"crippling" Oh, that sounds bad. I'm now confused because it sounded so good otherwise. But maybe you meant "crippling" in an overwhelmingly good sort of way.
This sounds like that one page of your sketchbook that has drawings from literally every fandom you're in but you can't be bothered turning the page and you just keep adding on until there's no space left and then you kind of draw on top of some of the drawings you already did
I definitely didn't catch them all, but here's what I got: 0:00 für elise 0:13 Still D.R.E. 0:24 rickroll 0:33 Mozart's Eine Kleine Nachtmusik 0:42 Flight of the Bumblebee 0:46 Vivaldi's Spring 0:50 Green Hill Zone (Sonic) 0:53 Chopin's Winter Wind 1:10 Super Mario Bros 1:18 Rush E 1:33 Pieczonka's Tarantella in A minor 1:43 Giorno's Theme 1:50 Pachebel's Canon in D 1:57 Vivaldi's Summer 2:12 Bach's Chaconne 2:27 Chopin's Elude Op. 25 No. 12 Edit: Thanks commenters for filling in the gaps!
It would definitely make me go to more professional concerts. I live a few miles from Weill Hall at the Green Music Center and I'd definitely be there more often than for the regular symphony season if I thought this kind of thing might happen. Less of a stuffy vibe would help attract the under-eighty audience.
Oh my fucking god when giorno's theme came on I couldn't anymore my heart is in pain because of how gloriously good this is the transitions from every piece and song was *chef's kiss*
I tried literally conducting this. Figuring out tempo changes, cues, and cutoffs. Notes for anyone interested, feel free to tell me if you have a different interpretation: mm 1~2 in a slow 6 pattern repeating twice (6+6) mm 2 cue bass on 6th, 9th and 10th beats (the 6th, 3rd, 4th beats of the slow 6 pattern respectively) mm 3 conduct 3+3+3 mm 4 tempo change, quarters are faster. notation is impossible to read on the fly so just remember what 108 feels like. 7th beat should land with the start of the 2nd "never gonna" figure mm 5 conduct 4+3 in same tempo mm 6 much faster tempo! but still 4+3 mm 7~8 don't let the offset melody distract you, just continue conducting 4/4 and then 5/4 (3+2 pattern) in the next measure mm 9 don't let the fast notes fool you - this tempo is actually slower, continue conducting in 5/4 (3+2 pattern) mm 10 let the chords in the left hand starting on beat 2 guide your 5/4 if you get lost mm 11 i would conduct only the first 2 beats of the measure, wait until the "cadenza" glissando is done and leads into the repeating G#, and signal an upbeat on the first eighth note G# (so remember to anticipate) mm 12~13 thankfully no change in tempo, continue conducting regularly 3/4 and 4/4 mm 14 much faster - listen to grouping of 16th notes (4 as a unit) mm 15 the quarter note here (notated as half note = 111) is almost twice as fast as in mm 9 (quarter note = 113), so you can actually just snap back into the old tempo from mm 9~13, which would be conducting at the same pace as in those measures but in half notes. It's so fast that it wouldn't make practical sense to beat out all 4 quarters. mm 16~22 arguably the easiest part. the tempo is again pretty much the same as mm 9~13 because if we multiply the marking (half note = 57) by 2 we get quarter note = 114, which is basically the same as our old marking of 113. so, simply conduct 4/4 for a few measures. some wrong notes in the piano but that isn't the worst part is it? mm 18~19 remember to indicate the crescendos and decrescendos mm 23 a simple 3/4 measure mm 24 this is a visual trick. merge this 1/8 measure into mm 25 which is in 7/8. now you have an 8/8 which you can divide into 4+4, which is how our ears intuitively hear the Mario theme. so starting right on mm 24, start conducting in half notes to 86 bpm. it'll make so much sense. it's the only part of the music that i demand a rewriting of. i doubt i'll ever get it. mm 24, 25~29 conduct the Mario theme at half note to 86, as mentionwd above. mm 30~37 i had to follow the blue bar for this one. ideally as a conductor you'd want moving banners on a screen to tell you where the hypermeter or next downbeat is, but we can't ask for much. just know that it gets faster. mm 35 careful of the 3/4 mm 36~37 due to the blasphemous nature of this short passage, i find it meaningless to even attempt to conduct any sort of beat. i would treat these two measures at a single, morphed unit. Since you'd end on an upbeat from the 3/4 in mm 35, you can consider further merging mm 35 and treating it as the first 3 beats of a 4/4 measure, which would allow the unit mm 36~37 to land on an upbeat gesture. or you can treat it as another "cadenza" and leave it unconducted, or give it an ambiguous downbeat (?), this one's really up to you. mm 38 slow down a lot. conduct in a slow 4+4 pattern. mm 39 tad faster, still 4+4 mm 40 again our ears betray us regarding what's actually written. it sounds like the music takes a quicker pace but quarter note to 82 is actually slower. listen for the start and end of the first sextuplet (A B C D C B) to figure out how long your quarter note beat will be. once again, conduct a 4+3 pattern. mm 41 unlike the merging of measures in mm 24~25, i hesitate to merge mm 40~41 because i feel mm 41 strongly resembles a prefix to Giorno's theme, rather than being linked to the previous bar. thus, after finishing mm 40, give a quick, energetic downbeat followed by the successive downbeat of Giorno's theme in mm 42. mm 42~45 this tempo change makes it quicker but not as drastically as previous instances. make sure your conducting gestures are appropriate broad, with a balance between rigidity and lyricality. mm 46 DO NOT CONDUCT IN 10. Instead, conduct in half notes; reduce the tempo marking, which, dividing by 2 yields arouns 150, making the half note pulse slightly faster than the quarter note pulse of Giorno's theme. so just quicken your pace by a bit. and conduct mm 46 in 5 (2+3 this time, because of how the motifs are repeated). damn, all of this is stupid. can't stop now though. mm 47~52 regular, good ol' 4/4 mm 53~60 remember when we halved the tempo from mm 46 to get half note to arouns 150? well guess what? mm 53 says quarter note to 150. you don't have to change a thing, you're welcome. just remember that the ascending line starts AFTER THE DOWNBEAT. don't freak out if you feel like the music is "late"; it's supposed to be. mm 61~63 beat out two full measure of 3/4 and then indicate a cutoff at the downbeat of mm 63, followed by an upbeat (on the 3rd beat) to the next measure. no change in tempo. ALSO THERE ARE NO MEASURE NUMBERS BEYOND THIS POINT FUUUUUUUUUUUUUUUUUUUUUUUUUCK mm 64~71 the chaccone starts out slower but follows an unmarked accelerando... curious. i guess you'll conduct this by innate feel. mm 72 funnily this measure is slower (quarter note = 66). that's all i have to say. mm 73~end is slightly faster (around half note = 76) than mm 72, and is a very easy 2/2 (conduct in half notes) until the end. the last chord is mf (and the bass is mp to even out which makes sense since lower registers tend to be louder on the piano), NOT ff, so don't raise your hands too high but have some poise to indicate it is indeed the final note of this abomination. this took me an hour. was it worth it? NO.
It’s like when I’m messing around on my drums, realize I’ve bitten off more than I can chew trying to play along to something, and go “fuck it” and change songs halfway through
Knowing my theory prof, he probably would’ve passed me through Theory IV if I turned in something like this. He probably would’ve been like, “can you analyze it? Yes? A.”
i think this is my favorite one, the transition into fucking winter wind kills me every time. i chuckled so hard the first time, it caught me so off guard
Here's almost all the song names, and their timestamps! :D 0:00 - Fur Elise, Beethoven 0:13 - Still DRE, Dr. DRE 0:22 - Stereo Madness from Geometry Dash, Forever Bound 0:23 - Construction Site 0:24 - Never Gonna Give You Up, Rick Astley 0:33 - Eine Kleine Nachtmusik, Mozart 0:40 - Flight of the Bumblebee, Korsakov 0:45 - Spring, Vivaldi 0:50 - Some Powerup From The Mario Series I Think 1:09 - Main Theme from Super Mario Bros., Koji Kondo 1:17 - Rush E, Sheet Music Boss 1:43 - Giorno's Theme from Jojo's Bizarre Adventure, Yugo Kanno 1:50 - Canon in D, Pachabel
trying to read the sheet music as someone who doesn’t even play instruments sends me to unexplainable places where the universe is flipped on its side diagonally and the sun is a triangle
So, I'm watching the music flow by, and at the last stanza I can feel my face twist into a grimace and my body arch back in my chair as I watch the blue marker hurtle towards that last chord. Yikes! 😱
this chaos did not allow me enough processing time to put a name to a few songs that were included, despite clearly recognizing them. well done my friend.
Im no musician, but for some reason this is the kind of piece you play to piss off a music teacher you hate, and she cant fail you because even though this is against her vision of music you magnificently pieced this music together like a sculpture made of trash, yes trash but beautiful trash Thats the thing that popped in my head while i was listening ahahaha I enjoyed this very very much
References in the video: 0:00 Für Elise. 0:13 The Next Episode. 0:24 You know. 0:33 Mozart's Eine Kleine Nachtmusik. 0:42 Flight of the Bumblebee. 0:46 Vivaldi's Spring. 0:50 Green Hill Zone from Sonic the Hedgehog. 1:10 The Super Mario theme. 1:18 Rush E. 1:33 Pieczonka's Tarantella in A minor. 1:43 You know this one too. 1:50 Pachabel's Canon in D. 1:57 Vivaldi's Summer. 2:12 Bach's Chaconne. 2:27 Chopin's Elude Op. 25, No 12.
