SotA Music Discussion

Discussion in 'Fire Lotus Tavern' started by Mystic, Mar 2, 2014.

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  1. Volteau

    Volteau Avatar

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    A song inspired by the Tavern Muses:



    I have a few others that I'm working on that I'll be sure to post once I'm done with them.
     
  2. Lord_Darkmoon

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    Is there a list which tracks are in SotA as of now? Maybe with a link to the song on soundcloud?
     
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  3. Mystic

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    Very nice work @Volteu! :)
    Love the work with the guitar and the ambiance really adds to the whole thing.
     
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  4. Mystic

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    There is no official list at this point as new submissions are being constantly sent in. Many of us also put our soundclouds up in this thread. The Poets Circle also features a few of the SotA musicians that are part of that guild on their soundcloud.
     
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  5. Volteau

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    Thanks! I have a few other "tavern-y" songs I'm working on, as my character will primarily be a bard (Volteau the bard... I like it!). Most of the songs will be in this Lute/Flute/Tambourine flow, in hopes of keeping the medieval feel alive!
     
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  6. Floors

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    I like the sound cloud link you put in your signature (not sure it meets with the forum rules however, mystic should know more about that, since we are not allowed to have animated sigs)

    But for some reason "Black Maned Wench" doesn't seem to be playing for me.
    It plays but I don't hear anything.

    Can everyone else play it ?
     
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  7. Furmanator

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    Works fine for me
     
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  8. Floors

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    It's pretty weird I can play one but not the other. I can download one but not the other.

    Hummm.
     
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  9. Volteau

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    Just made it downloadable (forgot about that, sorry!).
     
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  10. Volteau

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  11. Mystic

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    Very good work, Volteau! Really like that. :)
     
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  12. Volteau

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    Closer to a completed work (might just tweak the orchestration a bit and that's it):



    Thanks!
     
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  13. Ome

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    New song I'm working on
     
  14. Gaelis

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    Your Compositions are great, I love this kind of musik. Hopefully I can hear much of it ingame.
     
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  15. Maus Merryjest

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    Here's a little something I cooked up yesterday.
     
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  16. Miganarchine

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    Nice, do you use traditional instruments or is it all keyboard/synth? either way very good
     
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  17. orb

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    Hello All,

    I'm Orb with the "Tavern Stool Townies" Sound Cloud.
    There's some great music on here:)
    I like arranging and collaborating.

    Here's a few we have done:
     
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  18. King Dane

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    I've been wondering this for a while now, and I figure this is the best place to ask: what is medieval-sounding music exactly? Is it a specific instrumentation or scale, or something else?
     
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  19. orb

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    Here's one of the best examples I can find:

    Flutes, lutes, mandolins, different sounding drums/percussion, harmony vocals, celtic...what they were doing back in the medieval day
     
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  20. Maus Merryjest

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    Maus' Primer Of Medieval Music:

    Hopefully this will provide some information for those who want to delve into medieval composition.


    TONALITY:

    In medieval music, you will find that melodic intervals are relatively short and the range of any one voice is quite limited (Hildegard of Bingen is a huge exception- in a lot of things) . There was no tonality or 'key' as we know it today, and sacred music was written in the approved church modes- arrangements of intervals:

    [​IMG]
    Paying attention to the church modes is important for writing authentic-sounding plainchant. It's the difference between sounding authentically medieval and sounding fauxdieval!

    HARMONY:
    Medieval music had no functional Harmony: The concept of chord progression would not actually develop until the Renaissance. Parallel fifths and octaves were favored, and triads or thirds were considered dissonant. The appearance of the augmented fourth/diminished fifth or tritone was avoided in religious music, as the interval was associated with the Devil.
    Accompaniments on the lute, the lira da braccio or the harp or similar string or plucked instruments often were simple arpeggios and grounds but did not necessarily follow any modern concept of harmonic progression.

    Monophonic texture was predominantly used during the first part of this era, and polyphonic texture began to be used only at the very end of the period as a prelude to the early Renaissance's polyphony.

    GENRES:

    The predominant vocal genre during the medieval period was that of the sacred vocal music: plainchant, masses and motets.








    However, monophony and plainchant were not the entirety of the Medieval period. Late Medieval period saw the development of very rustic polyphony under Perotin and the Notre Dame School. Often these polyphonic sections were interspersed by plainchant sections before breaking off into polyphony once more. This particular development became known as the Gothic Chant:





    Popular music consisted of instrumental dances such as the estampie, carola, reigen, etc. Soloistic instrumental music in this period was mostly neglected and relegated almost exclusively to dances:








    Vocal music outside of the religious aspect was developed by the troubadours or trouveres, poets of the Occitane region composing poetry and music in the high middle ages- flourishing especially under the patronage of Eleanor of Aquitaine. It is with the troubadours that we have the first appearance of Courtly Love- or 'Fin'Amor', the Pure Love- in western poetry, a precursor to the Romantic Love that will appear in the Renaissance. Troubadour lyrics would often present the object of one's affections in an almost elevated spiritual love- a reaction against the restrictive nature of the Gregorian Reformation- but they could also be quite salacious and lewd. The first known troubadour, William of Aquitaine (Eleanor's grandfather) would often blend the two.

    The troubadour tradition placed a heavy emphasis on a plainchant-style single vocal line (with occasional use of the descant, a higher voice joining the refrain on repetitions-- or using a faburdon, wherein a second voice joins singing perfect fourths or sixths below the voice) accompanied by a plucked or string instrument as a ground- the instruments were not assigned any soloistic or virtuoso lines during a song. However, a song (called Lai, Virelai, Madrigal (different from the Renaissance madrigal) etc) could be immediately followed by a dance, whereupon the instrument would be predominant.







    There was a hybrid genre, however, between the popular dance, the motet and the troubadour song: the pilgrimage songs and mystery plays. These would often involve a theatrical element depicting the lives of the saints or particular religious figures. Pilgrimage songs would be played by ambulatory musicians accompanying noblemen on pilgrimage. This is an example of the pilgrimage song genre, from Cantigas de Santa Maria, a codex of 420 poems with musical notation written in Galician during the reign of Alphonse the Wise:



    The mystery play might as well have been an extremely early proto-opera. This genre is the earliest formal theatrical format in medieval Europe and focuses mostly on representation of religious stories accompanied with antiphonal songs.





    The example I chose here is the Ordo Virtutum (Order of the Virtues) by Hildegard von Bingen, called the Sybil of the Rhine and the Mozart of Plainchant. This baby is the earliest morality play by more than a century, and the only Medieval musical drama to survive with an attribution for both the text and the music.. The play is essentially a depiction of the struggle of the soul between the Virtues and the Devil-- the Devil being the only part to not have a singing part, his deliveries are entirely spoken- he only yells or grunts because according to Hildegard, he cannot produce divine harmony.


    Well, that's a bit of an overview of medieval music. Hope it helped!
     
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