#music analysis

[most-obscure-deltarune]

obsessed with this sound that gets made when Kris eats a CD Bagel. its so mysterious and sad and alien and melancholy...

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[frxnkiistein]

Dr sunshine is dead is SUCH a beauty to analyze. cuz wdym will doesn't know an ounce of music theory but can still BEAUTIFULLY convert from 4/4 to 5/4 (middle thing, 2:22)???? not to mention, wtf is that piano part in the beginning? WILLIAM WOODIAM OH MY GODDDDDRRRR

dr sunshine is dead is, to me, undeniably THE will wood song. I still haven't finished analyzing yet and I can already say it's amazing. WILL WOOD YOU ARE ONE OF THE MUSICAL GENIUSES.

[twelvedesolation]

perverts is seriously one of the greatest works of art my ears have been blessed with. i've had people tell me that it's not that deep but idgaf i think it is. it explains the feeling of guilt around sexual contexts when you're raised in a christian household and how it can affect you. and obviously as a growing person, you will experience sexual feelings, and the project perfectly encapsulates the intense feelings of shame and also deep sense of desire regardless of whether it's a sin or not. it even shows the painful parts like dealing with addiction, whether it be substances or giving into your sexual urges far too often. the animosity and resentment built towards god is also a big part of this ep for me that affects me emotionally. obviously, if it feels like a god you're told to obey and worship is punishing you for having human feelings and urges, you grow to hate him. however, as i've said before, the hatred only tears you apart because you resent a being that does not exist, for he can't end your suffering, nor did he start it, but the people around you began it. in the end you are blinded by love and unable to see how they caused your pain. from feeling as if you are a pervert for having normal human thoughts because of the harmful ideology that was pushed onto you, and the sense of failure that falls over you after you give in, this EP is undeniably the most wonderful piece of media ever. my interpretation could be completely wrong but i really don't care lol

[raspberryfries]

i love songs that can communicate something beyond words, and the subway is a really good example of that. the bridge just repeats over and and over again, until it goes towards a scream-like melody, and then it ends on an unresolved hanging a capella line. the chord progression never resolves, but chappell returns back to the original note. her feelings aren't resolved, even if the story is over, because she's still stuck in the cycle of the girl getting away from her.

that's a bit of music nerd shit tho. it's a really good song. i really really like it. rip to the live version i had downloaded for months LOL.

[chapelh1ll]

Here's my Sam Winchester x Preachers Daughter analysis for those who care!!

@mothercain

[the-why-of-wonderworld]

MOOD AND MUSIC - THE SOUNDTRACK OF BALAN WONDERWORLD

In a story told largely without words, visuals become increasingly important, and so does music. Let's explore the different levels of Balan Wonderworld and discover what their respective musical themes say about the characters we encounter there...

[byleranalysis]

Both the opening scene and “Every” share a small theme/musical melody that creates a deep emotion context to the pairs inner feelings.

Listen below to how the notes ascend and descend:

Pre-Fall Crowley’s still has an angelic choir, a holy radiance and innocence we haven’t heard associated with him before. The theme sweeps into a bright major as he laughs at the joy of his hard work and the birth of something bright and new.

However, Crowley making a nebula fills him with the same joy as a kiss with Aziraphale. The melody plays in dramatic strings that cry out with a smaller choir which slowly drags away. A melodic interpretation of the fallen angel. Yet, the music falls to minor after the initial hope of the kiss. Sadder. Slowly falling apart.

This isn’t a birth of something new like his joyful nebula, but potentially a loss.

In conclusion: Season 2 is actively slowly killing me. David Arnold went insane this season.

More GO Analyses:

- The Metatron is a Parallel to Original Sin/the Serpent of Eden

[possiblyaspara]

Fun Gang and Musical Identity

This is a topic I've wanted to talk about for a while, but one of the most interesting things about the gang (mainly Ralsei, but I wanna talk abt Kris and Susie too) is how they manage musical identity. Let's start with Chapter 1 Susie. She has two themes, both of them heavy on whiny electrical guitar. "Susie" for the hallway confrontation with Kris, and the much more energetic "Vs. Susie" for the Lancer fight in the basement. They're in-your-face songs... and they don't show up again after this chapter outside a couple Tenna soundbites. The original Susie themes are centered on her identity as the unsalvageable mean girl; by the time she's in the stock hero role in Chapter 2, that stuff is behind her, and though it informs her character, she's not that way anymore, so those themes are discarded. We'll come back to Susie later.

Ralsei, meanwhile, does have a more consistent musical identity, but it's very subtle. To simplify a bit, consider how the Prophecy's motif is formatted every time it shows up. In The Legend, it's 4/4; powerful, but controlled. He's telling a watered-down and friendly version of the story. Then, in the first two Castle Town themes, the Dark World over which Ralsei presides, it's in 3/4; flowing, waltzy, pleasant, which are pretty solid descriptors of who Ralsei is as a person. There's a lot of weird stuff going on with Ralsei's musical influence with Chaos King and Castle Funk, where his time signature changes get overwritten, but I'm truncating things here. Where things get funky is in the Sanctuaries, where when the real Prophecy shows up, the eighth note gets the beat instead of the quarter note. While Ralsei's breaking panels and keeping Kris and Susie away from the truth, we're in 6/8 for the Prophecy motif, keeping a similar pattern of note lengths: everything Ralsei performs has ratios of 2s and 1s, with a 3 bridging the two halves the motif. A couple 1/2s for flourish. Keep an eye on those, because everything goes haywire when he's no longer there. 2nd and 3rd Sanctuaries show a Prophecy which Ralsei can no longer hide, and it's in 10/8. When we get to the Third, the note lengths get weird; there's ones, twos, threes, and a five to bridge the gap. Ralsei's been approximating something way out of his control. Ralsei is a very talented musician on the whole, but he doesn't know exactly how to make something original. Take the Raise Up Your Bat sequence, where he can change the lyrics on the fly and maintain the rhyme scheme in sacrifice of all sensical meaning. But he doesn't change Lost Girl. Once again, take note.

Back to Susie on the subject of the music games: for RUYB the first time, she's just doing whatever the hell she feels like and assuming she's doing fine. She... wasn't, but in future minigames, she makes an earnest effort, and when she does, it goes well. What's characteristic of her here is that she starts by doing something entirely her own thing.

But here's where her musical identity gets downright awesome in my eyes: in the 2nd Sanctuary, she unintentionally takes a page out of Ralsei's book, and messes with the Prophecy motif. In the story, she unintentionally rearranges some panels (the Heroes stuff), but in its song, she also reduces down the note lengths to be more simple. 1s everywhere with a couple 2s. It's the most regular version of the Prophecy motif yet, but to me, it's significant that she steps into Ralsei's territory musically, because she's wanting the Prophecy to turn out good, too.

On the note of Lost Girl: that theme is tied to 4 characters now (Noelle, Dess, Susie, and Ralsei, though Ralsei's connection is actually entirely optional to see... for some reason). It's the one point of obvious musical coherency within the cast... and it's most notably tied to Noelle via her own theme, Girl Next Door. That itself is a whole can of worms, but for now...

It's Kris's time in the spotlight. To put it simply, we don't really know what Kris's musical identity is outside of playing the piano, and they will not let us perform for them. The Sanctuary pianos are so basic they don't care. The music minigame guitar isn't something they're known for, so they don't care. They even don't engage directly with the Lost Girl part! But piano performance? That's theirs, and theirs alone. We can't see Kris's emotions, or dialogue, or anything, and it's only when it's time to play the massive piano in the first Sanctuary, with encouragement by Susie, they play without our influence, and it's beautiful. They're disconnected from everything else, but they're starting to express a musical identity of their own... and it's ironically more concrete than the others', which are mired in uncertainty and subtlety in rhythms and garnishments.

Keep in mind that this is all truncated analysis, and there's so much deeper stuff to get across here. But while the three of them don't present obvious or consistent musical identities now, I strongly suspect we'll get fully concrete musical identities for all three members.