nocturneofshadow
glow sticks are lit
this reminds me of myself trying to avoid him as much as I could in majoras mask
Last person to post wins
- Thread starter Magolor04726
- Start date
Because @nocturneofshadow posted in here.
Fun musical facts!
A nocturne in classical music terminology is a piece of music that's inspired by, or is evocative of, the night. It comes from the French word "nocturne" meaning "of the night."
As far as musical theory facts, the Nocturne of Shadow is a great example of atonality in a popular piece of music. For clarity, atonality in the musical sense is the absence of, or a complete disregard for a clearly established key in a composition.
The tune has no clearly established tonal center that you get with the other songs in the game.
The chords are Gb, Db, G, Ab, Bb, A, B, and ends on a Db.
Unlike with many chord progressions, it seems like none of the chords follows what you typically get with chord progressions, yes, even if we're discussing non-functional harmony:
On top of that, there's really no key signature, which is easily established if we look at the notes in the chords.
So, as far as I'm concerned, this piece is not just using non-functional harmony, it's atonal harmony. We have chords, but none of those chords implies a clearly defined tonal center.
And considering the classical inspiration, it isn't lost on me that one of my favorite Romantic Era composers and pianists, Franz Liszt, composed a few nocturnes, like this one:
And if that wasn't enough, Liszt experimented with atonality late in his career, along with polytonality.
Just some cool musical trivia in Zelda music.
Fun musical facts!
A nocturne in classical music terminology is a piece of music that's inspired by, or is evocative of, the night. It comes from the French word "nocturne" meaning "of the night."
As far as musical theory facts, the Nocturne of Shadow is a great example of atonality in a popular piece of music. For clarity, atonality in the musical sense is the absence of, or a complete disregard for a clearly established key in a composition.
The tune has no clearly established tonal center that you get with the other songs in the game.
The chords are Gb, Db, G, Ab, Bb, A, B, and ends on a Db.
Unlike with many chord progressions, it seems like none of the chords follows what you typically get with chord progressions, yes, even if we're discussing non-functional harmony:
- No chord establishes itself as a Tonic, or tonal center.
- No chord is tense enough to reaffirm the tonal center, ie, no chord is serving as the Dominant.
- No chord extends the stability of the tonal center.
- No chord extends the tension of the Dominant.
- No chord sets up the Dominant chord.
On top of that, there's really no key signature, which is easily established if we look at the notes in the chords.
So, as far as I'm concerned, this piece is not just using non-functional harmony, it's atonal harmony. We have chords, but none of those chords implies a clearly defined tonal center.
And considering the classical inspiration, it isn't lost on me that one of my favorite Romantic Era composers and pianists, Franz Liszt, composed a few nocturnes, like this one:
And if that wasn't enough, Liszt experimented with atonality late in his career, along with polytonality.
Just some cool musical trivia in Zelda music.
I agree...
Permission to kill creators if 2nd season doesnt drop.
Excellent...
nocturneofshadow
glow sticks are lit
Because @nocturneofshadow posted in here.
Fun musical facts!
A nocturne in classical music terminology is a piece of music that's inspired by, or is evocative of, the night. It comes from the French word "nocturne" meaning "of the night."
As far as musical theory facts, the Nocturne of Shadow is a great example of atonality in a popular piece of music. For clarity, atonality in the musical sense is the absence of, or a complete disregard for a clearly established key in a composition.
The tune has no clearly established tonal center that you get with the other songs in the game.
The chords are Gb, Db, G, Ab, Bb, A, B, and ends on a Db.
Unlike with many chord progressions, it seems like none of the chords follows what you typically get with chord progressions, yes, even if we're discussing non-functional harmony:
Overall, it seems as if no chord leads to the other, which is part of non-functional harmony, but even pieces using non-functional harmony actually have a clearly established tonal center.
- No chord establishes itself as a Tonic, or tonal center.
- No chord is tense enough to reaffirm the tonal center, ie, no chord is serving as the Dominant.
- No chord extends the stability of the tonal center.
- No chord extends the tension of the Dominant.
- No chord sets up the Dominant chord.
On top of that, there's really no key signature, which is easily established if we look at the notes in the chords.
So, as far as I'm concerned, this piece is not just using non-functional harmony, it's atonal harmony. We have chords, but none of those chords implies a clearly defined tonal center.
And considering the classical inspiration, it isn't lost on me that one of my favorite Romantic Era composers and pianists, Franz Liszt, composed a few nocturnes, like this one:
And if that wasn't enough, Liszt experimented with atonality late in his career, along with polytonality.
Just some cool musical trivia in Zelda music.
sheesh, you know a lot about music XD I noticed the lack of chord progressions or a proper key (I used to use whatever keysig I felt like and add accidentals as needed just to annoy people) but the way you explained it makes a lot more sense. also I love that song hehe
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sweet, I only had 2 pages to read through
nocturneofshadow
glow sticks are lit
I'm saria ^.^ (can't find my favorite smiley
)
The only thing resembling a key center is the melody, but even then it's ambiguous.
The five notes on the ocarina in the game are:
- D = the A button.
- F = the C down button.
- A = the C right button.
- B = the C left button.
- D = the C up button.
Melodies can imply harmony, but this isn't the type of implied harmony that you'd get with an unaccompanied Bach cello suite, and the chords just kinda.... don't imply any tonal center at all.
Also, more fun facts about the music in Ocarina of Time:
- Seven of the twelve songs use D as their tonic. Those are Epona's Song, the Prelude of Light, the Song of Storms, the Song of Time, the Serenade of Water, the Requiem of Spirit, and the Bolero of Fire. Of these, only two are composed in major keys: Epona's Song, and the Prelude of Light.
- Each song has a call motive, which is the notes you play to trigger the song, and the song plays, which I like to call the answer motive. Four songs use tonics that are not part of the call motive palette: Zelda’s Lullaby (G major), Saria’s Song (C major), the Sun’s Song (G major), and the Minuet of Forest (E minor).
- All of the warp songs end on major chords, despite the Prelude of Light being the only one composed in a major key. The other songs are composed in minor keys but end on major chords, a move known as a Picardy Third.
- The Prelude of Light is the only song in Ocarina of Time that doesn't end on a triad, it ends on a major 7th chord.
- Five songs have call motives that use the notes found in a Dm chord, (D-F-A). Those are the Sun’s Song, the Song of Storms, the Song of Time, the Requiem of Spirit, and the Bolero of Fire. Of these, the Sun’s Song is the only one that isn’t harmonized in a minor key.
- The Lon Lon Ranch Theme and and the Hyrule Castle Courtyard Theme, based on Epona's Song and Zelda's Lullaby, respectively, are the only pieces that modulate, or change keys in the composition.
- The guitar line in the Lon Lon Ranch Theme is swung, but the vocal line is not.
- The Lon Lon Ranch Theme is the only theme in the game that's swung, specifically, they're swung eighth notes.
- The Hyrule Castle Courtyard Theme may be in G Major, but it only has one G chord, and when it shows up, it's only when the piece modulates to C Major, where it functions as the Dominant.
- The Requiem of Spirit makes use of polyphony, in the form of rhythmic counterpoint. It appears in the third bar, where we have a specific kind of counterpoint called rhythmic augmentation, where the counterpoint line is playing the notes of the main melody, just really slowly.
- Both the Minuet of Forest and the Serenade of Water are in different keys, but they use the same progression.
- The Prelude of Light contains a true usage of a Neapolitan chord.
TheLegendofGoose
Clearly the only incarnation of a Goose
- Joined
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Nuh uh
