Emerald Isle Set (w-eis.it)
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(8 / 10)
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The previous comment says it all, but it is, to my opinion, seriously under rated. Only complain the end is not as outstanding as the song itself but it still deserves a 10, to my personal taste anyway.
Two words: Light and fluffy. It reminds me of a Nintendo game in parts with a very bouncy feel (like Mario Bros.). It's exactly what you would expect out of an Irish song. You can see the bearded acordianist bouncing along on the grassy hilltop while listening to this one. There's not a whole lot of variation in this mod but it's a bright and overall good-feeling song. This mod was mixed very well. All of the beats fall together like you would expect out of Semi-Pro tracker. There was good separation of the major parts of the song and the voices flowed together very well. Overall, this mod is well-done technically.
Internal Texts *
___ .. . . . __,' ,~ . . - the Emerald Isle set _,- _,~ . . ..- -~ - Warder - 1999AD They were leaving for a better land, they were told. Hunger, povetry and despair would be all they left behind. Yet, there was little joy in the hearts of the irishmen who gathered on crowded decks to watch their beloved Emerald Isle sink slowly beneath the horizon. It was a refreshing concept to be able to live by one's own wits and strenght once again, instead of relying on blind luck and hope. Yet the home island haunted their thoughts, like a mother reluctantly sending her offspring out to the world. Not a single one of the immigrants leaved Mayflower's deck until after the morning mist finally veiled Eire from sight. --- Now that I have prepared my audience with the new-ageish feadanaigh epic, I can finally track some authentic Irish trad. Note that it's a set; before you complain about the lack of coherent structure, consider that it's actually a set of separate tunes, not a single one. Are you up to some semi-flames? Since most contemporary music is homophonic in nature, chording systems derivated from classical polyphonic theory theory are absurd, especially the voicings. The parallel-fifth ban is nothing but a key to create choral parts that are easier to *sing*. Who is going to sing your pad sections? In my opinion, the moves that really should be avoided are parallel octaves between lead and bass, and more than one parallel third movements at once. Classical general bass and harmony don't work with a separate lead melody; they cover only polyphonic music, where each voice is equal, and the melody is formed of all the voices together. Using classical voicing along with modern homophonic lead creates an overflow of thirds, intervals that are very dissonant in nature, though beautiful. They tend to cloud the general harmony spectrum, muffling the leads. You should never listen to chords by themselves; look at the general picture they form with bass and lead melodies. Since I tend to like homophonic music, and dislike the sound of conventional chords in that music, I need something a bit different, hence this method of harmonizing. Check on my pages for more thoughts on the subject. If you are into truly polyphonic music (no one in the scene has ever tracked such a piece I have heard) then I advise sticking with general bass. Multi-part leads are a primitive form of this technique, so basic counterpoint should be observed. The general point of this babble is that you should *never* follow a rule you don't feel comfortable with or think you understand. My snorts to everyone who writes theory tutorials without explaining whys along with hows. - Warder warder_dlc.fi http://www.dlc.fi/~warder Greets! Acumen Awesome Baj Kaamos Mazedude Pitfall POW Spindizzy Tourach Vortex Everyone I forgot Trackers worldwide
Bodhran 1 Bodhran 2 2 Row Melodeon Loud Whistle Soft Whistle Celtic Fiddle Drone Dn Drone Up Em11 Up EM11 Dn Gnon3Add9 Up Gnon3Add9 Dn B9non3 u B9non3 d F9 u F9 d Cadd9 u Cadd9 d Anon3 d A7non3 u A7non3 d C5/D u C5/D d Choir Horn Section Orchestra Brass Tambu1 Orch Bass Analogpad Moody Strings Gong Bass Sun Pad Bass Acoustic Guitar VPERC12.WAV Timpani If my style gets a bit more like Bill Whelan's, I might as well change my name. # Vesa Norilo (Warder) # (C) Crystalline 1998 # Synth sounds from # # Korg Trinity # # Acoustic sounds are # # Howard low D whistle # # and Landola Acoustic # # Sampled via ART Tube # # PAC and Shure SM58 # # Timpani is a ViperMAX # # MIDI Patch #
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Celic influence on it's best. Great composition with great feeling, melody and dynamic! Only great!