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Mega Man: The Wily Castle Remix Gauntlet 2013


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I still can't find any jazz examples where I can actually hear the kick, but OK, modern stuff does use snares. My research consisted mainly of using Pandora's or Slacker's jazz channels, or feeding Pandora a couple of examples of fast jazz, and I couldn't hear snares (unless maybe brushed snares, which sound a lot like brushed cymbals) on anything. Funny things is that now I can't find anything that doesn't use them.... <sigh> Next time.

Honestly if this was my biggest mistake with this track, I'm OK with that.

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Your dedication to good metadata is a shining beacon in the bleak sea of "Various Artists."

God Bless America. Anyway, I want to discuss another thing I'm seeing with novice mixers. A bit of a disclaimer: I'm going to talk now about my own approach to arrangement, and hopefully that will h

Nearly every jazz tune is going to use a kick too. You generally are going (at least I was taught) to use a much softer approach (called feathering) when using the kick drum for jazz. It's something that is more "felt" and not really heard so much. It gives the foundation and the pulse. Even during solos when a jazz drummer uses the kick it will usually be far quieter than you'll ever hear in most other genres. It takes a hell of a lot of control to be able to do it properly and very few people ever master it.

It's sort of like, if you heard a sample track with a guy feathering the bass drum and then one without it, you might not necessarily be able to go "man that track was missing a kick drum!" but you will definitely be able to tell that something was off/different.

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I have faint memories of solfege and sight singing.

NOOOOOOO

I'm doing University Aural at the moment for my Classical Composition degree and I want to kill myself. Haha

Sight singing isn't so bad... it's dictation that sucks. Especially 2 parts or more. :/

Also, for those of you who are insistent on key changes here's a tip or three to help y'all out.

1st Key: A Maj

2nd Key: B Min

There are several ways to approach this. Sometimes you can combine parts of these to make a stronger modulation.

FIRST MODULATION THING YEAH

Q: What is your new key? A: B Minor

Q: What is the dominant/dominant 7th of your new key? A: F# Maj(7)

Q: What is the Secondary Dominant (7th) for this motion (A secondary dominant is just a dominant of a chord in the key)? A: C# Maj(7)

After you've deciphered that information you can literally use these to change your tonality/modulate.

ie. A -> C# -> F# -> B

You have to be careful about how you handle this though, and you may wish for a PAC (perfect authentic cadence) at the end by making the melody go from scale degree 2 (or 7) to 1.

SECOND MODULATION WHATSIT YEAH

Q: What is your new key? A: B Minor

Q: What is the leading tone/Diminished 7th (fully or half diminished is fine) of the tonic of your new key? A#Dim (Spelled A# C# E G(#) <-if you want half diminished)

You can use this leading tone chord to move and cadence towards the new key.

ie. A -> A6(meaning first inversion(C# E A) -> A#Dim -> B Min

MODULATION TIP THE THIRD BOOYAH

See what chords you have similar in both keys. Outline them as I do below for your keys and circle similarities.

A MAJ: (I A) [ii Bm] [iii C#m] [iV D] (V E) (vi F#m) (vii* G#dim)

(I'll alter B Min to B Harmonic Minor for the raised leading tone of A#)

B MIN: (vii* A#dim) [i Bm] [ii C#m] [iII D] (iv Em) (V F#) (VI G)

Your pivot chords are your Bm, C#m and D because they occur on both keys.

They help to make modulations seem familiar before you do them (and sometimes they help you modulate as you pivot FROM the chord into the new key.

ie. A -> D -> G -> Bm (This also works because D is the dominant of G and G has two of the same notes as Bm to create a smoother transition)

Hope this wall of text helps. Music Theory is realllllly fun y'all. And that's not sarcasm.

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NOOOOOOO

I'm doing University Aural at the moment for my Classical Composition degree and I want to kill myself. Haha

Sight singing isn't so bad... it's dictation that sucks. Especially 2 parts or more. :/

Music Theory is realllllly fun y'all. And that's not sarcasm.

Ya rhythm reading was easy, sight singing became increasingly difficult, but harmonic dictation was a biatch. I wish I paid attention more, and didn't have such a horrible memory now .. I've used too many GFs ..

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Ya rhythm reading was easy, sight singing became increasingly difficult, but harmonic dictation was a biatch. I wish I paid attention more, and didn't have such a horrible memory now .. I've used too many GFs ..

Oh man you guys are making me sick. Sick 'cause I want to go back a few years and do it all over again. But I know I can't. :(

Have fun being in that environment!

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NOOOOOOO

I'm doing University Aural at the moment for my Classical Composition degree and I want to kill myself. Haha

Sight singing isn't so bad... it's dictation that sucks. Especially 2 parts or more. :/

Music Theory is realllllly fun y'all. And that's not sarcasm.

^This... this is the guy.

Seriously when I finally meet this dude in person, his mere presence will expose my ignorance and lack of ability. I'm not worthy.

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Man, I was exactly the opposite. Sightsinging/eartraining was the easy, fun part of my composition degree (that I never got to finish because fuck federal aid. 5 years down the drain). Theory wasn't really difficult, the concepts stuck. I just found it really boring.

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I hated sight singing/aural skills and liked theory. I took Orchestration for my Advanced Theory course that we had to take and that was super fun too. I can't say that I wish I could go back and do my college courses again because I enjoy trying to apply some of the stuff I learn a lot more. But I do miss a lot of my college buds. Everyone is just sort of doing their own thing now. Guess that is what happens when you start getting older :P.

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Thanks for all the good advice. If I understood everything correctly' date=' then Wily Tower 8-1 and Proto Man are in Bb minor. :?:[/quote']

Bb minor? How do you figure?

I hear Wily Tower 8-1 in E minor and Proto Man in G minor.

Or are you analyzing some MIDIs?

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None of you have any time? Not even enough to make even a very short song?

I'd literally have one day (I have no access to my computer until Friday evening, and church occupies me until past 3 PM PST sometimes). Dunno what powerful stuff I can really do in that short time for three themes, one of which I haven't had time to experiment with. I'd much rather go on Week 8 or 9, to be honest, so I'd have time to make something worthwhile. I have something done right now, but it's not a full arrangement and it only incorporates Junk Man so far. I really want to finish that.

Orion says he just "won't have time", so I don't know about him, and Cosmic says he "can go in the second or third week".

Edited by timaeus222
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Oh my glob, the lyrics to my remix ended up being a little emo. But I'm too lazy to redo them. I'll see about changing the key from minor to major... Oh well. For my first actual vocal track written, performed, and produced by myself, I don't think it's turning out way too badly. :tomatoface:

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Man, I was exactly the opposite. Sightsinging/eartraining was the easy, fun part of my composition degree (that I never got to finish because fuck federal aid. 5 years down the drain). Theory wasn't really difficult, the concepts stuck. I just found it really boring.

Man I'm the opposite.

Aural is dummmmmmm

Theeeeeery is kewllll

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