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![MANGOES AND WATERMELONS [sheet music]](http://d.furaffinity.net/art/economicsbat/1568955548/1568955548.economicsbat_sheetmusic.png "Click to change the View")
Hey! So one of the many, many things I studied in school was contemporary classical music. I wanted to write Nyeogmi a theme tune, and also decided to think about how Nyeogmi would write a classical piece.
The answers:
- Since bats only really have one usable finger (the thumb), each hand plays one note at a time -- two notes but only if they're next to each other. (I count "minor third on black keys" as "right next to each other" -- I break this rule twice in system 3, though, both for voice leading reasons!)
- Since the one finger bats have is really big, lots of black keys -- they're easier to hit!
- Since only having one finger has to be pretty clumsy, everything's really slow -- sixteenth notes are allowed when hopping by a 2nd, though, because that doesn't require moving too far.
- No dynamics -- Nyeogmi's way too lazy to write them down!
- Completely insane modulations. (Well, they look insane because there's a ton of weird chromaticism here and because these particular keys make an edge case on the circle of 5ths.)
- Alberti bass! I don't think Nyeogmi would be much cleverer than that.
He named it MANGOES AND WATERMELONS, because, of course, he wouldn't admit to writing it about himself -- it's dedicated to fruit bats. Ostensibly...
I don't think Nyeogmi would be a very good composer, but I think I'm passable, so I tried to write a good piece under these restrictions, even though odds are if he were to write his own music it wouldn't be so good.
Here's the sheet music upload! I'll be uploading a recording of this piece shortly!
Nyeogmi's newer piece, CRICKETS AND SCORPIONS, can be found here.
All uploads of this piece:
- Sheet music
- Computerized recording
- Live recording
The answers:
- Since bats only really have one usable finger (the thumb), each hand plays one note at a time -- two notes but only if they're next to each other. (I count "minor third on black keys" as "right next to each other" -- I break this rule twice in system 3, though, both for voice leading reasons!)
- Since the one finger bats have is really big, lots of black keys -- they're easier to hit!
- Since only having one finger has to be pretty clumsy, everything's really slow -- sixteenth notes are allowed when hopping by a 2nd, though, because that doesn't require moving too far.
- No dynamics -- Nyeogmi's way too lazy to write them down!
- Completely insane modulations. (Well, they look insane because there's a ton of weird chromaticism here and because these particular keys make an edge case on the circle of 5ths.)
- Alberti bass! I don't think Nyeogmi would be much cleverer than that.
He named it MANGOES AND WATERMELONS, because, of course, he wouldn't admit to writing it about himself -- it's dedicated to fruit bats. Ostensibly...
I don't think Nyeogmi would be a very good composer, but I think I'm passable, so I tried to write a good piece under these restrictions, even though odds are if he were to write his own music it wouldn't be so good.
Here's the sheet music upload! I'll be uploading a recording of this piece shortly!
Nyeogmi's newer piece, CRICKETS AND SCORPIONS, can be found here.
All uploads of this piece:
- Sheet music
- Computerized recording
- Live recording
Category Music / Classical
Species Bat
Size 730 x 807px
File Size 21.8 kB
Listed in Folders
That's not the only weird thing!
He switches to 6/4, apparently meaning 3/2 by it, but if you look real close, the left hand plays a whole note, four beats of quarter note accompaniment, and another whole note. It's almost three bars of 4/4, but the quarter note accompaniment starts (apparently) midway thru an Alberti pattern.
That's not really Nyeogmi though. In school I wrote a lot of pieces that were disorientingly situated between two keys or two timesigs just for fun. (Except I'm not a monster, so unlike in this case, the two keys would usually be like, F and D or something else less cruel.)
He switches to 6/4, apparently meaning 3/2 by it, but if you look real close, the left hand plays a whole note, four beats of quarter note accompaniment, and another whole note. It's almost three bars of 4/4, but the quarter note accompaniment starts (apparently) midway thru an Alberti pattern.
That's not really Nyeogmi though. In school I wrote a lot of pieces that were disorientingly situated between two keys or two timesigs just for fun. (Except I'm not a monster, so unlike in this case, the two keys would usually be like, F and D or something else less cruel.)
The key change is actually funny because it goes from Db to F#, which really could have been written as the related key of Gb to spare the reader a headache, but darn devious dastardly Nyeogmi, a headache is precisely what he is after, eh! Trying to disorient and discombobulate the player?
Above all though it's just fun to see somebody doing music here. Don't think I've been able to get into that sphere of conversation in these parts, so this is great.
Above all though it's just fun to see somebody doing music here. Don't think I've been able to get into that sphere of conversation in these parts, so this is great.
Yeah!!! Things that only work if Nyeogmi starts in five flats or five sharps or something. If he's similar to EB-but-as-a-kid, I bet he doesn't realize he could have written it that way, though. He's probably thinking "yes, he two most unrelated keys, I have switched between them!"
(Ignoring that he did accomplish the interesting thing of moving somewhat gracefully from D to Db in one chord progression...)
I should totally post more about music!!! My nonexpertise will probably show through though, even though I took a lot of music classes.
(Ignoring that he did accomplish the interesting thing of moving somewhat gracefully from D to Db in one chord progression...)
I should totally post more about music!!! My nonexpertise will probably show through though, even though I took a lot of music classes.
That's what I thought he was thinking... little did he know! Probably gave himself more effort into the notation process, but hey, it was worth it.
You should! I'd be excited to see it. And if you have any questions about stuff, I'd be happy to lend an ear! It's a big ear after all. This is totally what I got my music degree for, this right here.
You should! I'd be excited to see it. And if you have any questions about stuff, I'd be happy to lend an ear! It's a big ear after all. This is totally what I got my music degree for, this right here.
(Also, re the above -- what's going on in the left hand of measure 24?!!! The right hand is clearly split into blocks of two beats somehow, but is the left hand meant to be played as if it were two measures of 3/4 or three measures of 2/4? I'll never tell, but the repeated Ebs sure are suspect.)
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