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Fanfare and Jubilee (Draft 1.0)

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Creative Commons License 

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License and ©2012 Gregory Weaver.

It’s hard to believe that it’s been so long since I’d posted my preview draft of this tune, but alas, it has.  The good news is that I was able to buckle down for a couple of hours yesterday and shell out a draft that I deem worthy of the “v1.0” label.  Check it, if you will:

 You may also listen on SoundCloud.

I don’t know what the deal was, but when I started to work on this tune again I couldn’t shake the notion of having the bridge go minor.  It was my intention to keep everything light and super major when I started, yet when I sat down all of my ideas were shying away from that goal.  I blame the fact that in my description of the scene last post I wrote something about an assassination attempt—at one point while writing something I ended up scrapping I had even thought that if I just slowed down what I wrote it could be some kind of sinister theme that would be great if the dignitary introduced by the fanfare was actually a tyrant!  Then I snapped back to reality and remembered that wasn’t really the point of this tune.  In any case, I think that the mood stays rather jubilant, despite it taking a different turn.

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“Time’s Scar,” Part II

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*In case you missed it, here’s Part I

For your convenience, I’ve reinserted the video:


 
I would suggest listening and watching one more time straight through so that you re-familiarize yourself with everything. Also, before I get into the analysis, I’d like the reader to see how I personally broke down the form of the piece for the sake of this analysis. If anyone has a better suggestion on how to organize it, please let me know—this is certainly not the end-all-be-all!

Section A: “Introduction” (0:00-0:57)

Section B: “Transition” (00:57-1:14)

Section C: “String Melody” (1:14-1:49)

Section D: “Breakdown and Ending” (1:49-2:22)

Cool. Now, let’s pick up where we left off. In less than a minute’s worth of music we listened to an enchanting, nostalgic, and, at points, childlike musical intro that set up not only the coming of an exciting display of PSX CGI power and adrenaline-pumping music, but also for the gamer for what he should expect out of the entire game’s soundtrack. We took note of Yasunori Mitsuda’s very present bass, dancing flute, and moving acoustic guitar, which all combine to enhance and reveal a folk flavor in his music.

Cue :56. A suspended cymbal roll comes from behind the flute, which turns and lands on a note that stings the downbeat of what I will call the “transition.” Suddenly, when the listener only had a few instruments to take in before, a flurry of sounds comes to him or her all at once and s/he is whisked off at full-speed. The important part about the transition is its ability to rush the listener forward and get him or her caught up in the moment using rhythm. Yes, the tempo speeds up, but it is not tempo alone that perks the ears and does the engaging. It may take the listener many-a-repeat to catch all of the elements that help drive the music forward, but they are worth fishing for and catching.
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