Analyzing "Madness (Fugue in G Minor by J. S. Bach, Plagiarized)" Mad Father OST | Basterd's LFA

[00:00:00]Next up, we have Madness from the Mad Father soundtrack. Once again, everybody, this is a bastard ZF, a lay friendly analysis. I'm a professionally trained musician, a composer, and my objective here is to explain things in a way so that you don't have to be one to understand what is happening here musically. So, if you like the sound of that, make sure you're following the channel, subscribe to the channel, whatever you use, like the video, share, leave a comment, turn notifications, become a member. Once again everybody, don't forget to join the Discord server, join the Patreon, subscribe to the gaming channel, subscribe to the react channel, [snorts] how to request songs if you're not in the live stream members getting early access to the content. I have a spiel for this and a bunch of other things later than this video, so stick around for that. Disclaimers showing on your screen right now, so go ahead and pause the video to read them in full. Otherwise, please be patient with me. I am acoustic and guitared, so please keep that in mind. With that, let's do this madness. Let's go.

[00:00:55]>> [music] >> Okay, we start with an organ. We start with a pipe organ giving us this initial melody containing the initial motif.

[00:01:17]This over here isn't even a quote. This is just playing the um I think it's a little fugue in uh G minor by um Johan by JSB.

[00:01:33]Like that's just it's just the fugue. I think it's little fugue. Um fugan G minor. Um IMSLP.

[00:01:43]I think it's fugan G minor. There we go.

[00:01:47]Um, let's see. Complete score over here.

[00:01:51]By the way, IMSLP. Yeah, there you go.

[00:02:00]Yeah, there you go. There you go. There you go. The only reason um the only reason I know this is one of the few ones that I've actually listened to a lot. So yeah, it's the uh Fugan G minor by JSB. It's just being played here. So unless there's something else coming on over here, we're doing a quote. We are quoting Johan Sebastian Bach cuz JSB uh he would play in the organ. This is this is how it's originally meant to do. And this is a fugue. Uh fugues are a type of counterpoint work that Bach did. Bach is the father of counterpoint. He is the one who really came up with it.

[00:02:40]Counterpoint being the study the art of melodies, how they are, how they develop, how they interact with one another, usually in the context of having two or more melodies at the same time. And Bach is the one who really brought this up with his um inventions and fuges. An invention, two, three-part invention, fuges, three to six part fuges. Um was he a mad father? I mean, he was a father of like 20 kids, so you tell me. Um so yeah, John Counterpoint, yes. Um, and fuges. Yeah, this is probably one of the most difficult things to do because they have a bunch of rules that Bach made to make them into like the academically acceptable approach. The whole idea is that you have your motif and you are continuing doing variations or reiterations of that motif, but you keep adding more layers or more voices or more parts and all of them have to continue with one another one way or another. So yeah, let's see where this goes.

[00:03:38]Yes, we should have [music] second voice comes in.

[00:03:44][music] So you can now hear that the original motif is now played on the lower one. So the original melody, the first part is now off doing something else and we are bringing the original motif back. Now, one of the disadvantages of having a long motif is that making um a developing it, especially if you're doing counterpoint based on that, um it's going to be very very difficult.

[00:04:08]And um yes, like ironically, many people think that uh these pieces were like invention four in D minor. Invention number four, the motif is this.

[00:04:19]Uh [music] that's the motif over there. uh like Bach made a point of using very uh relatively long um relatively long motifs. I think one of the one of the shortest ones is what like that is one of his shortest motifs and even then it might still continue.

[00:04:43]I think that's that's the full motif and then you start with the next part.

[00:04:50]Uh so yeah no like Bach would have a very very strict thing for this. So now we are bringing in the second part. I forgot the name like it's been a very long time since I've done uh like a study on counterpoint. So I think we're having the counter motif something like that. Let me but you can hear the original motif and blur part. [music] Third voice coming in and oh no we're doing the transitionary part.

[00:05:21][music] There it is. Third voice now a little bit lower.

[00:05:27][music] And basically what we are having between the parts over here is called canonic imitation. Canonic imitation usually in the context of a call and response, right? Call and response being a musical conversation where you are having um multiple instruments. One of them does a phrase of some sort and the other one responds with something else. It doesn't have to be instruments. It could be like song or whatever. And canonic imitation is basically uh when the call and response are the same thing. Now canonic imitation in this context is that part number one did the motif then after it was done part number two did the motif and is basically doing a cannon of it. It's just playing the same thing that part one was doing. And the whole idea of this is that you are developing part one with part two added to it. You take part two, put part one, the original melody from part one, and part one becomes the addition to it in the format of a cannon. Cannon is basically music that loops onto itself that builds onto itself afterwards. Um, a lot of fuges, a lot of inventions will have canon as their initial format before they switch things around. Um, it's it's just very very easy to do that or easier, right, to do that. So, let's see where this goes.

[00:06:51][music] So, you can hear the I think we're in four parts now.

[00:06:56]Think we should have the pedal soon.

[00:07:00][music] There you go.

[00:07:04]And this is played as if as it would have been by Bach himself. Bach very rarely played things like the Clavier or the the Clav Chamo. He was a professional at the pipe organ. He was the best pipe organ player in Europe.

[00:07:21]And that meant being able to control these things. And yes, the pipe organ is one of the big um one of the oldest instruments that we have. It is one of the oldest instruments that we have. As you can see, it has a lot of buttons.

[00:07:36]Basically, this is leaked. I know, right? Um, this is um, you know, like I had to take a selfie from from one of the things and and it was [ __ ] Yeah.

[00:07:45]Anyway, so we then have the pipe organ as you can see a lot of buttons, a lot of knobs, and a lot of everything. This is what 1,000 years ago would have been a synthesizer. This is the closest we got to a synthesizer 1,000 years ago.

[00:08:03]This instrument was around a thousand years ago. And as you can see from this control, we have multiple keyboards going on and we have the pedals. This is a this is another keyboard that you would play with your feet. It is insane.

[00:08:20]Have you seen the broad organ? No, but each organ is insane. So yeah, let's see. Counter supposed to majestic in the finale. So for this being used as a final boss kind of thing, you use Bach.

[00:08:31]It's going to be guaranteed that it's good. Yeah, organ is perfect. And yes, organ being perfect for this because it's the instrumentation, you know, we picked the instrument because usually when you think of a pipe organ, these are very much in the context of usually being in a church or in a symphony hall, something like that. And it's just building one is insanely difficult. You need a lot of people sometimes you need to design the entire buildings around them. So it gives you that sense of higher than thou of the impossible hierarchy above you kind of thing, right? So yeah, right now [music] we're having the next transitionary part.

[00:09:13]You can hear that higher voice.

[00:09:18]It is now engaging in some sequencing.

[00:09:21]So these transitionary parts usually are for the purposes of modulation. Um sequencing is a way to develop your material in which you repeat a musical idea from a new starting point. So if I have this over here and I sequence it, I'm going to start it from a new starting point. [music] That kind of stuff. And modulation is the art of changing your key signature.

[00:09:43]A key signature is the collection of notes that you have, the collection of chords that you have available based on whichever scale you are in. For example, if we have the scale of C major, all the white keys in the keyboard starting and ending on C, [music] then the combination of notes that we can get from it, we can get certain chords.

[00:10:05][music] Ah, excuse me.

[00:10:10]This collection of chords will then be our key signature. Different scales will have different key signatures. And to move from one to another, we're going to engage in modulation. Now, Bach would very often engage in circle of fifths modulation, which is this over here. If you want to be a musician worth your salt, this is going to be your bread and butter. Um, these are all the key signatures based on the fifths away. Uh, because C, uh, a fifth away, the fifth note in the scale of C is G. If you go up, this fifth note, if you go down, is F. From G, the fifth note that you have, if you, uh, if you go up is D. If you go down, it's going to be C. So all of these will have that. And each one of these fifths will be more and more difficult to go through. So what Bach would often do would be a circle of fifths modulation. So if you want to go from C major to E, which would be all over here, what he would do is he would create a transitionary part like this one over here. And instead of finding a way there, you would do a short modulation to G, then a short modulation to D, then a short modulation to A, and then a short modulation to E, giving you the chance to just make a nice straightforward path with very quick modulations rather than trying to figure out something insanely uh complicated for it. Let's see where this goes.

[00:11:34][music] There's the motif again. the one of the little voices and then we bring in [music] the transitionary part.

[00:11:52]The microphone is clipping a there over Oh, the microphone is clipping a little bit. This might be a live performance.

[00:11:58]This might be a live performance of the fugue, which means there is one person playing all of this cuz the microphone clipped a little bit over there. And that is usually something that if you're doing electronically, you just turn down the volume a little bit over there and that's it. This means this was recorded live. This was a live a live recording.

[00:12:22]And you know what ELSE HAS LIVE RECORDINGS? KIND OF the Patreon.

[00:12:26][laughter] patreon.com/jamesrarbaster.

[00:12:29]If you don't support this channel more than you already are, consider joining the Patreon today. Even if you're not pledging any funds, do join the free tier at least cuz this is where the non-gaming LFAS are going. These are exclusive to the Patreon. What are these? Anime, film, TV, label, music, the kind of stuff that we usually don't do on the main channel on YouTube. Why?

[00:12:46]What we do is inherently fair use. that does not stop bad actors such as record labels, film studios, independent individual rat scammers out there to um from abusing the copyright system on YouTube. So, in order to just not deal with that for these LFAS, we're putting them here exclusively on Patreon free for everyone to watch with paid members citizen tier and above getting early access to the content. So, if you want to support this channel more than you already are, consider joining the Patreon today. Consider becoming a paid member today.

[00:13:15]patreon.com/jamesrarbastard.

[00:13:17]Thank you to those who are already members, especially those who are paid members, particularly realists, French guy an anim. Your support means the world to me. For everybody else, become a member today. Consider becoming a paid member today.

[00:13:26]patreon.com/jamesrarbastard linked in the description down below.

[00:13:29]patreon.com/jamesrarbastard.

[00:13:31]Become a member today. All right, back we go. Let's see where this goes. Cuz this might just be a performance of the fugue. Unless they change something in the second half, this might just be a full performance played in the organ.

[00:13:46]Now the reason why they can just call it as their own and just not say um and and like in this case this risks because this is not just a um a a this is not a quote this is not a piece this is just a performance.

[00:14:06]This risks being plagiarism cuz plagiarism is you redo you you you use somebody else's work and claim it as your own. I am not seeing anywhere over here that um that this is the fugue and the thing is the fugue itself is public domain. Um why not a quote? Because usually you need to make it evident and a quote usually a quote which is when you are using somebody else's work in your work to reference back to their work. Usually around it you're going to have something different that you have brought in. If you are just performing the work by yourself uh just the work by itself and you change its title then this risks being plagiarism. Let me hear a bit more.

[00:14:56]Let's see if there's a change on the second half. Let's see. [music] Cuz this is one to one how the fugue was played. This is one to one the fugue.

[00:15:08][music] It's a beautiful recording. There's the motif above.

[00:15:18]Let's see.

[00:15:20]We're having all the parts playing beautifully. I think this is a fourpart fugue.

[00:15:29]Little bit of sequencing there is by Bach. J is back. Fugan G minor. [music] Fugan G minor.

[00:15:41][music] There is now. So we now bring the pedal tone. We bring the the lowest one over here. We're having a doubling.

[00:15:48]Doubling is when you have more than one one instrument or more than one layer doing the same thing at the same time.

[00:15:53]And in this case, we're bringing the lowest bass um melody to one of the middle voices doing the same melody.

[00:16:01]It's such an underrated instrument. No, it's not.

[00:16:05]There's a reason why it's been around and it continues being around [music] nice.

[00:16:13][music] Next transitionary part phase, we're having a bunch of different uh variations of the transitionary material all doing sequencing engaging in another modulation transitionary.

[00:16:29]The organ is perfectly rated. It's great. [music] There's the motif again from the next section. I I forgot like it's been a very long time since I've done like a a um a fugue analysis.

[00:16:44]So slowly bringing it. And yes, by now we are just recapitulating a bunch of we're not really recapitulating. We're still continuing to use the same thing. Uh it is a little bit upsetting that um they called this just madness instead of saying that this is a fugan G minor. You did not contribute like maybe it's your performance and in that sense you own 100% of that performance. This is not your composition.

[00:17:14]This is not your composition. This is the fugan G minor by Johan Sebastian Bach.

[00:17:21]You not naming it that in your soundtrack, I would accuse this I would say this is borderline plagiarism. This is borderline plagiarism over here. Um because you are not crediting this is the entire piece like this is one to one. The entire piece there has been zero variation.

[00:17:42]It's game made by one guy back in 2012.

[00:17:44]I don't care if you're using somebody else's work, then you have to credit it.

[00:17:49]It doesn't matter if Bach's been dead for three or 400 years. He is still the original composer. Let us hear it with little help. This is a live recording.

[00:18:02]This is a live recording. [music] So, if he recorded this, he had the resources to get a recording of this thing. Unless he stole the recording.

[00:18:11]>> [music] >> It's sad he created and crit. It's not just sad, it's unethical. [music] Yeah, we're having now the outro part.

[00:18:26]It's a really good. It really is.

[00:18:29]There we go. The bass. We have the doublings again over here.

[00:18:33]And we should be getting the final part.

[00:18:40]>> [music] >> We're getting that little slowing down [music] and we finish the piece. One last thing.

[00:18:49]And yeah, there you have it. This is not Madden. This is not whatever it is. Best classical composer that I mentioned back. This is Bach. Uh he's from the Baroque period. But yeah, um shouldn't call the piece differently unclaimed original soundtrack. It's not. This is not an original piece. This is like you can call it original soundtrack because it's part of the soundtrack. The performance I'm willing to to give you that is part of what you did, but this is not your piece. This was not your piece. This was Bach's composition and you played it one to one. Talented organist. And let's hope to God that this was that the creator actually went and recorded this and it's not some random performance that he ripped off YouTube and then uh put it in his game and called it his own um his own soundtrack.

[00:19:40]When the father is mine, yeah, I I don't care that this is something you made on RPG Maker and you did it by yourself and you had nobody else. That does not stop like this is what like copyright wise there like um the piece itself is public domain but then you can then claim okay but I released madness that is my piece and you would want to claim that.

[00:20:06]So I am worried a little bit about the ethics of this about the ethics and um yeah if you used a classical composition and you credit who it's from then that's fine that's what the entire industry of orchestral music is for like this over here we have the Mozart symphonies 31 Paris 4041 the whole album is the this orchestra playing it they do not own the music they own the performance of the music. This performance over here belongs to the auto um clmpera um what's it called? Filarmonic Orchestra, not the music. They they are not going to call it something else because they were playing Mozart symphonies.

[00:20:54]This is not just a standard. This is how you this is how you have to do this and always see that it's not original. This is not an original soundtrack. Even if the composition is is not yours, if the performance is, then that is original.

[00:21:07]But in that case, you need to name the piece.

[00:21:13]This is not madness. I'm going to actually write down the note over here.

[00:21:17]Um, uh, fug minor. Um, there we go. Yeah. If you're not going to note it, then I will. If you're not going to write down that this is by Bach, I will. This was an original composition by Bach. You might own the um the the soundtrack that you might own the performance of it. That is fine. But do not if like if you use a classical composition for any of your works, make sure that you quote which one it is because these are public domain. You being public domain does not mean you get to claim the piece as your own. You can claim the performance as your own but not the piece itself. And that is something you have to be very careful of because that is murky territory when it comes to copyright because then if uh the creator of mad father says oh that's my copyright I own the piece not the performance but the piece then we start getting into um into difficulties there.

[00:22:18]So yeah, there you have it. Madness Fugan G minor by Johan Sebastian Bach from the Mad Father soundtrack. There you go. There you go. So, um the the performance was really good. Really good pipe organ performance. I hope to God that the Madfather uh the guy who made this game actually had this recorded and didn't steal it from anyone. you already because you already showed me that you're willing to not credit the original composer. I am afraid that you might not be willing to credit the original player, the original performant. I I I hope that you did get this recorded yourself. I hope to God.

[00:22:57]There you go. Once again everybody, this has been the bastard, a layman friendly analysis. I'm a professionally trained musician, a composer, and my objective here has been to explain things in a way that you don't have to be one to understand what's happened here musically. So, if you're watching this on the YouTube video archive thing, thank you for watching. Make sure you're following the channel, subscribe to the channel, like the video, share, leave a comment, turn on notifications, become a member. Once again, everybody, don't forget to join the Discord server.

[00:23:20]That's where everything is announced first. Whether it's the streams going live, the videos going up, the channels, updates, projects, giveaways, everything gets announced there first. We have the community there. We hang out, we chat, we steal memes from other people, claim them as our own, where I host a vintage story, vintage story community server, that kind of stuff. Also, share these videos with everybody that you know, use the hype function on YouTube. We have a group on the Discord coordinates for that. So, link in the description. help the channel grow. Members get early access to the content schedule. The videos will be on Saturdays. And if you're a paid member on YouTube, regardless of your tier, you get access to the videos when I schedule them, at least for the LFAS. So, become a member today. If you want to listen to this without me interrupting every 3 and a half seconds, I'll be linking in the description down below. If you want to request a song and you're not on the live stream, check the pin comment on this video and has the instructions on what to do. If you want to catch the streams when they happen live, we aim for Monday through Friday. We stream live on Twitch, YouTube, and Kick so that you can tune in from whichever platform you prefer. We have the full updates from your schedule showing in your local times on both Discord and Twitch both linked in the description.

[00:24:12]So if you live in Miraos River like river lookinger river looker like looking rivers and you're like yeah but what time is whatever time it is in Hungary I don't live there do not worry just go to Discord or Twitch linked in the description and it's going to show the streaming schedule up to date in your local time zone accounting for daylight savings if necessary and subscribe to the gaming channel. Follow the gaming channel cuz of course I have a gaming channel. I'm on YouTube. What else could I possibly have? Games are bastard the gaming after show recordings when they happen. We play games with u in the later part of the stream and then the vaults for every game we play live eventually go over here. So subscribe to the channel linked in the description or search on YouTube same as James R bastard. So the J for a G and you got it and subscribe to the reacts channel.

[00:24:50]LFAR react format. This is where we're putting the reacts for everything else.

[00:24:54]James Reacts bastard. Subscribe to the channel linked in the description or search on YouTube same as James our bastard. Extend the R2 reacts and you got it. And uh yeah, there you have it.

[00:25:06]Madness Fugue in G minor by Johan Sebastian Bach from the Madfather soundtrack. If you had put something around this, this could have been an arrangement or rearrangement or something like that, but it was a onetoone thing. You should not have named it this. There you go.

[00:25:24]Beautiful composition. It's Bach. What did you expect? There you go. There you go. But uh yeah, let's move on. Let's move on.