Torvus Blog




I keep swearing off Homestuck and everything related to it. I keep telling myself I’m not going back, that I’m going to ignore whatever antics Hussie and his fans get up to. It’s not like my tastes need to dictate what the rest of the internet does or likes, and it’s not pleasant for anyone when I…

Blah blah blah stupid person, see this post on anonymous internet critics: .

However I can use their ignorance to actually give some background information on my one experimental piece, Endless Expanse. Now, I know a lot of people probably didn’t like it, that’s fine, I didn’t expect a lot of people to. But this “cherries chick” has some wonderful lines in her “review”, such as:

It’s as though to them, all there is to any country between Austria and China is just camels and oases. You can’t even argue that it’s a respectful use of a legitimate musical genre or tradition to set a mood; the songs themselves lacks any kind of grounding in actual Middle-Eastern music. They’re just the same old thing, but with a different texture slapped on.  And, frankly, I’m fairly certain that even the instruments are a careless mishmash of different regions and eras, slapdashedly tossed together with no care for their actual use.

The bit I highlighted actually isn’t true. Endless Expanse is a raga, or at least, based off of one.

See, my composition-improv teacher this past year, he brought up ragas a lot. He learned sitar for some unknown amount of years (I know it takes a very long time to learn the instrument, as a minimum amount), and brought up ragas numerous times in both improv ensemble and improvisation class.

Raga, far as I know: A piece that is generated around a scale, which some instrument(s) (like a sitar) will play as a drone, while another instrument will improvise a solo over top of it, which will travel the scale and end on a particular note at the end of a phrase.

Now, EE? Pretty much the same thing. Or at least, I set off with a drone (given by the piano and some other backing things), and then laid melodic fragments over top of it. Tried to blend it together into a sort of drone, too, or at least, not have the melodic fragments stick out as much. It might have honestly done better without the melodic fragments, I don’t know.

For those curious, the scale was: Bb C Db/D Eb F G Ab Bb. Trick was, it was Db if you approached it from above, and D from below. Ending notes were D and G.

So thank you, anonymous person, for assuming that just because I didn’t decide to be a stereotypical person in terms of my instrumentation, then therefore I must totally not be thinking of the type of music that the instrumentation would go with. And also that we do this for money. Lady, please. Inspiration from the comic fuels our musical endeavors, not the thoughts of all the sweet cash we can get from it.

I wouldn’t have made GameBro if I wanted it to be marketably viable, I did it because I thought it was a hilarious idea.

Well said, Jit.

Now I’ll address Gilded Sands real quick, because it confounds me that people are complaining about it less than Litrichean Rioghail. Okay, seriously, Malcolm Brown did a fucking unintentional reference. He did not steal anything from Chrono Trigger. It’s a coincidence and you people need to leave it alone.

Gilded Sands however is actually intentional! Well, partially intentional. I accidentally started playing an ostinato that sounded a lot like Stone Tower Temple’s bassoon part, which prompted Nick and I to actually make it more obvious by changing the instrument from a pretty simple square into a bassoon. It’s a damn homage, though. Both of us love Majora’s Mask, and by using a tiny, but very prominent, reference to the original work, we showed our love and respect for Koji Kondo’s and Toru Minegishi’s work.

Reblogging to spread music team answers.