Nabeel Ansari

Assassin's Creed 3 and 4 (3's crap, 4 is amazing) Dark Souls (so good) Luigi's Mansion 3DS (so good) Paper Mario 3DS (so good) Deus Ex: Human Revolution Kamen Rider Super Climax Heroes The Stanley Parable (SO FUCKING GOOD) Blacklight: Retribution Darksiders 2 League of Legends Dota 2 Splinter Cell: Conviction oh yeah... Box Cat Super Sexy Swiss No Breaks Valet Get On Top Towerfall

Because there's thing called school

Lypur is legit. I trust him.

Ab and D form what's called a tritone, which is inherently dissonant.

Sounds really good!

This really is not that great against a bruiser/jungler, it's an auto attack plus another half until he levels it a few times, and this number is without armor applied. Unless you're talking later into the game, where he already got Triforce or Iceborn (is that a thing?) and unless you went full squishy Noc and Nasus, should not be doing a 3rd of your HP, unless he's fed, which is not something that's easy for him to get going (one kill doesn't count as fed). I'm not saying Jax is a bad champion, I'm saying if he really thrashes you, there's a good reason for it. He is not at all overpowered. Nasus has a gigantic passive lifesteal (what, 15% at level 7) that procs on his Q.

I was under the impression he meant Nasus top, which shouldn't allow for Jax to get an early game advantage that easily. You have to start fights in lane, away from towers, and then stay in them for exorbitant periods of time in order to let Jax win. He doesn't have that good a burst in early levels, especially not against someone as tanky as Nasus. He's not a champion that just shits out damage from the get go. You have to get him to that point first.

All this sounds like is a case of neither of you building any tank items; Jax should not be able to quickly kill Nasus or Nocturne, even if he runs full AD or penetration runes/masteries. It should take a bit of time before your health hits 0. Also, a fear from Nocturne and a Nasus wither should've rendered him completely helpless, as long as you chained the CC and didn't do it at the same time.

My favorite is AP Xin. Solo towers all day.

lol escape rengar

Also, I made a mistake before, Db minor doesn't exist. You are in C# minor, which is C# D# E F# G# A B C# Anyways, yes! Now you've got it. Your melody is a musical idea, and the cadence is the conclusion of the idea. You wouldn't feel so great talking to me if I just Another fun non-traditional cadence is to use the v7 chord instead of the v, or the minor 7th chord which has the fifth of the key (in this case, G#) as the root. Traditional cadences call for V and V7, and it's up to you if you want to introduce that leading tone (because those chords use B#, not because it is then said that you're in harmonic minor, which has a raised 7th from the normal minor scale. Harmonic minor allows for "perfect authentic cadences", which uses a major chord starting on the fifth (or dominant) of your key which then goes to the tonic chord. In other words, you need to use a note outside the scale in minor for perfect authentic cadences, while in a major key it is naturally in the scale (V -> I is naturally in a major key, while the minor key v -> i needs to have a note altered to become V -> i). This has a more classical music flavor to it, a little less "soul" and a little more "sorrow". There's also a couple more rules dealing with the differences between "perfect" and "imperfect", just consult Wiki if you're really interested.

Except that enforces meta, and Riot is too lazy to do that and would rather have the players design their game for them.

Your melody's composition is in such a way that it never cadences (so it always asks for more), which is what old game composers did to help the music loop. If you like it this way, that's fine. If you don't like it this way, then a way to solve it would be to cadence it. Try rewriting the last measure of the melody so that its last note hits the tonic of your key instead of what you're ending it on (I think you're ending it on the 3rd) and have the chord that plays during that last note be the tonic chord and have the chord before it be the v chord. I think you're in Db minor, so that means have the last note of the melody be Db, and have the last two chords be Ab minor (in classical music, you would do major, but it really doesn't fit here) to Db minor.

the knockups *cough*

http://en.wikipedia.org/wiki/Diatonic_scale If you're not already familiar, read up on scales. After being able to understand your key, you should be able to fix those "wrong" notes in the first theme of the song. After having a grasp of the notes you're "allowed" to use, in your key, you can generate a total of 7 completely tonal chords that fit within your key. In C major key, these chords would be: C major, D minor, E minor, F major, G major, A minor, B diminished In standard form this is: I, ii, iii, IV, V, vi, vii^o (like a degree sign) If you started the major scale on a different note for the song (thus changing the key), the standard form would always be true. The roman numeral number means the scale degree (In C major, 1 is C, 2 is D, etc.) whether it is capitalized or not is whether it is a major chord or not. If you had the key of F# major, 1 would be F#, 2 would be G#, etc. but all the major/minor qualities would be the same for each number. 1 will be major, 2 will be minor, etc. That being said, learning progressions is easier because that's how chords are communicated. While I could list popular chord progressions, you could just search them yourself. I'll give basic chord tips instead: -The most pleasing transition of a chord is either when it goes up a fourth or down a fifth (they're the same thing). C Major up to F Major , C Major down to F Major. D minor down to G major, D minor up to G major. Note that while it doesn't matter for this general tip, in your key, you want to keep track of the major and minor so that every chord is in the key. (refer to I, ii, iii, IV, V, vi, vii^o ) -Also pleasing is going up or down a 3rd. -To end a chord progression (cadence), you want to have the last two chords be either V -> I or vii^0 -> I. These have strong resolution. To have a chord progression lead strongly to another section, end it with a V chord. In whatever key you're in, with the tonal center being the 1 (the tonic, the root of the first chord, whatever you want to call it) scale degree, if you have the melody end on a note in the V chord and have the chord be a V chord, it will create a sense of wanting more. You hear this a lot especially in video game music where the melody will go a certain way, then you hear it again but it ends differently. To learn more about this, research writing phrases and periods. Anyways, for an example, halfway through the section, the melody ends on say the 5th note, and the chord is a V chord (this is called a half cadence). The melody then repeats, and the chords do, but maybe around the middle of its repetition it'll go a little differently, and then instead of the last chords being something to V, it'll be V to I (this is an authentic cadence). This is the simplest, strongest way in tonal music to create a melody. Composers will mess around with these ideas a lot, make it seem not so apparent, maybe ignore it, or use it in unexpected ways, but being aware of it makes it easier to understand how you can make a catchy melody. http://en.wikipedia.org/wiki/Period_(music)

You have a lot of accidentals in the first theme but aren't treating them properly, such as in the chords. (Your chords are clashing with the melody because they don't fit the same key.) When you say "relearning composition", how much are you not familiar with?

This is the absolute opposite of how someone looking for samples should think. It's only experienced professionals who build collections out of specific and niche instrument libraries. The common composer need only a rounded collection, sacrificing potential depth for being able to work with any instrument he wants. Assembling collections out of specifically focused libraries is really cost-ineffective and only should be done if quality is an absolute priority. It's like paying for CineSamples libraries when all you wanted was something as grounds-covering as QLSO Gold.

There is a small danger that you plan things and never do them ("all bark no bite" sort of thing) but that depends if you have focus and discipline issues, like me.

Unless he's Ravel, that's not gonna work. Practice makes perfect. Only half-right, and Avaris got it. @Syllix: Make lots of music dude, don't release ALL of it, though. Expect a bunch of your product to be "ehhhhhh", and you'll find a few gems in there you really like. The more music you make, the more gems you find.

Lifesteal does get crazy... once got destroyed by a Fiora who would literally heal more than half of her health in one auto attack.

Studying Music is Helpful to Creativity, Not Harmful I offer here an alternative mindset to approach music theory with (as opposed to the popular "theory's a bunch of dumb rules that don't apply always"). If you're pressed for time or can't handle my horrible rhetoric, just skim the bold. The idea you should be getting is that you shouldn't be looking for rules in theory, you should be looking for tools and awareness. You should be able to intentionally and confidently make DECISIONS in your music, ones you make based on how you want the music to make the listener feel at any given point in time. You shouldn't have to struggle with it, not knowing quite what you have to do to get the result you want.

Wait wait WHAT You were low enough to have to have barrier'd but still could not be defeated by the next three people? This some PBE style shit right here.

Was this a mosh pit or a clever picking off one by one? (not trying to devalue it, I'm curious how it went down)

Can't win a game if you're not having fun.

Every time I played against a Yasuo he ragequit :c I'm sure it works, but it's not fun and is kind of a dumb way to play the champion.