LOCRIAN doesn't have to be S p O o K y 

That one Locrean riff/sequence in Lamb of God's "Vigil," oh my gosh!!! 😍😍😍

Sylosis's song Stained Humanity is pretty much written in locrian. It's a great metal song and really shows how metal of a mode it is.

The most well known example of Locrian being used in metal is the main riff of Metallica's "Seek and Destroy", which has an almost badass supervillain kinda vibe to it, or at least it does to me

I think it's like the Valley Girl of modes?

Amen my nugget. I like me some phryg dom

Well this is pretty cool, if anything it's an example of analyzing music from completely different cultures with western theory, which is possible but utimately kinda wrong. If this Iwato scale as you said has no third degree, then it is fundamentally "unusable" in western theory as the third is always present in any western scale and indicates wether a scale/chord is major or minor.

@@dalluc theory can be borrowed from all cultures true but analyzing it from a western framework as you are saying would be hard but not impossible. Wouldn’t go with traditional theory models no

your pfp, isnt that the flag of anarcho-syndicalism?

@@DonHaka what the fuck are you talking about

@@DonHaka seems like it 2 me

Kid Icarus Uprising is a great game!

Goddamnit! My 3ds doesn't have enought memory for this BS right now!

the persona video covers modulations between modes pretty well

@@maluse227 thanks for the tip :)

I definitely want to hear Lydian examples in gaming. It was enlightening to hear Locrian examples, especially after being painted out on tracks I've heard before and not realising it was in this mode. Now I definitely want to hear Lydian. And then maybe some Ionian scale🌚

@@MoonDisast Off the top of my head I believe both Lost woods and Song of Healing from Ocarina of Time and Majora's mask are both in Lydian. Classic stuff right there

@@maluse227 Oh dang, I'll re-watch! Thanks!

There's a cool Hitman 2016 mission where you can sushi-assassinate a target. Very epic.

As it happens, I recently listened to every Zelda soundtrack in chronological order just for fun - to see what I thought the best song was and the best soundtrack is ...The Oracle games definitely stood out as the worst in the series to me :/. Though yes It's pretty good still and does it's job Zelda music is usually much better than just that. Some of the BEST video game music ever :)

While I love the uniqueness of the Samasa desert music, I think it really does sound spooky. Which is why it is so unexpected in a (non-spooky) desert environment.

@@richardgurney1844 for me it's Skull Dungeon. That's a jam.

i agree, tarm ruins is the most underrated zelda track ever, its gorgeous. and dancing dragon dungeon is a bop.

Could you give some examples of what you don't understand? I'm curious.

@@FL4SHK Chords, resolution, pretty much most of the higher music theory stuff.

@@Pascal-eu2oe chords are basically just playing 2+ notes at the same time, technically any combination is allowed but music theory helps you use ones that don't sound like a kid pressing every key on a piano at once. 8bit has a bunch of older video to cover the basics, which are less able use videogame music to showcase things as a cord is pretty fundamental to playing an instrument. (They are real fun as a saxophone player where you need a friend to play the other note for you) But the less fundamental theory is excellently showcase by his basic premise of using videogame music, which is much more familiar than classical music, and generally is simpler and in context really shows how the music choice complements the vibe the game devs are going for. (His chromatic notes video was pretty intuitive without needing a bunch of other knowledge)

@@Pascal-eu2oe Chords can feel more tense or less tense. When you go from a chord that feels more tense to a chord that feels less tense, it feels like a resolution (of the tension). Basically 85% of music theory is just that one sentence, and classifying chords to see how it works. The notation and organizational structure can get complicated, but the idea is simple. Think of Beethoven's 5th with *da da da DUMMMM* as a very extreme example. Locrian mode is unpopular because it's defined by a set of chord movements which are high in tension. There's nothing in the mode that resolves that tension nicely, and if you allow the tension to resolve, it's because you've accidentally gotten out of Locrian mode and (usually) into some functional major or minor key with a different root note than what you intended. Staying in Locrian means never doing a traditional resolution and just letting the tension hover there in the music. Most people really like the resolution, it's extremely satisfying, so a mode that eschews it entirely doesn't fit well in a lot of situations. It's only useful if your goal is to inspire a sense of dissatisfaction, of tension that never goes away, of stress.

They're good videos. Just keep in mind that every mode is just a different position in your major key, whatever that key may be. The general whole, whole, half, whole, whole, whole, half will be found somewhere in each mode, Locrian being the seventh position, starting the mode at a B note will keep ya in the key of C. But w/ that said, you can use the mode both for the key you are in, but when getting more advanced these things can also be used for key changes/alterations, though Locrian would be a rather intense alteration as is demonstrated in the vid w/ this well chosen song from Doom. Though we write out of major, that's just how music is designed, there are keys outside of the major key, of course, the minor key with its flat 3rd note being the primary example of this. Note that 7 and m7 key will always knock ya back a step to 2 steps in circles respectively, ex. Dm7 is C, G7 is C, likewise Fm7 would be Eb as well as Bb7 would be Eb - the keys not the chords, just to make that clear. Almost botched and reversed the flats, sorry, it's correct now, lol, always good to reread. Music's such a trip. Some keys will make use of more than the standard seven, such as a simple chromatic adding an F# and C# into the C key to help as emphasis notes or any other version of the chromatic, in other words any notes added in to the standdard key for emphasis (Hendrix and many other blues aficionados did a lot of this), and some keys will make use of less notes, like our five note pentatonic scales which sacrifice two notes from the major - less notes of course making for more harmony and less dissonance between the notes. All of them will have different positions/modes, as well - though with chromatics a lot of what is added in are emphasis notes, not to be used as starting points. I tell ya, I don't think I've ever written a song to where I've set out knowing more than the rudimentary basics of what I was doing while creating it. Always do what sounds good to start. Knowing how to apply the theory will help to know where to go during creation and then will help to put everything together and make sense of everything once created, tying up any loose ends and adding in any other pieces that could help the main progression. Again, always do what sounds good to start. As time goes by and more is learned the progressions will get better, and old songs can always be added to.

Same, back when I first started watching 8-Bit here a few years ago I had trouble getting past the first ten seconds-and while I’m not particularly good at it I do comprehend generally what he’s talking about now! Keep at it, you can do it!

I can't remember the exact name of it, but there's some table for mapping the scale numbering visually into a circle. I think vox used it on their breakdown of giant steps. might help with some of this stuff

You probably just need the right teacher. I thought the same as you did, but let me tell you, it's actually far easier than you think.

@@j377yb33n circle of fifths I think it is

@@redpepper74 that was the one in the vox video about giant steps, yeah.

It also doesnt actually taste that good. Most people describe it as being an incredibly mild flavor, so much so that they typically use a type of spicy sauce to go with it.

Pufferfish

The toxin actually comes from shellfish being digested in the fugu's digestive tract, so farmed fugu aren't fed shellfish which means no toxin, perfectly safe fish meat

secret origin of the kamikaze

Now I'm curious about the music in the original Luigi's Mansion. Granted the primary instrument was Luigi humming in terror. (Which is probably a choice worth making a video about; selecting an instrument for a piece)

I think it's just in harmonic minor - it's just the bassline descending chromatically

@@AxleCarp by "chromatically" you mean it goes down one semitone at a time, not necessarily conforming to a scale? Music noob here sorry xD

@@em_the_bee yes, although it /is/ conforming to a scale (the chromatic scale) -- the typical 8 tone scales (major, minor, and the other 5 diatonic modes) are just the most common in western music, but a scale is any sequence of notes ordered by pitch (ie always ascending/descending, not a mix like A-C-B-D.). The major (ionian) scale is defined by the intervals "tone, tone, semitone, tone, tone, tone, semitone", so the tonic (first note) is whatever you pick, the second is first note + one tone, third is second note + one tone, fourth is the third note + semitone, and so on up to the octave (5 tones + 2 semitones = 12 semitones = an octave in 12 tone systems). The natural minor scale (aeolian) and the other 5 modes (dorian, phrygian, lydian, mixolydian, locrian) are all the same pattern, but starting at a different point in the sequence -- eg natural minor starts on the 6th note of the major, so instead of "tone, tone, semitone, ...", it's "tone, semitone [last two intervals of major scale], tone, tone, semitone, tone, tone [first 5 intervals of major scale, since it loops back around]". Chromatic scale is just "semitone, semitone, semitone, semitone, semitone, semitone, semitone, semitone, semitone, semitone, semitone, semitone". There are theoretically 2^11 = 2048 different scales in 12 tone systems that repeat at the octave, as there are 11 notes between the tonic and the octave, for each of those 11 notes there are two choices -- it can either be included or not -- but in practice, scales tend to have at most 3 semitones between notes that are more or less equally distributed throughout the octave, which limits possibilities. Scales don't even /have/ to repeat at the octave, although it's obviously very useful if they do.

@@voskresenie- oh yeah, I learned all that already in these 8 months, but thanks anyways

I'm a big mixolydian fan myself

Ah, a fellow Phrygian appreciator. God I love the Phrygians. My best song is in Phrygian Dominant (though it sure doesn't sound like it!)

Phrygian Dominant is just one alteration away from Double Harmonic and Mixolydian flat 6. Those three are probably my favorite scales!

I used to be a Phrygian fan, but now I am a combining Phrygian dominant and mixolydian enjoyer, try it, it's so cool

Phrygian, Phrygian dominant and double harmonic major are great. Personally, I think Neapolitan minor and the "mirage scale" are even cooler, at least for improvisation. The latter is just perfect! I stumbled upon it by going "what if I combine Phrygian, Phrygian dominant and double harmonic minor?" haha, looked it up and learned about its strange recent history (it was apparently the only scale not listed on Ian Ring's site, and thus someone named it "mirage scale"). Still, at least I almost always end up going with just Phrygian, Phrygian dominant or double harmonic major (or Phrygian dominant with added major 7th) even if the idea began from something "even cooler". Anyway, Locrian is fun, and imho its usual vibe is "liminal" kinda like liminal spaces; at the same time relaxing but also somehow unsettling. It's like it embodies a feeling of nostalgia for something that never happened/existed, or that was unnervingly different from the memories... or a deja vu type of feeling. Also kinda bittersweet in a way. Locrian dominant, though... uhhh... I'm interested in it, but haven't found any use for it yet. (Sorry for rambling.)

12 bar blues renditions of metal riffs 🥴

it's a Master of Puppets cover from Metallica :D

I wonder if the use of footage from E1M2 is an intentional attempt to trigger long-time doom fans :)

@@TraxtasyMedia Nope. It's not, neither as far as rhythm or selection of tones goes. DRI's Hooked's opening riff is way closer. The only thing Master of Puppets and E1M1 have in common are a pedal tone and a descending progression of tones (E1M1) or chords (MoP).

@@markusmiekk-oja3717 who knows? :D

It’s a mode, not a scale

@@HieronymousLex A mode is a type of scale. Why the semantics

😏😏

It's definitely rare for sure, I happen to have found it in a movie soundtrack that I'll be posting a video analyzing soon. It was a pleasant surprise coming across it

John Kirkpatrick's song "Dust to Dust" is the best example of a song in Locrian imo.

@@Booskop. I agree, and if only it included the 6th to have the complete scale

I guess the only "non videogame" genre where locrian is common is metal. In fact the E1M1 theme from Doom (1993) is actually based on the main riff from Metallica's Master of Puppets (1986).

E1M1 always sounded more like "No Remorse" to me.

yeah the root-m3-m7 is a good root chord in locrian

it just depends how you play it and what you play it on. MODES are just INTERVALS IDENTIFICATION KEEP IT SIMPLE.....DONT MAKE it COMPLICATED BASIC TRIADS are just every other note ( you dont have to always do that..it's just a GUIDE) Example...Im on my guitar...It the KEY of D MAJOR/B min C# locrian Im simply going finger the C# note as my ROOT. Open D note...Open G note.. D note..open high E note. Then play Open A B then C# ( on the A string) Im FINGER PICKING it... I guess you call it C# dim add b2/b9. it's just the b3 ( E note) is stacked in the second octave Then Im simply going to finger the G F# E...descending ( in the lower octave)..in a nutshell NOTE on the LOW E string.. While I'm just finger the D note ( on B string) against open D G E Then the E note on the on the D string.. In a nut shell C# dim triad add 9 Then Im simply going hammer the the LOW G note on the ( low E string) the tritone or b5 of C# with my MIDDLE finger It sounds PRETTY. The C# is my ROOT NOTE C# LOCRIAN...those are the INTERVALS. There's OTHER SCALES with MODES in them too. Lydian = IONIAN #4 There's also Lyd #2 Lyd b3 Lyd #6 Lyd b7 Lyd #5 Lyd #2 , b7 or ( mix #2, #4) Lyd #5 #6 Lyd #2, #5 Lyd #2, #6 or Mix = IONIAN b7 Mix #2 Mix #4 Mix b2 Mix b6 Mix #2, #4 Mix b2, b6.......some people term this INTERVAL as PHRYGIAN DOMINANT Mix b2, #4 Those are just some EXAMPLES There's MORE different scales with MODES within them too. if you play those NOTES in a LINER manner...they'll all create different SOUNDS. Alot of people WILL use that as a GUIDE to distinguished those SOUNDS. If you learn them via INTERVALS identifications mix #2, #4.. aka HUNGARIAN MAJOR scale You could stack different CHORDS using this mode 1, 3, 5...... MAJOR 1, #2, 5 Min ( #2 is enharmonic/SAME as b3) 1, 3, 5 b7 dominant 1, #2, 5, b7 min 7 1, #2, #4 dim 1 #2, #4 b7 half dim 1, #2, #4 6 full dim 1 3, b7 #9....is how the HENDRIX is play on the GUITAR in theory ..it's just 1, 3, 5, b7, #9...The #2 is stack in the second octave ...that is all.

Using a 7sus4no5-chord is also a strategy that can work. Even then, tho', the b5 can be a bit jarring against the 4

@@markusmiekk-oja3717 You could simply stack a sus4 chord, Example In the Key of A MAJOR/F#min ( on the guitar) G# sus4 ...Barr at the 4th fret ( Locrian) A sus9 at the NUT..............( IONIAN) Then...Hammer the F note on the D string with my PINKY Then Hammer the F note on the LOW E string. Without making it too complicated... Lets just say I borrowed from the A MAJOR BeBop scale. It's A MAJOR with #5/b6....OPTION/PASSING note. to play the F Maj7 add#11 chord. ( the 5th is suspened) I have to WRITE it like that ...to justify playing that maj7 of F.. NOT so much for me...( I'll play whatever I damn please) It just so OTHER MUSICIANs can COMPREHEND it. It's a scale with 8 notes so I could say it's loc 4, bb7....ADD Maj7 ( MODE) to give a point of REFERENCE. Aanways....I CREATED the mix #2 or ION #6 scale...or LOCRIAN maj7 It's MY INVENTION I also created melodic min b5 ( mix b2, #4) Then C# min triad against open B/E ( C# min add b13) Phrygian E7 at the NUT Mixolyian ( hammer the G# note low E pinky if I want) A MAJOR ....barr 5th FRET repeat.....starting from the G# sus4 chord ( Locrian)

Stuff like that is why I'm perfectly happy just having pizza

As for Oracle of Seasons, I'm guessing either Tarm Ruins or Dancing Dragon Dungeon are your favorites?

@@LinkEX Dancing Dragon is definitely one of them, but I'm actually extremely fond of Snake's Remains. The haunting melody in that piece really fits the dungeon, even if it is only the second one.

Also the poisonous fish thing is real, pretty sure its a japanese thing but i dont remember the name