Tunes & Such

I use this blog to post music I like, and that I think you might like, including ska, swing, jazz, house, chiptune, and more. A lot of the stuff posted here is remixes, so be sure to always check out the remixer's video! I also sometimes harmonically analyze stuff, which can be found under the "analysis" tag or on Hooktheory (link below).

[scibot9000]

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childsplay (boss battle)

children r scary which is why i must fite them

sounds used

mbira

toy piano

harmonica

Casio VL-Tone

Casio SK-1

[sylvyspritii]

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This was just some messing around with some soundfonts, i don’t think it’s very nice sounding but the idea was fun to do i guess. Transcribed from scratch.

[the-x-button]

Why do people hate gaijin goomba? I'm not a fan of his, I'm just wondering why so many people hate him

[simgretina]

I only wish to be credited as the original artist. As long as you remember that, do whatever.

[veeharmonics]

I still believe that the chorus of Take On Me is a huge test of a male singer’s vocal range. Just listen to this. Absolutely insane.

[veeharmonics]

Harmonic analysis and chords of Connect by ClariS.

Connect by ClariS, the OP for the anime series Puella Magi Madoka Magi, harmonically analyzed!

[veeharmonics]

Theorytab is a serious website for intellectuals to help harmonically analyze complex musical pieces.

[veeharmonics]

Nintendo’s new multiplayer shooter Splatoon features a fantastic soundtrack by Shiho Fujii and Toru Minegishi. Something about the soundtrack not everyone might have noticed, however, is that Splatoon features dynamic music; music that changes depending on what’s happening in the player’s surroundings. More specifically, most of the tracks in the game have an alternate version for when the player is submerged in ink. This dynamic music is used brilliantly for Singleplayer Theme 4, which plays on missions 9, 15, 21 and 27. These four missions are the ones that feature the Octostriker enemy, and require the player to try to stay submerged as often as possible to avoid being targeted.

Back to the dynamic music. All of the “submerged” song variations alter their respective song in the exact same way: The percussion is taken out, everything is muffled, and other minor details are removed to minimize the amount of notes happening at once. It definitely feels as though you’re listening to the song underwater, or, as the case may be, underink.

What the Octostriker theme does is play off of the dynamic music in a brilliant and mindful way. The track is designed to that, when the submerged theme plays, there is a feeling of tension. Once you’re out of your own ink, the track morphs into its true form, and gives a sense of panic through semi scare chords and heavy, booming percussion. The Octostriker can see you! it says. Run!

An even more brilliant touch, though it is a minor one, is that in the four levels the track plays in, there’s a brief moment upon entering the level where the octostriker doesn’t notice the player. during this period of time, whether you’re in human or squid form, the submerged version of the music will play, as evidenced in the video below.

This further builds the connection between the Octostriker seeing you and the music ramping up.

[veeharmonics]

Super Smash Bros. is a game series well known for remixing, remastering and arranging old video game music. This song, known as Bramble Blast (after the level in Donkey Kong Country 2 it appears in, though that game’s soundtrack refers to the song as Stickerbrush Symphony) was originally composed by David Wise, and remixed for Super Smash Brothers Brawl by Michiko Naruke.

The original piece by Wise is a masterpiece in its own right, but what Naruke has done with it is absolutely astounding and genius.

Wise’s version takes on a calm, hypnotic and almost surreal nature through the use of ethereal synths, long, sweeping, atonal glissandos, and lots of reverb. Though the song lives in the simple key of C, it starts out in an ambiguous alternation between the vi and the I, giving the general feel of a minor 7 chord before going into lifting progressions of ii > iii > IV > V.

Naruke masterfully translates this piece into one of orchestral grandeur. Synths that once had almost a percussive, marimba-esque sound to them are now pizzicato strings, keeping the plucky sound while giving a more wooden sound. A new percussion section that was rightfully absent from Wise’s gives a brisk new pace. It manages to still give a forest-like atmosphere, though now the forest is bustling with activity.

Through a new guitar melody and utilization of Wise’s rhythm of triplets that start on beat 2 and end on beat 4, Naruke is able to trick the ears of the listener into thinking that the measures start and end a beat after they actually do, only to bring the ears back to reality with a powerful sweeping violin.