For our upcoming Super Mario 64 album, “Portrait of a Plumber”, we really want to go all out on the art & make our first Mario-themed album’s visuals match the amazing ReMixes!
In keeping with the album title and the concept of Mario jumping into paintings inside…
So yeah, I opened up a store!
All I’ve got is the Pit and Pittoo keychains atm, but the selection should expand as I get more familiarized with the system, so check back periodically to see if I’ve added your product(s) of interest.
**EDIT** Added Fourze and Meteor just now.
Coming soon: Magi and original character keychains.
Evangelion 4:44: You must (not) slide.
Through studying music further, I’ve begun to appreciate classical music more. Now I know what you’re thinking, “not another classical snob”, but hear me out. After getting into reading the music and analyzing chord structures and motifs, it becomes increasingly apparent how deceptively APPROACHABLE this music is.
It’s not super complex, rather it is super clever, and that is my personal take on the matter. Simple ideas and patterns are disguised, flourished, played with, ignored, etc. but you can see the influence of the basics. This is true of any art form, and from personal experience, I can speak of the similarity to Martial Arts. Good Martial Arts technique is grounded in expanding upon the basics, but it never leaves the basics. It may provide counter argument to the basics, or disguise the basics in something that seems flashy, but the basics are acknowledged in some way, shape or form.
The “great” classical music is surprisingly more thematic than I used to think, as much as video game music. It’s becoming clear that all of the great themes of film and games reach back to classical roots to really enhance their strengths. This supports my personal view that studying theory and musical history will cause you as a composer to improve even in modern times. This isn’t because you become an articulate snob of “the 435 german technique clashes with the italian 23579135235 resolution”, but you pick up neat little tricks and forms to help better the way you express yourself through music. People like to think of Music Theory as a set of rules, a confining box where breaking out of the box leads to good music.
This view has good and bad implications, mostly bad to the inexperienced. By refusing to learn the so-called “rules” (which, if you study theory, are arguably not rules at all, merely tools) and trying to be “uninhibitedly creative” without any sort of form, you’re likely to just crash, burn and make really awful music (I was there, I know how it feels). This is because music is spawned through form and structure (music in its nature is defined as organized tone), and my personal measure of good music is how creative and insightful its structure/form is.
So, I say theory’s not a set of rules. So what is it? Well, just look at it. Music is a human concoction, and music theory was spawned from studying music that exists (i.e. written by other humans). Music theory is no different from a social science. It is an observational base of knowledge that draws its substance from music that has already been written and highly regarded. It isn’t a set of conclusions, a “do this to write good music”, it’s a way to look at music to analyze its form and compare it to other music in a common language.
This helps me assert that music theory is a set of tools. It’s a neat little (well, it’s big, but you get the point) bundle package of all these things that composers have done to make their music really good, memorable, and other encouraging artsy words. Whether it be harmonic movement or rhythmic movement, studying music theory teaches you how to intentionally express yourself through writing music through examining how the great composers expressed themselves.
Have you ever heard a specific chord change in a song or a cool rhythmic flourish and wondered, “how in the world did the composer think of that? I want to write something like that in my music!” The observational nature of music theory facilitates you to understand why what you heard worked in the way it did, and now with that understanding, you can go on to write music and have an extra trick up your sleeve. It’s basically like learning a new word. You heard it in a sentence, and you liked it; it had a meaning that you could never quite approximate before, but now you can, because you know it exists.
Looking back at my older music, there is so much more interesting stuff I could have put in the music to make it livelier, more dynamic, more organic, more enjoyable. But I didn’t, cuz I was a dumb kid. MOVING ON.
The main takeaway here is don’t be afraid of theory. It’s cumulative theory. It’s telling you “this is what has been done before”, not “this is what you should do.” It expands your understanding of what you can do in music writing and by learning these things intentionally, rather than stumbling upon them, struggling for direction; you can have a clearer idea on how to make your music flow.
If you try to reinvent the wheel when you write your music, you’re going to stumble along into situations, not knowing where to go. You’ll find this genius little thing from a to b, but won’t really know how to make it better. Should you make c? Or d? Wait, does this mean I changed the key? WHAT’S A KEY?! WHAT’S A NOTE?!?!?!?!
With an intentional awareness of musical structure, you can say “I want them to feel x, then y, but not quite z, then flip to w!” and you can do exactly that because you understand what you’re doing.
This is essentially the essence of music theory. It provides you the vocabulary to express your musical ideas.
Before I say anything else, I know someone’s gonna pipe up and be all like, “Well, that’s not what they’re actually mad about.” You know what? I already know that. They’re mad about a lot of things - and not every person is mad about the same exact things in the same exact combinations. Amazing….
I want to make a post about this because I feel like a lot of people are being exposed to icy and snowy weather around the country for maybe the first time. These are a couple of driving tips for folks who are heading out to brave the wintry weather. This list is by no means comprehensive; it’s…
top six reasons to watch Kamen Rider W:
Dear lord. What have I done?
OH MY GOD