OSTER project's Twitter
Translations of tweets from @fuwacina. For an archive of other Vocaloid-related Twitters I no longer keep up with, go here.
February 7th, 2020
[Screenshot of Twitter bio with 30,002 followers] 30,000!!! Thank you very much! :tada: :tada: :tada:
In the shadow of 6000 likes, Jun's off-the-wall Miracle Paint is earning 600 likes...
Kinda got a ton more followers... Welcome and please stick around...
This is kind of super getting a super big reaction, so that's super.
I have a CD out that's loaded with augs, so please... :folded hands: OSTER-san's CD Vol. 2 by OSTER project
Dominant: (Huh... Was there just some distance put between us...??)
↑ The truth behind the odd feeling of augs (?)
I seriously haven't properly studied theory at all, so I'm really sorry if I said something incorrect. Don't take it too seriously, just look at it like "Here's some things you can do! Fun, right? Try using it in your songs!", okay? :folded hands:
When you get into augs, you'll endlessly put them in for passing notes, and your songs will get more and more complex and dense.
When the best-buds relationship is altered in a positive direction, it's an aug, and when it's negatively altered, it's a diminish or a flat five. Both can be used to add tension and uneasiness to a song, I think, but heck if I know. (heck if i know)
I thought I'd sum things up, but even I have no idea why to choose augs, or the rules behind them... We're all using augs by feel.
I made an aug lecture for people who don't really get music theory, by a people who doesn't really get music theory. #Dominowns #AugsAreAugsome
Watch with English captions here! (Original Twitter video)
I don't really get music theory, but I like the chords called augs (augments), so this video is me doing my best to explain them. (Pause if it's too fast)
"C"... When this plays, the truth is... "G"... is also playing alongside it. You're probably like "the hell are you saying?", but apparently they're called "overtones."
C, D, E, F, G... C and G are five notes apart, so... people call their relationship a PERFECT FIFTH (best buds).
When you move in parallel, maintaining the interval between C and G, it sounds like this. (People call these power chords.)
Many of the chords people use add some other note to this perfect fifth. (C, E, G - C and G form the perfect fifth, E is in the middle. C + E in the middle + G, G + B in the middle + D.)
However, with augs... (C, E, G# (?!)) You take a step away from being "best buds" to form a dangerous and unstable relationship... No going back to the way things were. So like, how do you use this strange sound?
The most easily-understood example: A "passing note" approach, such as when building up to the chorus. Say you have this pattern... (section pointing out the "top" notes of G and A)
You can connect the top notes G and A using the note that's between them, G#. (C (C E G) with top note G → Caug (C E G#) with passing note G# → F (F A C) with top note A) With this alone, you can add a unique sense of floatiness and make the song sound fancy!! (* Personal opinion)
This use of augs for passing notes feels a bit by-the-book... For instance, there's also songs like this. (Within each chord is a note in a "lurking melody" that follows the pattern. C (lurking G) → Caug (G#) → F (A), Dm7 (C) → Aaug (C#) → Dm9 (D). The Aaug wasn't that kind of approach aug...)
A way of using augs that takes it another step (AKA going a step too far): Normal Caug. But raise the bass down here one note, and... Caug/D! Has kind of a risky sound. (People call this a Blackadder Chord.)
Let's shove this in place of the earlier example aug and say goodbye with an aug festival...
Going overboard like this can be interesting in itself... Before you know it, you'll surely be addicted to augs too.
Watch with English captions here! (Original Twitter video)
I don't really get music theory, but I like the chords called augs (augments), so this video is me doing my best to explain them. (Pause if it's too fast)
"Do"... When this plays, the truth is... "so"... is also playing alongside it. You're probably like "the hell are you saying?", but apparently they're called "overtones."
Do, re, mi, fa, so... Do and so are five notes apart, so... people call their relationship a PERFECT FIFTH (best buds).
When you move in parallel, maintaining the interval between "do" and "so," it sounds like this. (People call these power chords.)
Many of the chords people use add some other note to this perfect fifth. (Do, mi, so - do and so form the perfect fifth, mi is in the middle. Do + mi in the middle + so, so + ti in the middle + re.)
However, with augs... (Do, mi, so# (?!)) You take a step away from being "best buds" to form a dangerous and unstable relationship... No going back to the way things were. So like, how do you use this strange sound?
The most easily-understood example: A "passing note" approach, such as when building up to the chorus. Say you have this pattern... (section pointing out the "top" notes of "so" and "la")
You can connect the top notes so and la using the note that's between them, so#. (C (do mi so) with top note "so" → Caug (do mi so#) with passing note "so#" → F (fa la do) with top note "la") With this alone, you can add a unique sense of floatiness and make the song sound fancy!! (* Personal opinion)
This use of augs for passing notes feels a bit by-the-book... For instance, there's also songs like this. (Within each chord is a note in a "lurking melody" that follows the pattern. C (lurking so) → Caug (so#) → F (la), Dm7 (do) → Aaug (do#) → Dm9 (re). The Aaug wasn't that kind of approach aug...)
A way of using augs that takes it another step (AKA going a step too far): Normal Caug. But raise the bass down here one note, and... Caug/D! Has kind of a risky sound. (People call this a Blackadder Chord.)
Let's shove this in place of the earlier example aug and say goodbye with an aug festival...
Going overboard like this can be interesting in itself... Before you know it, you'll surely be addicted to augs too.
[Jun: "♪ Miracle Paint... ♪ When rabbits are lonely, they get nude, hop!"]
That's not how the song goes.
[Ricky: "Professor OSTER, does tequila count as a snack?"]
Chaos in the classroom.