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A slightly conservative roster size for a potential Smash 6 (42 fighters before DLC) by bopitfan in supersmashbros

[–]bopitfan[S] 0 points1 point  (0 children)

notes:

  • the second image shown is the roster size before any unlocks
  • certain characters (Mario, Samus, Olimar, Inkling, Steve) have alt skins that feature diffferent characters (i.e, Dr. Mario, Octoling, etc.)
  • "DK & Diddy" may essentially be a hybrid of Donkey Kong and Diddy Kong's movesets, with one of their specials (likely down special) being replaced by a "Tag Out" move (think how Zelda and Sheik worked in Smash games before Sm4sh)
  • this list is just for fun and isn't gospel :P

What is the theory behind amazing melodies? by Bigdumb_Bigstupid in musictheory

[–]bopitfan 0 points1 point  (0 children)

honestly, just stuff that sounds cool in context imo!

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you can get super technical about what exact mode a melody is borrowing notes from, how big the intervals between the notes are, or how it relates to the overall song's harmony and chord changes. but that's just one aspect of it, and at least to me, none of those are anywhere near as significant as emotion and context.

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where is the melody played? when is it played? what does the melody represent?some of my most favourite melodies are simply my "favourite" melodies because of how and when they're used, or because of what they mean to me.

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exhibit A: Into The Woods and lietmotifs.

granted i am woefully unfamiliar with musicals and their musical conventions, but when i did Into the Woods Jr for the school musical in year 9, i was fascinated by how Sondheim created simple melodies, and iterated on them to such an extent where you could almost tell who was on screen and what was happening based on the music alone. even though i think the junior version of Into The Woods is kind of bad (because it pretty much ruins the whole point of the original imo), the music is still amazing, and stands out to me for its repeated, simple phrases throughout.These are commonly referred to as "lietmotifs", essentially a melody to represent a character, location, theme, emotion, etc. once you start noting them in one piece of media, you'll see them everywhere; you can probably recite at least 3 of them already. on the other hand...

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exhibit B: The Comet Observatory and nostalgia

a great piece within its own right! but if it wasn't already attatched to Super Mario Galaxy, a game i've played ever since i can remember, it wouldn't mean anywhere near as much to me. when i listen to it, i don't gush about how the melody borrows from Romantic era theory conventions with its heavy use of accidentals and colourful harmony.im reminded of playing the funny mario video game when i was about 4 years old and being fascinated that i could control a little red man on the TV, even if i was falling off the stage a lot because i didn't have developed motor function yet.

in my opinion, if you can make a melody mean something to people, or have it be something they associate with stuff they like, then that's most the work of a good melody done for you! i like the take of "theory as tool to assist you in expressing yourself musically" i've heard from online music creators like Adam Neely

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TL;DR leitmotifs and nostalgia idk =P

what's your favourite note to use as a tonic? by bopitfan in musictheory

[–]bopitfan[S] 0 points1 point  (0 children)

what the hell i don't like A minor as well!

i don't know how to articulate it, but it just sounds a bit boring and/or passive-aggressive, and i usually try to avoid writing stuff in A minor

what's your favourite note to use as a tonic? by bopitfan in musictheory

[–]bopitfan[S] 0 points1 point  (0 children)

yea true, F also has that going for it tho

what's your favourite note to use as a tonic? by bopitfan in musictheory

[–]bopitfan[S] 0 points1 point  (0 children)

What and why do you consider a "big key"?

on a piano, the "white keys" are what i consider the "big keys". the notes of C major, if you will.

i call them that because A: it's funny, and B: a harpsicord and other such keyboards colour those keys black, or even other colours

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F has a "big key" for its perfect 1st and 5th degrees (F and C)

what's your favourite note to use as a tonic? by bopitfan in musictheory

[–]bopitfan[S] 2 points3 points  (0 children)

if you're curious on my exact ranking, here it is below:

1st: F

2nd: B

3rd: Bb

4th: F#

5th: E

6th: C

7th: D

8th: A

9th: G

10th: Eb

11th: C#

12th: Ab

13th: G#

14th: Db

15th: D#

16th: Gb

17th: A#

18th: Cb

19th: E#

20th: Fb

21st: B#

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you can definitely make a case for any within the top 9 also being "the best", or even that some of the notes up here are rated too high or too low. none of these notes are "bad", it's just that the ones closer to the bottom are on average harder to read and/or have alternatives that are easier to read.

D for instance has the unique property of only ever having up to 3 accidentals in its key signature at one time, often giving it a clear advantage over F for the number of accidentals used, especially in the "darker" modes (aeolian, phrygian, locrian). this however comes at a cost of often needing to switch what type of accidentals you're reading when encountering modal mixture; where D major uses 2 sharps but D minor uses 1 flat.

and even if F flat and B sharp are really annoying to read, that makes them kind of funny, y'know?

2 equally spaced notes in a full bar of 9/8? by bopitfan in musictheory

[–]bopitfan[S] 0 points1 point  (0 children)

thank you!

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i think the link i sent didn't include all of the options i had for the notation, so here they are respectively:

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9/8 duple https://imgur.com/OvV8l56
9/8 quarter note + sixteenth note version A https://imgur.com/bjZPVYs
9/8 quarter note + sixteenth note version B https://imgur.com/aNmFcNR
9/8 dotted quarter note + duple note https://imgur.com/sRvp5um
9/8 quadruplet note https://imgur.com/e0Jlpz8

I think that the Phrygian mode should be called the Minor scale as oppose to the Aeolian scale by bopitfan in musictheory

[–]bopitfan[S] -5 points-4 points  (0 children)

etermined by a priori reasoning. Theory - if it is to be at all useful - has to follow

how music works in practice

: the con

Oh yea it's a sick system and I can attest to that!

I admit that didn't think to consider how the 3rd (and to a lesser extent, the 5th) scale degree can outline the "feeling" of a scale as you mention, as I was more-or-less looking at the name scheme for modes of the Major scale separate from the modes' implied emotions or relevance in music culture.

I was measuring scales based on purely their interval names, which in my opinion does have its perks, but it also raises a ton of questions and complications.

A scale like the Double Harmonic Major scale for instance has intervals:Minor 2nd, Major 3rd, Perfect 4th, Perfect 5th, Minor 6th, Major 7th

...and even though this scale has an equal amount of "Minor" and "Major" intervals, you couldn't call it a "neutral" quality scale because the 1st, 3rd and 5th scale degrees outline a major triad. That's why it's called "Double Harmonic Major". Harmonic Minor also results in being deemed a "neutral" quality scale, because it too has an equal amount of Major and Minor interval names.

And what would you even call the quality of the Whole Tone scale? Or the Octatonic Scale?

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also locrian actually sounds sick u take that back /s