They’re called Voca People and they cover the history of musical genres in five minutes. Dude.
The music theorist in me is overjoyed by how accurate this is And the chorister in me is having some sort of religious experience. THIS IS MUSICAL PORNOGRAPHY. I DON’T KNOW WHAT MY FEELINGS ARE DOING.
Day- O (The Banana Boat Song) Mbube- Solomon Linda and The Evening Birds Ameno Dorime- Era Toccata and Fugue in D Minor- Bach Spring- Vivaldi Messiah, HWV 56, Part 2, No. 44 Chorus- Georg Friedrich Händel The Entertainer- Scott Joplin Mr. Sandman- The Chordettes Puttin’ on the Ritz- Irving Berlin Hit the Road Jack- Ray Charles In the Mood- Glen Miller Tutti Frutti- Little Richard I Get Around- The Beach Boys Can’t Buy Me Love- The Beatles Take A Chance On Me- ABBA Long Train Running- Doobie Brothers Celebration-Kool and the Gang Holiday- Madonna Billie Jean- Michael Jackson Sweet Dreams- The Eurythmics Yeke Yeke- Mori Kante Smells Like Teen Spirit- Nirvana Wannabe-The Spice Girls Macarena- Los del Rio Cotton Eyed Joe- Rednex Hit Me Baby One More Time- Britney Spears Who Let the Dogs Out- Baha Men Everybody Dance Out- C+C Music Factory I Like to Move It- Reel to Real
I think I got all of them!!! It took me a while to recognize Yeke Yeke, but I got it!
Dore Na || Fenris’ Theme & Mage Pride Arranged by Sven’Harel (Composed by Inon Zur)
I put both Fenris’ Theme and Mage Pride from the Dragon Age II soundtrack together. Title taken from a fan transcription and translation of the lyrics, found here. So apparently I test out Audacity when I get horrifically bored.
I always found it an interesting thematic choice that Inon Zur composed two ‘halves’, so to speak. These two pieces never sounded whole to me when apart. It seems like they represent the opposing sides of the mage freedom argument, using characters as juxtaposition: Fenris who despises the twisted side of magic, and Anders (I always feel like Mage Pride is his theme, or at least his purpose) who advocates for his people’s rights. Neither side is wholly correct or incorrect.
If you take away the different melodies, what lies underneath both compositions is almost the same. I like to think that these two complementary pieces are Inon Zur’s gentle reminder that everyone is fundamentally identical. We are all people.
I just spent the past hour staring at my wall. This is my 96th arrangement (wow has it been that many weeks?!) But this past week has been super rough, I just left my job, and things are just crappy. I can’t tour, rock radio won’t play me because I’m classical, classical radio won’t spin me because they say I’m rock… and so all I have is my music in my head, the hope that this somehow works out, and all of you guys. Then again, what more could I want, right?!
I love this composition because it’s as if it’s 3 entirely separate pieces. There’s even that big silence in the middle, which really brings out the beauty of this piece when it leads to the flutes and violins for the lush ending. It creates so much tension, uncertainty, and feeling.
And that’s what I drew from this - that sometimes there’s a long pause in the middle of things. While uncertainty in life is scary and can get you down, I’m learning that if you keep going you’ll see it leads to a beautiful melody. The trick is to just keep on going.
As a result, I wanted the violins to really take charge in this arrangement while the Xylophone played the melody. To say I’m proud of this piece is an understatement, it turned out exactly how I heard it. I even gave the basses a melody that wasn’t in the original, but I heard it in my head over and over again, so I added it.
Note: I’m trying to allow commenting on posts because I want to open up a discussion and say hi to everyone. Right now I’m depending on messaging (but there’s a message limit, so that’s pretty unfortunate). So feel free to say “Hi!” on Twitter. Let’s keep this thing going, because Daft Punk Orchestra Interstella 5555 is turning out to sound pretty cool.
I was 17, playing guitar at my best friend Joe’s house, and I can always remember him telling me about this band he was obsessed with. That band was the Dropkick Murphys.
Joe was the man. He played drums every single day, and I would frequently ride my car over, set up my guitar and amplifier, and jam out with him – all while his parents sat in the adjacent room. To this day I’m still unsure of how they managed to not go crazy from us. In fact, they always encouraged us and were interested to have us play for them.
That’s what really hits me hard about this piece – that whenever I think of the Dropkick Murphys, I think of Joe and how his parents supported us. As I got older I started understanding that no one, not even the Dropkick Murphys, can do it without support and encouragement. Haters make their voice with their words, but lovers make their voice with their actions.
To me, arranging a piece of music is much like writing a story. Before I do anything, I have to determine who my lead characters are, and who are the supporting cast. Right away from this piece I knew what the defining characteristic was – the drums. This loud and energetic celtic group needed a loud and energetic arrangement, and that’s what I tried to accomplish with this piece.
As I write this I’m looking back now at how bizarre everything used to be and all the support I was surrounded by. The late night train rides to go see New Found Glory and Godsmack, the Battle of the Bands where I’d go to support my friends, the random concerts thrown in our basements, and blasting new music from our busted up cars. It was just such a cool time, and it’s one of those things that you can’t really appreciate it until you’re no longer in it. In order to grow you need others to guide you along the way, and in order to look back you have to fearlessly enter a new phase.
Sweet Jesus this sounds like something out of a pirate flick.