, epic, beauty of this section of music. With the percussion pounding, the woodwinds soaring, and the brass singing, the section at 2:01 is probably one of my favorite parts of music that I have ever played, and is an absolute treat to listen to. What more is there to say, other than endless praise for this piece and its composer?
In conclusion, Samuel R. Hazo has figured out a formula, and followed it, but that formula is like the Krabby Patty Secret Formula- it is always amazing, and if it were to come from anywhere else, it wouldn't be the same. I have just simply fallen in love with this guy, and have nothing negative to say. I just wish I could play more of his masterpieces.
In conclusion, Samuel R. Hazo has figured out a formula, and followed it, but that formula is like the Krabby Patty Secret Formula- it is always amazing, and if it were to come from anywhere else, it wouldn't be the same. I have just simply fallen in love with this guy, and have nothing negative to say. I just wish I could play more of his masterpieces.
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Saturday, February 20, 2016
Gravity Falls Finale
Just a warning- this post will include spoilers for Take Back the Falls.
This is the review I mentioned in my last post- about the Gravity Falls finale called Take Back the Falls.
This is the review I mentioned in my last post- about the Gravity Falls finale called Take Back the Falls.
This was an almost perfect ending to a near-perfect show, and at the very least, Take Back the Falls was well-worth the wait.
The story picks up after the other two Weirdmaggedon episodes, just when Dipper, Mabel, Soos, and Wendy enter the Mystery Shack to find Stan and a bunch of refugees. They then team up in an epic battle against Bill to save Gravity Falls, resulting in a memorable, heartfelt ending.
There is much to love about this production- from Soos exposing McGucket to anime, to appearances by previous singular-episode characters, like Larry King's disembodied head and the Multibear, to top-notch action. We finally get the answers to Bill Cipher's wheel, although perhaps the biggest mystery of all- Dipper's real name- remains as such: a mystery.
Speaking of the Bill Cipher wheel, that part was rushed and didn't feel as satisfying as it should have. First off, it didn't actually affect the story. Something that had been hinted at since the very beginning, in the theme, should be more important to the story. It felt anticlimactic. Also, the reason why they couldn't fulfil the prophecy is all because of Stan, who was too caught up in his feud with his brother Ford to just hold hands with him. This means they are unable to defeat Bill, and Stan wouldn't ever do something that would threaten his family in any way, shape, or form. Therefore, that whole scene was a downfall- although maybe it was for the better, because if the prophecy had succeeded we wouldn't have received the same ending.
The ending that we did get (the rest of the story) was amazing and not unlike the ending to a blockbuster film- with Stan disguising himself as Ford and tricking Bill into his mind so Ford could use the memory eraser. Of course, while this resulted in a crowning moment of awesome for Stan and the "death" of Bill (we even got to see Stan punch Bill in the face!), it resulted in the complete loss of Stan's memory.
It was with Stan's amnesia that I have the most issues. Yes, it was beautiful and touching, and a bittersweet ending, but not bitter enough. What I'm trying to say is Stan recovered way too quickly from amnesia. In the span of 10-15 screen minutes, we see Stan go from no recollection of his identity and life to having regained his memory completely. With it lasting for this short amount of time, we didn't really get time to feel the Pines family's loss. It just didn't live up to the potential that it had. It would have been better to end the series with Stan just starting to regain his memory.
In terms of the rest of the episode, I couldn't ask for a more perfect ending. Every character and conflict had closure, as Soos is named new owner of the Mystery Shack, Stan and Ford start over and travel the world together on the Stan-O-War II, and Dipper, Mabel, and even Waddles leave Gravity Falls. One thing is certain- it will tear at your heartstrings in the best kind of way.
So, that's the end of Gravity Falls, and I would like to take a moment to thank the creators, actors, producers, and anyone else involved in the making, especially Alex Hirsch, for taking me on a wonderful, fun-filled, heartwarming, and memorable journey. I will certainly miss this treasured show.
JRRGEBH JUDYLWB IDOOV
Saturday, February 13, 2016
The End of Gravity Falls
I know you all are probably sick of Gravity Falls, but with the show ending Monday I found it necessary to do one more post on it.
Between the Pines
This tv special aired on February 8th and featured Alex Hirsch himself, revealing information about the show, some of it old, some new. It was good, taking the show's fanbase seriously, and was obviously meant to be a goodbye message from the show, as well as serve to hype us up for the finale on Monday. If you haven't watched it yet, go watch it. The link to watch it is below.
http://pyfchiapas.jimdo.com/gravity-falls/between-the-pines/
Predictions for Take Back the Falls
There has been much speculation about the last episode- What will be revealed? Who will die, if anyone? Will our questions be answered? The creators have been particularly secretive about it, with most of the trailers just being the same thing or clips from previous episodes. My personal prediction is that those characters featured on the symbol wheel will team up to defeat Bill. I also wouldn't be surprised if Ford betrays them- in one of the trailers he is reawakened and a clip of him overlooking the universe is seen. Vailskibum94 has a video analyzing the trailer that explains this theory. Sadly, I think that Stan will be the one to die. We have seen copies or images of him being destroyed many times throughout the series, and the creators have been known to put subtle foreshadowing to later events within previous episodes. One thing is for certain, Take Back the Falls will be an epic, worthwhile finale to an amazing show.
What Next?
Gravity Falls has developed a dedicated, loyal fanbase- one that is sad to see the show go. While nothing can replace that Gravity Falls-shaped hole in your heart, there are other shows that fans can watch that are similar.
Between the Pines
This tv special aired on February 8th and featured Alex Hirsch himself, revealing information about the show, some of it old, some new. It was good, taking the show's fanbase seriously, and was obviously meant to be a goodbye message from the show, as well as serve to hype us up for the finale on Monday. If you haven't watched it yet, go watch it. The link to watch it is below.
http://pyfchiapas.jimdo.com/gravity-falls/between-the-pines/
Predictions for Take Back the Falls
There has been much speculation about the last episode- What will be revealed? Who will die, if anyone? Will our questions be answered? The creators have been particularly secretive about it, with most of the trailers just being the same thing or clips from previous episodes. My personal prediction is that those characters featured on the symbol wheel will team up to defeat Bill. I also wouldn't be surprised if Ford betrays them- in one of the trailers he is reawakened and a clip of him overlooking the universe is seen. Vailskibum94 has a video analyzing the trailer that explains this theory. Sadly, I think that Stan will be the one to die. We have seen copies or images of him being destroyed many times throughout the series, and the creators have been known to put subtle foreshadowing to later events within previous episodes. One thing is for certain, Take Back the Falls will be an epic, worthwhile finale to an amazing show.
What Next?
Gravity Falls has developed a dedicated, loyal fanbase- one that is sad to see the show go. While nothing can replace that Gravity Falls-shaped hole in your heart, there are other shows that fans can watch that are similar.
- Star vs The Forces of Evil. This fairly new Disney show has a small but growing fanbase. Fans of Gravity Falls will enjoy the two main characters, Star and Marco, as they are reminiscent of Mabel and Dipper respectively. The show also has similarly light-hearted magic and mayhem, but is just now starting to develop a continuous story.
- Over the Garden Wall. In terms of similarity, this show has the atmosphere and 'feel' of Gravity Falls. The show also has underlying mystery that is revealed as the show progresses. Perhaps the one negative to this show is its length- it is technically a miniseries. There are only ten 10-minute episodes total, and the show ends just as it's starting to get really good, and it leaves some questions unanswered.
- Steven Universe. A cartoon network series, this show has the biggest heart you will ever see. The episodes are heartfelt and sweet, with many that will get the tears flowing. Also, this show is amazing at character development, with each character being developed into a likable, complex persona. Fans of Gravity Falls that enjoyed the characters will love this show.
I also recommend starting to watch anime if you haven't started it already.
So let's prep ourselves for Monday, February 15th as one of the best shows says goodbye.
P.S.- There will more than likely be another post after Monday with my reaction and review.
Friday, February 12, 2016
The Perks of Being a Woodwind
As many individuals know, instruments come in many shapes and sizes, with most being classified into one of four families: brass, woodwind, strings, or percussion. With the exception of percussion, the most varied in terms of sound, range, and number of instruments are the woodwinds. The most commonly heard/played are: the bassoon, oboe, English horn, clarinet, bass clarinet, piccolo, flute, and the tenor, alto, and bari sax, especially the flute, oboe, clarinet, and alto sax.
So why play a woodwind? First off, there is no spit valve! It's absolutely disgusting to have to drain excess spit out of your instrument, leaving a puddle on the floor. Instead, the spit drips out gradually, unnoticed, if it drips out at all. Second, we don't have to worry about harmonics or shelves- as long as we are playing in the correct octave (via a special key or increased air), there is a fingering for every note. No fishing between notes wondering if we are playing the correct pitch, and many less cracked notes.
There are downsides to being a woodwind, though. First off, tuning. Most woodwinds spend half their time tuning and the other half playing out of tune: some woodwinds can be notoriously hard to tune (I'm looking at you, piccolo). In general they are hard to play in and keep in tune. Secondly, volume. Unless you play saxophone, you will almost always be softer than your fellow brass players. There are pros and cons to this; firstly, you can hide your mistakes easier, but you will almost always be asked to do dynamics that just don't happen on woodwinds.
The biggest complaint or bragging right, depending on how one looks at it, is the difference in music level we have to play within an ensemble. There is a major difference in the band music of an upper level band between the upper woodwinds and lower brass especially. Unless you play bassoon, English horn, Bari or tenor sax, or bass clarinet, expect to have hard, seemingly impossible to play runs at lightning speed. Some may find this to be a negative, and I myself initially complain about them, but once you can play the runs well it sounds impressive and you feel a sense of accomplishment. Also, runs can be fun and much more interesting than just playing quarter or half notes the entire time. We get to engage our minds more and learn more from the music we play.
Overall, woodwinds trump brass because our music requires more technical prowess to play and we are less obnoxious and annoying. Our instruments are smaller and lightweight, and there is no disgusting spit.
Woodwinds kick brass.
So why play a woodwind? First off, there is no spit valve! It's absolutely disgusting to have to drain excess spit out of your instrument, leaving a puddle on the floor. Instead, the spit drips out gradually, unnoticed, if it drips out at all. Second, we don't have to worry about harmonics or shelves- as long as we are playing in the correct octave (via a special key or increased air), there is a fingering for every note. No fishing between notes wondering if we are playing the correct pitch, and many less cracked notes.
There are downsides to being a woodwind, though. First off, tuning. Most woodwinds spend half their time tuning and the other half playing out of tune: some woodwinds can be notoriously hard to tune (I'm looking at you, piccolo). In general they are hard to play in and keep in tune. Secondly, volume. Unless you play saxophone, you will almost always be softer than your fellow brass players. There are pros and cons to this; firstly, you can hide your mistakes easier, but you will almost always be asked to do dynamics that just don't happen on woodwinds.
The biggest complaint or bragging right, depending on how one looks at it, is the difference in music level we have to play within an ensemble. There is a major difference in the band music of an upper level band between the upper woodwinds and lower brass especially. Unless you play bassoon, English horn, Bari or tenor sax, or bass clarinet, expect to have hard, seemingly impossible to play runs at lightning speed. Some may find this to be a negative, and I myself initially complain about them, but once you can play the runs well it sounds impressive and you feel a sense of accomplishment. Also, runs can be fun and much more interesting than just playing quarter or half notes the entire time. We get to engage our minds more and learn more from the music we play.
Overall, woodwinds trump brass because our music requires more technical prowess to play and we are less obnoxious and annoying. Our instruments are smaller and lightweight, and there is no disgusting spit.
Woodwinds kick brass.
How to Survive Bandcamp
Every musician who has ever played in a marching band knows that bandcamp is most certainly memorable, to say the least. Hours of marching out under the sun and practicing the same thing over and over again make for an experience that won't soon be forgotten. There will always be stories that start with "This one time at bandcamp...". Trust me, they never end well.
I know how hard bandcamp can be, and have developed my own strategy for surviving it. If you are an up and coming marcher, just follow these tips and you'll survive and maybe even continue in band.
1. If you are an old member, and there is some piece or are some pieces that your school requires you to know each year- at our school it's the Star Spangled Banner and our fight song, make sure you remember them before bandcamp starts.
2. This applies to everyone- unless you are a sousaphone or some other instrument that has a different marching horn, GET OUT YOUR INSTRUMENT AND PRACTICE!!!!!!!!! It will make learning the show easier if you actually remember how to play!
3. Learn as much of the show, drill and music wise, before school starts. If you follow this, you will be less overwhelmed once school starts and will be on better terms with your director.
4. Speaking of directors, they are always right. Don't try to argue with them, and never talk back to them. Respect them, and they will respect you.
5. BRING SUNSCREEN!!!!!!!!!!!! If you have pasty Irish skin like yours truly, trust me, from experience, you will be a lot happier of a camper if you bring sunscreen and use it liberally.
6. Also be sure to bring a water bottle. Or two. I learned this from another fellow marcher, bring a water jug filled and freeze another smaller water bottle to use as ice. That way, you get a huge jug of water and the water bottle.
7. Early is on time, on time is late, and late equals dead man walking. A lot of band directors are punctual and will make you run or do push-ups if you are late.
8. Practice makes perfect. Rehearsals are where you learn every one else's parts, practice you do on your own and learn your own part.
9. Don't be afraid to ask upperclassmen and band leaders (section leaders) for help- 99% of the time they understand what you are going through and will help you out with music, marching, or drill.
10. Lastly, just stick through it. If you work hard, and put in the effort, you will reap the benefits and create lasting memories as well as a home away from home with your band.
So if you follow these ten tips, you should survive band camp and have a pleasant marching experience.
I know how hard bandcamp can be, and have developed my own strategy for surviving it. If you are an up and coming marcher, just follow these tips and you'll survive and maybe even continue in band.
1. If you are an old member, and there is some piece or are some pieces that your school requires you to know each year- at our school it's the Star Spangled Banner and our fight song, make sure you remember them before bandcamp starts.
2. This applies to everyone- unless you are a sousaphone or some other instrument that has a different marching horn, GET OUT YOUR INSTRUMENT AND PRACTICE!!!!!!!!! It will make learning the show easier if you actually remember how to play!
3. Learn as much of the show, drill and music wise, before school starts. If you follow this, you will be less overwhelmed once school starts and will be on better terms with your director.
4. Speaking of directors, they are always right. Don't try to argue with them, and never talk back to them. Respect them, and they will respect you.
5. BRING SUNSCREEN!!!!!!!!!!!! If you have pasty Irish skin like yours truly, trust me, from experience, you will be a lot happier of a camper if you bring sunscreen and use it liberally.
6. Also be sure to bring a water bottle. Or two. I learned this from another fellow marcher, bring a water jug filled and freeze another smaller water bottle to use as ice. That way, you get a huge jug of water and the water bottle.
7. Early is on time, on time is late, and late equals dead man walking. A lot of band directors are punctual and will make you run or do push-ups if you are late.
8. Practice makes perfect. Rehearsals are where you learn every one else's parts, practice you do on your own and learn your own part.
9. Don't be afraid to ask upperclassmen and band leaders (section leaders) for help- 99% of the time they understand what you are going through and will help you out with music, marching, or drill.
10. Lastly, just stick through it. If you work hard, and put in the effort, you will reap the benefits and create lasting memories as well as a home away from home with your band.
So if you follow these ten tips, you should survive band camp and have a pleasant marching experience.
Sunday, February 7, 2016
Endless Ocean
The Wii games Endless Ocean and Endless Ocean: Blue World are easily my favorite video games, with relaxing, free exploration style gameplay. You play as a diver, in the first game, helping to find a legendary whale, and in the second, as part of a diving company in search of a treasure. Yes, I know that my blog is about animation and soon to be music, and these are video games, but the two aspects of these games that I would like to bring attention to are the graphics and the music.
The graphics of both games are absolutely stunning, all thanks to the advancement of animation. When you are diving, you encounter hundreds of different creatures, all of which are beautifully rendered and designed to be lifelike, both in appearance and behavior, and for the most part, they do. The major instance in which they stray from reality in terms of creature appearance comes from the legendary creatures and the dolphins in the second game, who are purposely designed to be atypical and extraordinary in appearance.There are noticeable flaws in some of the creatures' behaviors, however. For example, all dangerous sharks in the second game will attack by thrashing their body and tail around, something that in real life, only Thresher sharks will do. There is also some inaccuracy in where the creatures are found. In the first game, since it is only one sea, fish that shouldn't be in the same area appear together. This improves in the second game with the addition of worldwide diving, but there remains one area that is still very inaccurate in both games. That would be the abyssal areas in either game, whether that be the Abyss at Deep Valley or the Zahhab Region Depths. Since the maximum depth is only about 500 ft deep in either game, the creatures that are able to be found should be much deeper. But, due to the relative accuracy of about everything else, this can be forgiven. The graphics also shine when it comes to the environments, with precise detail being paid to jaw-dropping locations like sunken ships, undersea castles, underwater caves, and vivid coral reefs. The above-water graphics aren't as strong, and the motion of walking is a bit clunky, but the fluid and clean underwater graphics more than make up for it.
The other area of these two games that is extremely well-done is in the music. Both games feature Celtic songs from either Hayley Westenra or the Celtic Women, and in-game soundtracks. Both the actual songs and the diving music are well done, with the diving music being diverse and reminiscent of the equally diverse locations. There is one of these soundtracks that I really like a lot, which is the Cavern of the Gods music. It has Arabic and Egyptian influences, and unlike most of the other clips, is only played in the Cavern of the Gods. The actual songs are all beautiful, with the singing being angelic and clear. While Celtic music seems like a weird pairing for a game about scuba diving, the pairing works perfectly. The Celtic songs add to both games' environments and beauty, making everything seem that much more beautiful and impressive, The song that I want to bring special attention to is "Dúlamán" in Blue World, which is played when the player first goes to Cortica River. The upbeat, percussion-filled Irish folk song is perfect for the twists and turns of the river. The other song that I think stands out is "Benedictus" from the first game, which plays the first time in the Abyss. This song, which is sung by Hayley Westenra, works so well for the Abyss due to its usage of Latin and building up to the grand climax. This makes for a relaxing yet simultaneously ominous and uneasy feel to the abyss, which is exactly what it is aiming for. You have no idea what to expect, and there are untold surprises that the huge forte part of "Benedictus" captures. Funny thing, most players find that when the song gets really loud all of a sudden, something almost always comes out of nowhere and scares them. For some, it was the giant squid. Others, the sperm whale. For me, it was a giant whale carcass.
In conclusion, the games both have impressive and memorable graphics and music.
videos:
https://www.youtube.com/watch?v=pPhEt7So9IA
https://www.youtube.com/watch?v=4xMNFp9RDJs
https://www.youtube.com/watch?v=hWecVq95vyE&list=PL3C16806F8E5A9CF2&index=30
https://www.youtube.com/watch?v=7ukjpUD5fZA&list=PL3C16806F8E5A9CF2&index=5
https://www.youtube.com/watch?v=UmEsKN_-gu0&list=PL4EB798B2C73131C0&index=5
The graphics of both games are absolutely stunning, all thanks to the advancement of animation. When you are diving, you encounter hundreds of different creatures, all of which are beautifully rendered and designed to be lifelike, both in appearance and behavior, and for the most part, they do. The major instance in which they stray from reality in terms of creature appearance comes from the legendary creatures and the dolphins in the second game, who are purposely designed to be atypical and extraordinary in appearance.There are noticeable flaws in some of the creatures' behaviors, however. For example, all dangerous sharks in the second game will attack by thrashing their body and tail around, something that in real life, only Thresher sharks will do. There is also some inaccuracy in where the creatures are found. In the first game, since it is only one sea, fish that shouldn't be in the same area appear together. This improves in the second game with the addition of worldwide diving, but there remains one area that is still very inaccurate in both games. That would be the abyssal areas in either game, whether that be the Abyss at Deep Valley or the Zahhab Region Depths. Since the maximum depth is only about 500 ft deep in either game, the creatures that are able to be found should be much deeper. But, due to the relative accuracy of about everything else, this can be forgiven. The graphics also shine when it comes to the environments, with precise detail being paid to jaw-dropping locations like sunken ships, undersea castles, underwater caves, and vivid coral reefs. The above-water graphics aren't as strong, and the motion of walking is a bit clunky, but the fluid and clean underwater graphics more than make up for it.
The other area of these two games that is extremely well-done is in the music. Both games feature Celtic songs from either Hayley Westenra or the Celtic Women, and in-game soundtracks. Both the actual songs and the diving music are well done, with the diving music being diverse and reminiscent of the equally diverse locations. There is one of these soundtracks that I really like a lot, which is the Cavern of the Gods music. It has Arabic and Egyptian influences, and unlike most of the other clips, is only played in the Cavern of the Gods. The actual songs are all beautiful, with the singing being angelic and clear. While Celtic music seems like a weird pairing for a game about scuba diving, the pairing works perfectly. The Celtic songs add to both games' environments and beauty, making everything seem that much more beautiful and impressive, The song that I want to bring special attention to is "Dúlamán" in Blue World, which is played when the player first goes to Cortica River. The upbeat, percussion-filled Irish folk song is perfect for the twists and turns of the river. The other song that I think stands out is "Benedictus" from the first game, which plays the first time in the Abyss. This song, which is sung by Hayley Westenra, works so well for the Abyss due to its usage of Latin and building up to the grand climax. This makes for a relaxing yet simultaneously ominous and uneasy feel to the abyss, which is exactly what it is aiming for. You have no idea what to expect, and there are untold surprises that the huge forte part of "Benedictus" captures. Funny thing, most players find that when the song gets really loud all of a sudden, something almost always comes out of nowhere and scares them. For some, it was the giant squid. Others, the sperm whale. For me, it was a giant whale carcass.
In conclusion, the games both have impressive and memorable graphics and music.
videos:
https://www.youtube.com/watch?v=pPhEt7So9IA
https://www.youtube.com/watch?v=4xMNFp9RDJs
https://www.youtube.com/watch?v=hWecVq95vyE&list=PL3C16806F8E5A9CF2&index=30
https://www.youtube.com/watch?v=7ukjpUD5fZA&list=PL3C16806F8E5A9CF2&index=5
https://www.youtube.com/watch?v=UmEsKN_-gu0&list=PL4EB798B2C73131C0&index=5
The Devil is a Part-Timer!
This is an absolutely hilarious anime, with one of, if not, the most ridiculous scenarios that characters could find themselves in- the Devil, or Satan himself, Demon King of the spirit world Ente Isla, is thrown into our world, Japan to be precise, alongside his Demon General Alceil, and has to make a living in Japan working as a fast-food employee in order to save up magic to get back home. The shortened version?: the Devil has to work part-time at MgRonald's (McDonald's). The half-angel Hero Emilia, mortal enemy of the Demon King, is also stranded in Japan. The anime explores them trying to adapt to human society. With a plot like this, its easy to come up with really funny situations and writing.
video: https://www.youtube.com/watch?v=WURAX1bCCew
For example, the Devil, who goes by Sadao Maou, while working at MgRonald's, finds that the fryer for black pepper fries is broken, so he has a huge predicament while he decides whether or not to use his magic to fix a fryer.
This is a short anime, only 13 episodes in length, that will keep you watching due to its humor. Plotwise, the anime is a bit scatterbrained (like a certain blogger) and could do a bit better explaining the story- out of nowhere another Demon General, Lucifer, emerges and wrecks havoc on Japan. The only buildup we get to this event is a random shooting and earthquakes, but nothing that might suggest another Demon General.
The music is not particularly noteworthy, but it isn't bad either. Fortunately, the anime has good animation, with vivid colors and well-designed characters. The characters themselves are also well-developed, particularly Emilia and Satan, who are both easy to sympathize with and relate to, despite them being mortal (fr)enemies and literally as contrasting as the Devil and the Angel. Again, where the show really shines is in the humor, which mostly comes from the writing.
Overall, The Devil is a Part-Timer! is a funny, light-hearted show that will make you laugh with every episode.
For example, the Devil, who goes by Sadao Maou, while working at MgRonald's, finds that the fryer for black pepper fries is broken, so he has a huge predicament while he decides whether or not to use his magic to fix a fryer.
This is a short anime, only 13 episodes in length, that will keep you watching due to its humor. Plotwise, the anime is a bit scatterbrained (like a certain blogger) and could do a bit better explaining the story- out of nowhere another Demon General, Lucifer, emerges and wrecks havoc on Japan. The only buildup we get to this event is a random shooting and earthquakes, but nothing that might suggest another Demon General.
The music is not particularly noteworthy, but it isn't bad either. Fortunately, the anime has good animation, with vivid colors and well-designed characters. The characters themselves are also well-developed, particularly Emilia and Satan, who are both easy to sympathize with and relate to, despite them being mortal (fr)enemies and literally as contrasting as the Devil and the Angel. Again, where the show really shines is in the humor, which mostly comes from the writing.
Overall, The Devil is a Part-Timer! is a funny, light-hearted show that will make you laugh with every episode.
Anime openings
Easily one of the most distinctive parts of any anime is the opening, which is the area of the show in which the animators put in their best effort. The opening is what sells the show to the audience. It is meant to introduce the premise, setting, and characters to the audience without spoiling anything, and display some of the show's highlights. Unlike the openings to western animation or live action, these openings are long, often over a minute, and are often set to an actual song, or a snippet of one. They are also epic and awesome. Now, some openings are better than others, which is why I will be counting down some of the best anime openings. There are many more notable openings out there, but these are some of my personal favorites.
4. Death Note- opening 1: "The World"- Nightmare
Chock full of symbolism, metaphors, and thought-provoking images, this rock opening perfectly captures the essence of Death Note, a complex, intense, psychological battle of the wits. For example, apples are very prevalent throughout the anime, and they make many appearances in the opening. Apples are seen as the 'forbidden fruit', where despite how tempting something may seem, indulgence is ultimately immoral and will just lead to consequence and sin. Replace the apple with the Death Note, and you get some clever foreshadowing to the plot. There is also a scene where glass breaks. This could symbolize multiple things, but I think it means two things; one, it is a reminder of Light's mortality, and two, that he is close to the breaking point. This glass is juxtaposed against one of the final scenes, one of Light portrayed in a god-like manner. This means that despite Light's new power, that makes him seem like a god, this power will ultimately corrupt him and lead to his downfall. As said in Fullmetal Alchemist: Brotherhood, "Humans who would dare to play God must pay a steep price for their arrogance."
3. Cowboy Bebop- opening: "Tank!"- The Seatbelts
A very unique opening, this opening differs in that it is instrumental, and has hardly any scenes from the anime. Rather, it has silhouettes, and clip shots of the characters. A feature that makes this opening even more unique and memorable is the text in the background, all of which is about jazz music, or, to be more specific, bebop. Speaking of jazz, the music for Cowboy Bebop is almost entirely jazz, so its fitting for the opening song, "Tank!", to be jazz as well. The song is very memorable, catchy, and noteworthy, featuring a combination of elements from Latin, jazz, big-band, and hard bop. See you Space Cowboy...
2. Fullmetal Alchemist: Brotherhood- opening 1: "Again"- Yui
Serving as the first opening for the second version of Fullmetal Alchemist, this opening is beautiful and immersing. Yui's gorgeous vocals and fast, impressive rapping really capture the more delicate and sad moments as well as the action and ever-building plot of Brotherhood. The opening itself tells a story as well, with the opening following a somewhat linear telling of each of the characters' stories. While the video doesn't show them, the English translation of the lyrics is metaphorical and accurately explains protagonist Edward Elric's thoughts and feelings. Let's not forget the spectacular visuals as well, with some of the best the show's animators have to show. In conclusion, this is a great opening that shows every side of this complex show, and brings light to all of the characters and their individual conflicts.
1. Attack on Titan- opening 1: "Guren No Yamiya"- Linked Horizon
This opening is best described in one word: epic. Accurately displaying the grittiness, gore, action, and peril of Attack on Titan, an anime in which giant man-eating monsters, called titans, killed off most of humanity, forcing the rest to live in fear behind giant walls, this opening shows some of the best scenes within the show. It also shows us the method the remaining humans have used to try and fight them off; flying through the air on Vertical Maneuvering Equipment to attack the titans in their only weak spot- the back of their necks. The show itself has become immensely popular, almost to the effect that Dragon Ball had, and has become a must-watch for any person even remotely interested in anime. The opening received the same treatment, as well as great critical acclaim, and the songs used in both openings became so popular they are available for purchase on i-tunes. In conclusion, it is a fantastic, action-packed opening that will get you hyped for the show and one that you won't be able to bring yourself to skip.
Videos:
https://www.youtube.com/watch?v=2PA7ts5ICM4
https://www.youtube.com/watch?v=qrKevP1fh6A
https://www.youtube.com/watch?v=2uq34TeWEdQ
https://www.youtube.com/watch?v=Aw3fN3OPk3A
4. Death Note- opening 1: "The World"- Nightmare
Chock full of symbolism, metaphors, and thought-provoking images, this rock opening perfectly captures the essence of Death Note, a complex, intense, psychological battle of the wits. For example, apples are very prevalent throughout the anime, and they make many appearances in the opening. Apples are seen as the 'forbidden fruit', where despite how tempting something may seem, indulgence is ultimately immoral and will just lead to consequence and sin. Replace the apple with the Death Note, and you get some clever foreshadowing to the plot. There is also a scene where glass breaks. This could symbolize multiple things, but I think it means two things; one, it is a reminder of Light's mortality, and two, that he is close to the breaking point. This glass is juxtaposed against one of the final scenes, one of Light portrayed in a god-like manner. This means that despite Light's new power, that makes him seem like a god, this power will ultimately corrupt him and lead to his downfall. As said in Fullmetal Alchemist: Brotherhood, "Humans who would dare to play God must pay a steep price for their arrogance."
3. Cowboy Bebop- opening: "Tank!"- The Seatbelts
A very unique opening, this opening differs in that it is instrumental, and has hardly any scenes from the anime. Rather, it has silhouettes, and clip shots of the characters. A feature that makes this opening even more unique and memorable is the text in the background, all of which is about jazz music, or, to be more specific, bebop. Speaking of jazz, the music for Cowboy Bebop is almost entirely jazz, so its fitting for the opening song, "Tank!", to be jazz as well. The song is very memorable, catchy, and noteworthy, featuring a combination of elements from Latin, jazz, big-band, and hard bop. See you Space Cowboy...
2. Fullmetal Alchemist: Brotherhood- opening 1: "Again"- Yui
Serving as the first opening for the second version of Fullmetal Alchemist, this opening is beautiful and immersing. Yui's gorgeous vocals and fast, impressive rapping really capture the more delicate and sad moments as well as the action and ever-building plot of Brotherhood. The opening itself tells a story as well, with the opening following a somewhat linear telling of each of the characters' stories. While the video doesn't show them, the English translation of the lyrics is metaphorical and accurately explains protagonist Edward Elric's thoughts and feelings. Let's not forget the spectacular visuals as well, with some of the best the show's animators have to show. In conclusion, this is a great opening that shows every side of this complex show, and brings light to all of the characters and their individual conflicts.
1. Attack on Titan- opening 1: "Guren No Yamiya"- Linked Horizon
This opening is best described in one word: epic. Accurately displaying the grittiness, gore, action, and peril of Attack on Titan, an anime in which giant man-eating monsters, called titans, killed off most of humanity, forcing the rest to live in fear behind giant walls, this opening shows some of the best scenes within the show. It also shows us the method the remaining humans have used to try and fight them off; flying through the air on Vertical Maneuvering Equipment to attack the titans in their only weak spot- the back of their necks. The show itself has become immensely popular, almost to the effect that Dragon Ball had, and has become a must-watch for any person even remotely interested in anime. The opening received the same treatment, as well as great critical acclaim, and the songs used in both openings became so popular they are available for purchase on i-tunes. In conclusion, it is a fantastic, action-packed opening that will get you hyped for the show and one that you won't be able to bring yourself to skip.
Videos:
https://www.youtube.com/watch?v=2PA7ts5ICM4
https://www.youtube.com/watch?v=qrKevP1fh6A
https://www.youtube.com/watch?v=2uq34TeWEdQ
https://www.youtube.com/watch?v=Aw3fN3OPk3A
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