SLyGeN

I'm either going to have an iPod Video 30GB or an unlocked iPhone 3G for sale soon. I'm not sure which it's going to be; I still need to do some research as far as what each of those are worth and I want to hang on to one of the devices to use as an mp3 player. But if anyone's interested in either of the two, let me know. Kinda lengthy I know, prophet, so I don't expect you to update the list yet. However, I do want these: Super Mario Galaxy - SlyGen Super Mario Galaxy 2 - SlyGen oh also, take of Majin Geodood's Metroid Prime 3 from the sale list. I'm enjoying it quite a bit

I haven't submitted anything here yet and I don't think I have enough time to help with anything like tagging, etc. But I would like to chime in and say I am one of those people that cares very much about lossless audio, and it makes me happy to see that there are apparently a fair number of others who don't like to settle for MP3.

Consider making it Dorian. that would sound cool.

I love the minor section However, I thought the little motive that scends chromatically was use a couple too many times, and began to sound cheesy as the chromaticism became more apparent. The arrangement/addition to the original is beautiful, and something this place needs to see more of. Now you just need to perform it, or ask Eric Barker (Noir) to perform it for you

I'm not sure exactly how things are now, but I know the torrents were put up to alleviate the load from OCR bandwidth, so I can't see megaupload being an issue. Pretty sure the main concern is that the file name and tags remain intact. There isn't any infringement so long as the tags stay intact. But I would have put it under Gen Disc rather than WIP.

I'm looking for Super Mario Galaxy for the Wii. Super Mario Galaxy [slyGen] Also, I do want these for PS2 as well. They can go under my other Fatal Frame request. Still looking for Fatal Frame, btw. Fatal Frame 2 [slyGen] Fatal Frame 3 [slyGen]

I'm just ignorant as far as how the Wii works; I'm sure it was a stupid question. I'm not interested in the Classic Controller, for example, so if you think you can sell it separately, do that. I'm also willing to purchase the entire thing at that price anyway, however, so it's probably not worth the trouble. I sent you a PM. We can discuss money/shipping there.

Nintendo Wii + Wii Sports + Wii Sports Resort + Wii Play + Wii Remote, Nunchuck, Classic Controller, MotionPlus + Sensor bar/Component Cables + DKC 2 & 3 + Pokemon Puzzle League (N64) + FF4 The After Years + Kirby 64 + Paper Mario + Secret of Mana + 500 Wii Points - $160 I'm interested in this. Do you insist on selling it all as a single package? I also want Brawl.

As much as I hate to admit it, if you like Major I think you would be just as well off not listening to anything I say. I'm not sure which key it's in, but modulating a half-step up in the same key is going to make it sound very tense, potentially over-the-top tense. Consider modulating to a more closely-related key (meaning a key signiture that deviates by just one or two accidentals). I'm not sure what you mean by the ninth of and Eb minor chord. A minor 9th above Eb would be Fb. In other words, some key of E. I think modulations are definitely a good idea for adding flavor. Moving to Major is as fine of a choice as any, the only difference is SlyGen doesn't like it, but you shouldn't worry about that. However, I do believe that my comments about destroying the music's intensity are objective and accurate. As bitter as it sounds when I say it, I honestly think that's the very reason it was put in there.. Pokémon is supposed to be a friendly game, and the gym matches themselves are supposed to be friendly; thus the music fits. You just won't see it on my playlist is all.

You have HG/SS's modulation to Major in there. Please take it out ;o Honestly, don't take any ideas from the remakes' musical remixes. Junichi Masuda must've been fucking drunk or something when he was dealing with the entire score (except for National Park.. good shit). I'm not a fan of whatever triad you're using at the very beginning. Whatever it is, it exhibits traits of a mode other than that which follows afterward. It sounds very out of place. I like the synthetic keyboard that comes in at 0:25, though I think the 8va transposition is too high for that synth. Consider using a different instrument right there, it will also add more to the variety you were trying to achieve with that transposition.. Shortly thereafter, though, I think you modulated up a perfect fifth (with respect to the original), which I quite like the effect of. Modulating to a higher-pitched key increases the piece's intensity... ... . and moving to Major destroys it. I'm definitely heavily biased against Major-key, so see if other people also think it's out-of-place, too. If not, then.. whatever, I'll leave.

You need to go through this track with an objective ear and polish it up. I'm sure you can tell that there are some issues that have manifested themselves due to sloppiness. It's mostly evident in the instruments' timing. That can be fixed with quantization. However your lead instruments also have a high attack, which will also make them sound like they're playing too late. You had a youtube comment that said trills don't work with strings. Allow me to elaborate: trills work brilliantly with real strings, but you're using synthesized strings; it's your job to make them sound real. Your trills sound bad because of high attack again. Also I think you should spend more time on the intro, so it's more than *sustained note* .. *WHAM: melody* Spend an afternoon going through this thing. The more anal you are, the better. P.S., allow me to recommend using an oboe as your lead instrument. That'll sound cool. Even more brownie points if you also use bass clarinet. ooh, now I'm getting ideas. At 1:12, you should use a bass clarinet for that motive, ending it on that long F2. If I'm recalling my range correctly, bass clarinet sounds great right about there. And I don't mean Bb Clarinet sampled down that low, I mean samples of the real motherfucking beast.

I've been considering buying a DSi XL and a Wii lately, so if in the unfortunate event you need to sell any of that, let me know (if you even have a DSi XL). I'm just worried that shipping will be like 50% of the original price, so as much as I'd love to help you out, I don't want to give a big chunk to the post office. Since I'm prolly gonna get a Wii eventually, go ahead and sign me up for a wiimote with nunchuck. And if your Brawl sale falls through, sign me up for that too.

Sorry, Gario. After I read your last post I realize I sounded more abrasive than I intended to. You're right, apparently I was the one who added my own context to what you were telling me, and I shouldn't have come across so abrasively. Although I do read over your posts in their entirety, you'll have to forgive me for that instance where it appeared as if I completely disregarded one of your points. It's a lot of material to consider at once, and that portion of your explanation must have slipped my mind as I was typing my responses. You make a good point as far as stretching the definition of tonal. I try to just stick to the definition that I quoted from the dictionary, because I don't like using common adjectives to define periods in history. I wouldn't say that all music can be considered tonal, because some music totally disregards the idea of a tonic. So, again, I now realize that you were enlightening me, at my own request even, so I have no place to disagree. My cycle of fifths progression is (sort of) something I pulled out of my ass, but using the cycle of fifths to create a progression certainly isn't rare by any means. I guess it's more of a rock thing.. I really don't study my history and who used what where. I just know what's used. I love you too, prophet.

If the second degree is always flat, calling it a Neapolitan chord every time is just ridiculous. If it's a full song, there likely will come a point where it has no predominant function either. Furthermore, a Neapolitan bII should be followed by the major V, not a diminished vo. You wouldn't be able to hit both of the chromatic neighbors around the tonic to create that unique flavor of the Neapolitan chord. If there is so much concern over functionality, that should have set off a red flag when you said it would be a Neapolitan chord. (Granted, I have seen a theory book that completely disregards that 'wrapping' motion around the upper and lower chromatic neighbors of the tonic. However, I still disagree with the Neapolitan chord analysis for my example.) Still using the cycle of fifths idea, what about (what I would say is) Dorian's #vio, or Mixolydian's bVII? Would the rest of you really just analyze them as altered chords, every time, instead of just saying "oh check it out, it's using a mixolydian scale because the seven is always flat."

So if I'm analyzing a piece in a minor context and I have a simple cycle of fiths progression like III - VI - bII - vo - i, and that bII chord is always flat without fail, what are you going to call it? 'Cause that progression is used in modern shit, but if you don't call it Phrygian mode, I really don't know what to tell you. Edit: I guess Adamantium Dude has boiled it down to a difference of terminology. Honestly to me it's like debating genres, but whatever. I'm still curious to know what one would call the example I gave, and what one would call the type of music I've been describing thus far (which I guess is classical chord progressions applied to modal scales. If you ask me, it's still modal god damn.) Since it's gotten down to splitting hairs about semantics as all debates end up doing, here's an excerpt from the dictionary: tonality: the organization of all the tones and harmonies of a piece of music in relation to a tonic. So by adding your own connotative flavors to the word "tonal", in short time we were no longer discussing the same idea.

I'm not saying that when modal music was written that classical techniques were employed. I'm saying that classical techniques can be employed now, and whichever piece it is you're writing can still be modal. All of these things make perfect literal sense in a seven-tone modal scale. If you're going to tell me that the dominant chord is not dominant because it's of a different quality, then that's just bullshit. Yeah, your cadences are going to sound different, no shit. That's what makes it modal. And, if you want a mode where your tried-and-true tonic, dominant, sub-dominant, and pre-dominant ideas work normally, see the Ionian mode :\ I'm not saying they're all exactly the same by any means. There are plenty of pieces where I've gone and flatted a few notes for my favorite modes, and it sounds terrible. But to say it's not tonal? What, modal music is atonal? You've got to be shitting me. Modal music has a clear tonal center, and it's functional. What about it isn't tonal? Gario, go ahead and elaborate on why music written in the key natural minor with a sharp 6th degree is not Dorian, please. You may as well be telling me gravity makes things fall up at this point.

How do you draw an eleventh note? I'm not too concerned about meter in my music, so 4/4 is just fine for me. Other time signatures are cool for variety. I always think it's cute when my heavy metal ends up in 3/4. Odd time signatures in metal are pretty rare, though, so I'm afraid I might not have had enough exposure to really say what my favorite is.

You're in Chico? My teacher at my college speaks very highly of their digital music program. I hope you're in it. Listening to this, I'd say you're already in it. The quality of your samples is superb. I'd just pay attention to composition, for the most part. oop-- except.. some drums just came in at 3:00. They sound totally muffled. But back to composition, pay attention to when your choir first comes in.. I think I hear some sour notes. Make sure you aren't using a choir that adds its own fifth above. Honestly, you shouldn't ever use an instrument like that if you ask me. That may or may not be the issue here. The instrumentation is fine if you ask me. Again, it definitely needs some mastering in places, but as far as instrument choice, no complaints. Back to composition, perhaps consider transposing the music in places... change to a different key (or mode) to add some flavor. Nobody here really listens to me when I tell them to consider modality, retrograde, and transposition, and that's fine.. but if you're in a music program at Chico, you need to learn the concept because that's how you get mileage out of your music. If you're taking classes, go up to your teach and talk to him about it.

I agree with everything that's been said, except someone gave the notion that modal music is different from tonal music. Modal music is tonal. In fact that's exactly what you're all trying to tell me, is that there needs to be a clear tonic. I guess the only part that confuses me is that there appeared to be some implication that I didn't do that. Was it just a general comment? Also, reading back, I see that my example wasn't totally clear. When I said E was my tonic, I meant to imply that I had tonicized it. Gario thinks I don't know what a tonic is ;o My example was basically just me trying to demonstrate the idea that one can tonicize a phryican tonic without moving from b2 to 1, and that there is LOTS of overlap between motivic ideas between modes. That is to say, there are many pieces written in minor for which I could just revert to natural minor, and then augment the 6, and it would be undeniably Dorian. Modes aren't these totally foreign beasts; the voice leading can often be just the same as any other progression. If you bust open a theory textbook, you might find a diagram like this: It's a chart of a typical Classical chord progression in minor. Unfortunately I can't find it's Major equivalent, because the roman numerals would show the exact same value, but of course some different chord qualities. Two different modes, same chord progression. They're not so different. also prophet, see sig. also prophet, the difference between modes and kind-of tonicized pitch class sets is that modes aren't kind-of tonicized, they are tonicized.

So say I'm playing a melody on all the white keys, and my tonic is E. Every time I hit F, I opt for a different note instead of E... like B or something. You're gonna tell me I'm not playing in the Phrygian mode?

Zelda 2 is one of the only decent RPGs I've ever played. Where decent is defined as not fucking turn-based.

Thanks for taking the time to listen, Gario. I guarantee there are mixing and harmonizing errors out the ass on perhaps all of these, because I can't take the time to do a full remix of every one of these tunes.. although, perhaps the time will come where I end up submitting a lot of material to this website (perhaps when I'm in school again and have 24/7 access to Logic 9 ) and I'll make modal modulation my thing. Phrygian Tetris A sounds good to me right about now. But, I'd like to comment on your thoughts on Phrygian. I do agree that when hearing the lowered 2, it's a necessity to find your way back to the tonic in short time. But personally I see no problem if the composer wants to deviate from that rule every so often.. the age in which musicians were forced to adhere to specific rules ended with the Classical era. Furthermore, I'm pretty sure just about every time Vermilion hits the tonic, it's a descending motion. Perfect for Phrygian. So what if degree 2 briefly hits the upper-neighbor before going to the tonic? Also, if you're working with natural minor and you do raise the 6, you really are in Dorian. I don't know why you would disagree. Modes aren't based on voice-leading, they're based on the intervalic structure of the given scale. Dorian with shitty voice leading is still Dorian. In fact, Dorian has no "sensitive tones" (by that I mean degrees that lead to the tonic or dominant by a half-step in either direction), so I would say that Dorian is too versitile to say minor voice-leading absolutely cannot parallel Dorian voice-leading. If you ask me, just make sure you tonicize and hit the third and sixth degrees relatively often, since they're the ones that really set Dorian apart from the rest of the modes. Also, I want to argue about theory, too. What were some of the more heated topics? Oh, and good one @ analoq. I thoroughly enjoyed that.

I'm not getting any sound from the software. Does it do more than just represent notes graphically? Can it modulate what I input to give me a chord progression based on his theory? Also, if I bother to modulate any other VG tunes, the Mario theme is one that I need to get around to. Powerglove's version works well for a guitar piece, but I'm just not personally a fan of natural minor (as opposed to using melodic and harmonic minor). I'm pretty sure Mario's theme has some chromaticism, too, which would ultimately be up to the judgment of the mixer as far as where to put them. Until I've arranged it myself I suppose I shouldn't complain. Do it and post it in the WIP forums, along with a midi. I want to check out what you do.. I wouldn't even know where to begin with an endeavor like that. But, if the first chord is half-diminished, just make it fully-diminished. You can't introduce new modality with the intent of keeping every chord quality the same, that would make no sense Also, which octatonic scale of the two do you plan to use? I'm partial to that which begins with a half-step, if that counts for anything.

Says file not found. I'm definitely interested, though. Please tell me it's more than just music derived from algebra.

So for the past couple of days, I've been rearranging Major-key Pokémon tunes so that they're in a minor-sounding mode, and posting them on youtube for a couple of reasons.. -Nobody's really done much of it -Lots of people recognize the source material -It sounds fucking neat but perhaps most of all, being shown this concept is pretty much what turned me into a musician. I found it to be completely mind-blowing, and hopefully some people here will be affected the same way. Plus, as much as I need to work on my mixing skills.. from what I've seen in the WIP forum, many of us here don't know theory as well as we should. Have a listen to a few of these, and imagine how much variety and color it would add to a mix. I'll likely keep doing these if it gets some interest.