It makes sense them being composers and both playing classical string instruments.
im talking about this man in particular. my friends and i found this photo from somewhere and have scoured the earth trying to decode the kanji on top of it and also find out who that mysterious mysterious middle aged man is! we figured out that the older guy was johann sebastian bach of compository fame because of his hair, his nose, and the music notes, and also that the first bit of kanji says 'thank you' from our friend learning japanese, but absolutely nothing else. i tried tineye to find the original image but nothing came up. any information would be appreciated! ive tried celebrity look-a-like websites both with robot-colored and sketched versions of the image to no avail. please, give me your guidance. this post may belong on one of the r/whoisthis subreddits but i wouldn't know where to start because i have absolutely no context to this photo. thank you all for your time
#Introduction The song spotlight is a recurring topic on this subreddit, where every week we will feature a different song included in the game or its DLC and discuss things like how to play its different riffs, techniques to focus on and more casual things like some interesting trivia or the artist's other work. Finally we'll conclude with a score attack challenge, a random entrant of which will be offered to choose the next song.
The format will change depending on feedback and participation, so don't hesitate to send suggestions myself or the mods in general.
#This Week: "'Little' Fugue in G Minor" by Johann Sebastian Bach!
We're bustin' it old school this week - real old school. 2015 18th century old school. This is a pretty damn famous piece, and very rich in history that I won't delve into here.
"Little Fugue" In-game
I haven't had the chance to play this yet, but I watched a YouTube video so I'm pretty much an expert. It's a very straightforward piece - no fancy techniques, no crazy shredding, no weird chords. Classical pieces in general tend to be extremely efficient pieces for learning your fundamentals, and this one is no exception. Go slow to learn the song, then speed it up to full speed.
#Score Attack Challenge Submit your score attack results by sending brtd90 a message including your score and a screenshot of the results screen you see after your playthrough. A readable photo of your screen is fine too.
Scores will be included at the bottom of next week's spotlight divided based on the difficulty level (you can play any difficulty you'd like) and are tracked separately for lead, rhythm and bass.
Scores can be submitted until Sunday, January 25th at 17:00 UTC.
Last Week's Scores: "Fortunate Son" by Creedance Clearwater Revival
| User | Lead (Easy) | Lead (Medium) | Lead (Hard) | Lead (Master) |
|---|---|---|---|---|
| /u/douglas_fir_rs | 752,907 | |||
| /u/Domoproja | 749,626 | |||
| /u/martynq | 699,600 | |||
| /u/Th0rsten | 72,998 |
User|Rhythm (Easy)|Rhythm (Medium)|Rhythm (Hard)|Rhythm (Master) :--|:
... keep reading on reddit β‘
The most salient paragraphs, in my opinion, are the last two:
>It is typical of modern Western culture to praise originality for its own sake. Hence, Beethoven is much admired for shocking his contemporaries and writing crashing piano music that physically broke the pianos of his time. Hence, John Cage is cashing out on the dead end of shock performance with a few minutes of nothing. We live in an age where so many forms have been explored, so many boundaries transgressed, that nothing (not even nothing) shocks now. Noise is now confused with music, and tonality and melody, while making a comeback at last, do so shyly and nervously in classical music settings.
>But does this mean that the musical possibilities have been tapped out; that beauty, grief, and exaltation can no longer forcefully be conjured? The example of Bach tells us to rethink our assumptions about great music. We should consider that much of what makes any art great is what one does with the tools at hand. Tonality, melody, and the diverse styles and techniques of music that have employed them are the tools at hand today. Perhaps what matters most is not the originality of the forms in which one composes, but the substance that one makes with them. To be a great composer today would mean to master the techniques of making music, as Bach mastered the techniques of his day, and use them as the springboard to create art that is fresh and trueβand that is not ashamed of being intelligible or enjoyable.
Trying to find a similar sounding one on youtube and editing some myself in audacity but its never close enough lmao
edit: Found it, for those curious this is the closest match, but with the speed changed 110% (pitch maintained for that) then increased pitch by 20 cents lol https://www.youtube.com/watch?v=18YLdEODLaE
Holy crap, we're on time this week!
#Introduction The song spotlight is a recurring topic on this subreddit, where every week we will feature a different song included in the game or its DLC and discuss things like how to play its different riffs, techniques to focus on and more casual things like some interesting trivia or the artist's other work. Finally we'll conclude with a score attack challenge, a random entrant of which will be offered to choose the next song.
The format will change depending on feedback and participation, so don't hesitate to send suggestions myself or the mods in general.
#This Week: "'Little' Fugue in G Minor" by Johann Sebastian Bach!
We're bustin' it old school this week - real old school. 18th century old school. This is a pretty damn famous piece, and very rich in history that I won't delve into here.
"Little Fugue" In-game
I haven't had the chance to play this yet, but I watched a YouTube video so I'm pretty much and expert. It's a very straightforward piece - no fancy techniques, no crazy shredding, no weird chords. Classical pieces in general tend to be extremely efficient pieces for learning your fundamentals, and this one is no exception. Go slow to learn the song, then speed it up to full speed.
#Score Attack Challenge Submit your score attack results by sending brtd90 a message including your score and a screenshot of the results screen you see after your playthrough. A readable photo of your screen is fine too.
Scores will be included at the bottom of next week's spotlight divided based on the difficulty level (you can play any difficulty you'd like) and are tracked separately for lead, rhythm and bass.
A random entrant will get to pick next week's song! A note: I'm changing slightly how I select the next 'winner' - currently, every entrant gets 1 chance to be drawn. From here on out, every entrant gets 1 chance for each path they submit, to a maximum of 3 (bass, rhythm, and lead).
Scores can be submitted until Sunday, January 25th at 17:00 UTC.
Last Week's Scores: "Monkey Wrench" by The Foo Fighters
| User | Lead (Easy) | Lead (Medium) | Lead (Hard) | Lead (Master) |
|---|---|---|---|---|
| /u/brtd90 | 1,413,417 | |||
| /u/scroggins2 | [1,291,632](http://i |
The most salient paragraphs, in my opinion, are the last two:
>It is typical of modern Western culture to praise originality for its own sake. Hence, Beethoven is much admired for shocking his contemporaries and writing crashing piano music that physically broke the pianos of his time. Hence, John Cage is cashing out on the dead end of shock performance with a few minutes of nothing. We live in an age where so many forms have been explored, so many boundaries transgressed, that nothing (not even nothing) shocks now. Noise is now confused with music, and tonality and melody, while making a comeback at last, do so shyly and nervously in classical music settings.
>But does this mean that the musical possibilities have been tapped out; that beauty, grief, and exaltation can no longer forcefully be conjured? The example of Bach tells us to rethink our assumptions about great music. We should consider that much of what makes any art great is what one does with the tools at hand. Tonality, melody, and the diverse styles and techniques of music that have employed them are the tools at hand today. Perhaps what matters most is not the originality of the forms in which one composes, but the substance that one makes with them. To be a great composer today would mean to master the techniques of making music, as Bach mastered the techniques of his day, and use them as the springboard to create art that is fresh and trueβand that is not ashamed of being intelligible or enjoyable.
