Fandom Odyssey of Power

[Natevess]

How much did you pay for it?

 

[Kyero]

How much did you pay for it?

Retail price is about $1,000, I got it for a student discount of $499.

 

[Natevess]

Holy shit. Thanks for the information

 

[Kyero]

Holy shit. Thanks for the information

You're welcome. You interested in writing orchestral music?


 
Looks like it's on sale right now for around $750 or so.

 

[Natevess]

I've recently been learning to play music, and I'm somewhat interested in learning to write it.


Even if it is on sale, I'm broke as a joke at the moment.

 

[Kyero]

I've recently been learning to play music, and I'm somewhat interested in learning to write it.
Even if it is on sale, I'm broke as a joke at the moment.

Lol.


Well if you ever want tips just tag Trignome or myself. Trig seems to have quite the ear for music as well as some good suggestions about compositional technique.

 

[Natevess]

Alright, thanks for the offer.

 

[Kyero]

Alright, thanks for the offer.

Not a problem.

 

[Natevess]

You wouldn't mind if I had Broc help Fae to a medical center at the end of my post, would you?

 

[D. Rex]

Fae got taken down?

 

[Natevess]

She's unconscious at the moment. Unless you plan on picking her back up now, I was going to take her to a medical center.

 

[D. Rex]

I just now read it. I didnt realize it got edited in.


Lol I was hoping to try and make a post tonight but I see that it has been taken care of. With a broken back, I don't think there is much else she is capable of doing. Depending on how saiyan handle such severity.


Given that she is down, I don't have much choice on who carries her. Lol but don't expect Fae to be grateful.

 

[Natevess]

Done. Tell me what you think, boss.

 

[D. Rex]

Lol Fae would be pissed if she could read it being called Princess Style. Or that he was carrying her so daintily. Or that he passed out like that.


xD anger problems.

 

[Natevess]

I didn't exactly know what else to call it.

 

[D. Rex]

Lol whatever works. I don't mind. I thought it was funny. I was just remarking on what Fae would think of it. But then again, not much seems to please her.

 

[Natevess]

A bit off topic, but I really loved the points in DBZ where everybody wasn't exactly very strong or anything, since at that point it was less about big dick ki blasts and who could make a bigger sonic boom than it was about actually being more skilled.

 

[Sophileon]

I give a sincere and heart-felt apology for my lack of activity. I feel super bad for not getting in touch sooner.


I really want to try and get a post out tonight, but I have work till midnight EST. If I do not get a post out by tomorrow, Kyero, will you post for me so the RP is not held back further?


Again, I apologize for holding the RP back. I hate when this happens, and this RP is too awesome to stall any longer.


 
Well, I got part of my post up for now. Hopefully I will get to the rest of it later tonight.

 

[D. Rex]

xD Tiw sucks at pep talks.

 

[Sophileon]

Lol! He really does! And he's so awkward when he tries.

 

[Kyero]

I give a sincere and heart-felt apology for my lack of activity. I feel super bad for not getting in touch sooner.
I really want to try and get a post out tonight, but I have work till midnight EST. If I do not get a post out by tomorrow, Kyero, will you post for me so the RP is not held back further?


Again, I apologize for holding the RP back. I hate when this happens, and this RP is too awesome to stall any longer.


 
Well, I got part of my post up for now. Hopefully I will get to the rest of it later tonight.

It's all right Sophileon. If you can get the rest of your post up then that'll be awesome. If you need me to carry it a bit, then pop online for a minute to let me know and I'll finish Tiw's involvement so we can push forward.


By the way everyone, an update on the SS transformation music!


SS Transformation Update!


So the story behind the music is the same for the first 25 seconds or so. The creepy Gong rakes signal Inecros' approach, and the thundering theme that follows is Inecros' theme which will play whenever he's part of or the complete focal point of the moment. Then, at 20 seconds our characters rally as they prepare to face him. At thirty five seconds they begin powering up to maximum, demonstrating how far they've come since the beginning of the RP's storyline. At fifty seconds, the Saiyans are finishing their power up, and at just after a minute and four seconds they begin engaging Inecros (notice his theme gets louder in the bass instruments). The battle begins in earnest during the dissonant brass section towards the last fifth of the piece. Inecros is proving too much for us despite how far we've come. It's not looking good...


@Natevess, @KingHink, @Sophileon


Tell me what ya think!

 

[Trignome]

@Kyero


After listening to both links, I have to say that I'm impressed with the intricacy of the piece, especially with how you used the 'sharper' percussion instruments as accents to longer tones from the strings and brass. It effectively prevents the music from taking on a mellow, droning quality. (Something that happens quite often with the use of orchestral instruments, unfortunately. ) I'm really looking forward to hearing the full piece.


Excuse the brief commentary.


Besides my summer classes, I've been scrambling like mad to practice because my lessons resume this week.


So at the moment, I am very much done with music.





I have, however, bookmarked your post and will definitely listen to the excerpt in greater detail. I can tell a serious amount of effort went into this composition, so it only seems fair that I match the quality with my thoughts on the matter, especially since I really enjoyed this piece.


Just a quick question, because now I am curious: Are you majoring/minoring in music?

 

[Kyero]

@Kyero
After listening to both links, I have to say that I'm impressed with the intricacy of the piece, especially with how you used the 'sharper' percussion instruments as accents to longer tones from the strings and brass. It effectively prevents the music from taking on a mellow, droning quality. (Something that happens quite often with the use of orchestral instruments, unfortunately. ) I'm really looking forward to hearing the full piece.


Excuse the brief commentary.


Besides my summer classes, I've been scrambling like mad to practice because my lessons resume this week.


So at the moment, I am very much done with music.





I have, however, bookmarked your post and will definitely listen to the excerpt in greater detail. I can tell a serious amount of effort went into this composition, so it only seems fair that I match the quality with my thoughts on the matter, especially since I really enjoyed this piece.


Just a quick question, because now I am curious: Are you majoring/minoring in music?

I am majoring in Music with a focus on Recording Arts. Composition is another passion of mine, but I'm still an amateur. I'm hoping that my upcoming composition class at CSU Chico will help with that. I know all my Theory and I know how to play piano and guitar, but when it comes to composition I overthink EVERYTHING!!! My issue right now as a would-be composer is learning to relax and let the music flow. I always catch myself thinking "okay, so how to use counterpoint here" or "what kind of melody should go above this particular drone or chord progression?" Valid questions, but they defeat the purpose of a piece like this one especially since I'm trying to do this by feel and mental visualization of an epic battle.


Know what I mean?

 

[Trignome]

Yes. I have definitely experienced that frustration with composing music. (It's so much easier to play expressively than compose expressively, in my opinion.)


I think, possibly the issue is that while striving to compose a song through sense alone, there's also a necessity of understanding how an instrument or technique can create the effect desired, which forces a lot of composers to pigeon-hole themselves, trying variation upon variation upon variation until they find the exact, technical effect they want. But then overall, the piece feels un-moving and almost flat because by composing a piece through small, exacting increments, there is no sensation to the song as a whole. Everything ends up connecting only on a technical stand point and the tone either has no dynamic progression, or just does not progress at all.


I think it's especially challenging with a full orchestral piece like yours, with brass, strings, percussion, and a choir. Because in things like duets, solos with accompaniment, and ensemble exclusive pieces like jazz band or string quartets, there is usually a distinct instrument/instrumental section carrying the bulk of the piece's melody, or otherwise a motif that's easily passed through the various instruments due to similarities in sound. (Like how orchestral instruments share the same mechanics/structure of the violin.) In your case, it's not so much the prevalence of a theme, so much as a compositional balance and interactions between the instrumental sections that really drives the piece.


I speak like I have confidence in such topics, but I'm really as clueless as anyone about how to solve such problems. orz


It's like, even knowing that I've dug myself into a hole with a piece I've worked on, it's hard to actually fix it because I sort of finalize each measure of music as I go along. So changing a section means I have to adjust the measure before that, and the measure before that, and the measure before that...It's especially nightmarish trying to find that magical, perfect sense of finality at the end of a piece, and then realizing that the end and introduction do not tie together at all. I know a lot of composers write a specific part or motif, then build upon it, rather than trying to piece everything together all at once. But I've never really gotten into that method myself. I probably should, it sounds far more efficient...though I worry that if I don't vary a theme enough, the song sounds repetitive. And if I vary the theme too much, it's like I suddenly started writing a new song in the middle of a song.


I most definitely sympathize with your plight.


But I'm sure, with your musical experience and with the additional classes, you'll find a compositional method that works well for you.

 

[Kyero]

Yes. I have definitely experienced that frustration with composing music. (It's so much easier to play expressively than compose expressively, in my opinion.)
I think, possibly the issue is that while striving to compose a song through sense alone, there's also a necessity of understanding how an instrument or technique can create the effect desired, which forces a lot of composers to pigeon-hole themselves, trying variation upon variation upon variation until they find the exact, technical effect they want. But then overall, the piece feels un-moving and almost flat because by composing a piece through small, exacting increments, there is no sensation to the song as a whole. Everything ends up connecting only on a technical stand point and the tone either has no dynamic progression, or just does not progress at all.


I think it's especially challenging with a full orchestral piece like yours, with brass, strings, percussion, and a choir. Because in things like duets, solos with accompaniment, and ensemble exclusive pieces like jazz band or string quartets, there is usually a distinct instrument/instrumental section carrying the bulk of the piece's melody, or otherwise a motif that's easily passed through the various instruments due to similarities in sound. (Like how orchestral instruments share the same mechanics/structure of the violin.) In your case, it's not so much the prevalence of a theme, so much as a compositional balance and interactions between the instrumental sections that really drives the piece.


I speak like I have confidence in such topics, but I'm really as clueless as anyone about how to solve such problems. orz


It's like, even knowing that I've dug myself into a hole with a piece I've worked on, it's hard to actually fix it because I sort of finalize each measure of music as I go along. So changing a section means I have to adjust the measure before that, and the measure before that, and the measure before that...It's especially nightmarish trying to find that magical, perfect sense of finality at the end of a piece, and then realizing that the end and introduction do not tie together at all. I know a lot of composers write a specific part or motif, then build upon it, rather than trying to piece everything together all at once. But I've never really gotten into that method myself. I probably should, it sounds far more efficient...though I worry that if I don't vary a theme enough, the song sounds repetitive. And if I vary the theme too much, it's like I suddenly started writing a new song in the middle of a song.


I most definitely sympathize with your plight.


But I'm sure, with your musical experience and with the additional classes, you'll find a compositional method that works well for you.

Here's hoping.


Until then I'll take all the criticism and helpful hints and tips I can get from whoever will provide them.


 
Update #3 to the SS music!


Tell me whatcha think!


So for the three long held diminished chords, Inecros is powering up to demonstrate that no matter how far we've come, he's still that much more powerful. The frantic pace of the next section before the piece ends (for this update anyway) is him just wiping the floor with us one by one as if it's nothing. Just swatting flies.

(Oh, and listen with headphones. Laptop speakers are rubbish for stereo image.)

​

SS Transformation Update #3



​

More to come as I begin getting into the nitty gritty. Taking a beating like this is the first step, but next comes the hardened resolve in our Saiyan hearts. Epicness (hopefully) is soon to follow this development.


I look forward to hearing thoughts and comments!