Phonometrologist's audio Reviews on Newgrounds

[Dave shuts down HAL 9000]

When Hal’s mind was being shut off, I cracked a smile. Brought me back to 2001 as you did a good job with Hal. Very fun to relive the dialogue in this manner.

[cetwing - wine]

In the beginning, the guitars w/ delay reminded me a little bit of the first Diablo.
This piece progresses along quite necessarily. Just wanted to say I enjoyed it so thank you.

[snowy night]

After reading first the comments about the ending, I was expecting it be...well different in a way that was bad. I have to comment that the very last chord was a little surprising but only because of your voice leading. I found it to be very satisfying though. Different strokes for different folks and so that is why I had to balance the critique on your ending by writing this.

The piece is in F Major even though it does have a "sad" tone to it. Perhaps it's because you seem to outline the minor third and sixth chord quite a bit, but if it helps anyone to understand why the last chord was chosen it's probably because it's the tonic chord. Something you would expect in a chord progression. Perhaps others would have wanted a more open-ended type ending to match the mystique that the piece seems to convey throughout.
I will say that I was surprised how you played the A in the melody right after the note E for the ending. Typically at the end, one would hear the E resolve a half-step up, but you changed it, and that is what I felt was most satisfying. The piece doesn't lose its integrity because you decided to resolve the progression to "home." Composers have used melody or bass lines to feign to the listener certain moods by using the ascending or descending melodic contour. Because the melody went down to an A instead of your expected F above it implies a certain meaning which I have understood it emotionally to mean a more somber approach opposed to the alternative that you could have chosen.

johnfn responds:

Ahhh, a music theory guy! Reading that was a delight!

I think the secret to the sadness comes from the 11th in the melody on top of the vi chord, it really adds an extra sophistication to the 6th, which is already pretty sad as is. The emphasis that the vi gets is probably why people want to end there. Still, glad the ending is getting some support haha

And yeah I really like descending to the third on top of a chord, sounds like home :)

[happy guitar sounds]

These are happy! Very carefree. I like the subtle use of the pad as well.

Not much of a review I know, but just know this, I don’t bother leaving comments on tracks that I don’t enjoy.

yagru responds:

i appreciate!

[On That Day]

I like your comments...cryptic and intriguing, but more importantly, your piece makes it compelling to figure out what exactly it is that one would long for after hearing this.
There are some jazz qualities to this piece, but it doesn't completely define itself into just one category. Just as in your description of what you love to do, this piece definitely tells a story.

This is a very hopeful piece, and as I listen to the beginning, I get a sort of feeling that yearns to reflect on the past. I like the spaces you leave in between motifs as it portrays one pondering over memories. I also appreciate the moment at 2:07--sounds like it's a descending bass line from C major>B dim>A minor> and to G Major. It goes pretty quick so I'm not sure on the accuracy of that statement.
The Golden Number ratio is at about 2:52, and your climax is pretty close to that. I thought that was interesting, and the combination of that deep bass note on C with the right hand playing a retardation of the note D to E is pretty wonderful.
Do you tend to write out your work before completing, or do you memorize based on improvisation and develop from there?

Qiz responds:

I'm going to reveal a secret that I had decided to leave out of the description; this piece is a cold improvisation, and I wanted to see if it could pass for a standard composition.

I choose a motif within the first few bars of improvisation and brought it back on numerous occasions to create a sense of structure. There are a few techniques that I consciously use for contrast, such as changing register, dynamics, tempo, chord progression, and accompaniment pattern.

The chord progression at 2:07 is F major, E major, D minor, G major, making what is essentially a IV, V/vi, ii, V progression. The tricky thing is that the secondary dominant (E major) does not go to A minor as you would functionally expect but instead skips to the next chord in going down the circle of fifths (D minor). None of that was preplanned, but that is my post analysis. What you pointed out about the Golden Ratio is highly interesting.

Thank you for the thoughtful review my friend.

[Eternity Rising]

I like a more reticent approach to music, and so cinematic scores that feature a lot of brass aren’t necessarily my favorite, but in my humble opinion, I think you nailed the atmosphere of a cinematic track.
This is nearly perfect, and the only reason why I say nearly is because…well… perfection isn’t really meant to be attained.
In the beginning, before the strings come in, it reminded me of Steve Reich’s “Music for 18 Musicians.” The type of reverb you have for the piano is exactly what I imagined for a piece with a title such as “eternity” to have.
And by the looks of it, you seemed to have allowed your art to mature before uploading on here which is quite respectable.

[River Flows In You-Remix]

Sounds good. I like the tempo that you set this on.
Just one thing to ask. Can you credit the original composer of this “song” in your Author Comments section so others will know? I had to Google to find out who it was.

De4dl0ck responds:

sure,done :D

[The Trombone Blues]

Haha yeah ..this is fun.
I’m picturing someone on their porch whistling away on their rocker along to their favorite tune being played on a phonograph.

samulis responds:

If I could spend my life doing that, I would be so happy.

[My Missing Girl]

This seems like a great prelude to something. To be continued hopefully.
This piece is just packed with ideas that you could practically choose to go anywhere with it. It leaves a sense of intrigue throughout because I didn't know where you were going to go with it. But it wasn't aimless as it really did fit together quite nicely.
You seem to have a command over your work in that regard--no uncertainty.
You capture glimpses of the middle ages such as the chant in the beginning which I would have loved to hear more of your writing on. I wanted the horns and string players to shut up so I can hear them, but then again, this seemed almost to be an exercise on how to write a well rounded structured, climatic piece of music in just two minutes.
Overall, this piece is really composed well, and it fits perfectly to the imagery that you have provided with it. The only problem is that I had to press repeat about ten times as I finish writing this review. ;-)

Bosa responds:

Indeed, I do wish to expand upon this! Perhaps I will add more emphasis and attention to the men's choir if I add more to this song.

[Magazines]

Allow me to try to help counter that low rating.
The production on this track is well done.
Your vocals sound great, and I thought your lyrics were interesting. Though, I was kind of expecting a twist at the end as if a story were being told.

headphoamz responds:

Appreciate it very much ^__^