Analyzing "sølips" by rintaro soma (maimai) | Basterd's LFA (Layman-Friendly Analysis)

Hinzugefügt: 2026-05-05

[00:00:00]Next up we have CIPS by Reinaro Soma.

[00:00:04]This is featured in my my is my understanding. Once again everybody this is a bastard ZFA a layman friendly analysis. I'm a professionally trained musician composer and my objective here is is is to explain things in a way to 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 the comment, turn on notifications, become a member. Once again everybody, don't forget to join the Discord server, join the Patreon, subscribe to the gaming channel, how to request songs if you're not on the live stream. Members getting early access to the content. I have a spiel to this and a bunch of other things later down 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, and I also don't have a script, so please keep that in mind. With that, let's go ahead and do this, shall we? So lips.

[00:00:55]Let's go.

[00:01:02]Okay, just to note this, we start with a bunch of reversed audio samples, which means these are audios that are played backwards. But because of the nature of sound, because sound is, you know, time is time is linear and the way that audio waves work, the reverberations happen.

[00:01:19]So when you put these backwards, you get this very lovely backwards effect. We give a first melody with an arpeggio over here. An arpeggio being when you play a chord one note at a time, right?

[00:01:28]So, for example, here's C major. Here's arpeggiated. So, let me just catch up with the chat for a second. Um, from your favorite is one of a prequel to that tournament boss song. Very hard song. Okay. And what is the full-time experiment? Full-time experiment, I'm taking nine weeks off work starting tomorrow for those of you watching on the stream. Um, for those nine weeks, we are going to be doing content creation full-time.

[00:01:51]So tomorrow, for example, tomorrow's stream starts earlier. We're going to be doing more LFAS. There's a full video on that on the main channel. So if you're curious on the whole explanation, it is there. But basically, I'm doing content creation full-time for 9 weeks risk-free from my end, which means we get to do a lot of everything. We're going to have a lot more formats, and we're going to be taking it from there. Right. All right.

[00:02:11]So, we have a little bit of uh silence over here. Let me go back a second.

[00:02:14]Let's see.

[00:02:21]Okay. So, we now have one um it's this is a distorted piano, right? So, we have um two layers of piano. One of them doing an arpeggio and the other one giving us a harmonized melody. Um something to note is that these are distorted samples. So, we have applied some distortion similar to what you would in a guitar for rock and roll kind of thing, right? And we are dealing with some harmonization.

[00:02:47]harmonization being counterpoint parallel motion in thirds or sixths. Let me break this down. So 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. There's many ways to measure a counterpoint. One of which is via parallel motion. Parallel motion means that you have two or more melodies doing the same shape at the same time. The same melodic shape at the same time. They're basically doing the same melody just from a different starting point or from a different interval. The interval is going to be the distance between notes. So there's many ways of counting intervals. The simplest one is going to be you take a scale. Let's take for example a scale of C major, right? C D E F G A B. And you take a point of reference. We are doing scale of C major. I might as well do C.

[00:03:41]That point of reference is going to be your root. Root is your first. Then you just count numbers, right? So first up, A second is D, up a third is E, up a fourth F, up a fifth G, up a sixth A, up a seventh B, up an octave C again. So you can go from the root to the octave.

[00:04:02]Octave, this is where the term comes from, is the same note repeated up or down throughout the range of the instrument. And just as you can count up, you can count down. So C, down a second, B, down a third, A, down a a fourth, G, down a fifth F, down a sixth, E, down a seventh, D. As you can see, a third up is the same as a sixth down.

[00:04:23]Parallel motion in thirds or sixths, it doesn't specify if it's go is up or down. It's up to the composer, whatever fits the most. So, if we take a a sample melody, something simple.

[00:04:37]Let's say we have this going on. Uh, if you're doing to you're going to harmonize, then it's going to be either a third up to E, a third down to A, a sixth up to A, an octave higher, or a sixth down to E. And you can do more extreme like the just in in concept. It just needs to be that. But we could do a um a whole thing over here that is technically a third just really far apart. We can even do a sixth away and we can get away with that as well.

[00:05:13]Of course, it might not be as efficient sometimes, but the option is there. So, we're doing that. And um let's see.

[00:05:24]Um I think so. I think so. Valid. I think so. Anyway, let's see where this goes.

[00:05:31]And by the way, this melody over here, the one that is harmonized, has our initial motif. Motif being the smallest version of your musical idea. The seed, the essence from which everything else comes from. I just don't remember if I said it or not. Let's see where this goes.

[00:05:46]A second. Okay. A second synth echoing a little bit of the thing. Yeah, I think I think I am going to do it, Nsh, because I asked you for a reason. Uh, welcome back, Nosh. How's my sweetest soul doing? So, we're having this. We don't really slow down as a retardando. We just do a slower version. We just rhythmically slow it down. We're glitching it. Let me see where this goes.

[00:06:10]Yeah. Rhythmic variation.

[00:06:18]Okay. So, we bring in a very nice drum to this. We start establishing our drum beat and we are now doing mixes of the arpeggios and the motif. So how are we doing this? We are engaging in some rhythmic displacement with this rhythmic displacement. As the name suggests, you are displacing the rhythm so that you're either pushing something down so it sounds later, rushing something up so it sounds earlier, or you're using silence to achieve either of those two effects. In this case, we are basically just taking more time between the um between the iterations of the melody and first name. Yes. Yes. We're not taking more requests today. We do have a giveaway after this though. All right, let's see where this goes.

[00:07:10]Oh, nice.

[00:07:15]All right, we switched the beat over from a 44 to a tripleted 44. So, let me explain that real quick. Right, so when it comes to music, you have three components. Melody, melody, harmony, and rhythm. Um, rhythm being the use of types. So, melody being your individual horizontal lines of music, counterpoint, that kind of stuff. Harmony by far the most complicated. What notes do you have available, what scales you get out of that, what chords you get out of that.

[00:07:41]And you can just keep extrapolating there for so much. And then you have rhythm. Rhythm is your use of time. When things happen, how fast or slow, beat, that kind of stuff. Then time is subdivided into bars or measures. Bars, measures, same concept, which are then determined by a time signature plus a tempo mark um or BPM. BPM meaning beats per minute. So, how does this work? Time signature is going to be determined by two numbers. Upper number, let me just do what it is. Upper number, lower number. The upper number is going to determine how many beats in a measure.

[00:08:21]Lower number which kind of beats you're going to be basing this off. In American English, it's pretty easy to remember, right? So whole notes are represented by number one, half notes by number two, quarter notes by number four, eighth notes by number eight, 16th notes by number 16, so on and so forth. Uh, one whole note contains two half notes, one half note contains two quarter notes, one quarter note contains two eighth notes, etc., etc. So a 44 bar is going to contain four quarter notes per bar or any equivalent um or any equivalent uh duration that you can have. So you can have one whole note, you can have two half notes, you can have as many eighth notes as you want. Now the way you count it, you count the numbers 1 2 3 4 or as many beats as you have. 1 2 3 4 1 2 3 4.

[00:09:13]That kind of thing. Then if you're going to have eighth notes, then those eighth notes are going to be equally distributed between the quarter notes that you are doing. That is how eighth notes work. This is what we call straight eighth notes because it's the the eighth notes that you count them.

[00:09:28]that what you do is that then between the numbers you start using in the case of eighth notes the expression an as in a n one and two and three and four and one and two and three and four and basically that is what happens then we have the concept of tupletting dupletting is basically forcing more notes where there would be a certain amount the most famous one being the triplet so how does this work a triplet in the case of eighth notes you to an eighth note triplet. So instead of having two in the space of one quarter note, you now force three in the space of one quarter note. All of them with the equal duration. So how do you do this? You put the three over here.

[00:10:13]Sometimes you add a a bracket to this.

[00:10:15]And the way it works is that you now have the number first T and second T and you just count them like that. So straight eighth notes 1 and 2 and 3 and four and tripleted eighth notes 1 ta 2 ta 3 ta 4 ta 1 ta 2 tata three tata four tata. So now we're having that and you can combine these. You can mix and match them however you want. That's one of the cool things about music, right? So you can go 1 and two ta 3 and four tata 1 ta 2 ta 3 and four and. You can really change these around. But basically what we've done over here in this part is that we've switched from counting straight eighth notes to counting tripleted eighth notes. Let's see where this goes.

[00:11:02]We bring it back to straight eighth notes. We bring back the motif.

[00:11:07]So we bring a steady drum beat and we bring back the motif. Beautifully done.

[00:11:12]This time instead of doing it in the distorted piano, we're doing it with some violin samples. Very nice. Guys, let's see where he goes.

[00:11:21]There's the motif again. And off the ramp, we went over there. Off the ramp being a colloquial term that I use colloquial, but by that I mean there's no official academic definition for this or at least I'm choosing not to use it for the sake of simplicity. And off the ramp is what I like to call a particular type of teration that makes your listener feel suspended up in the air at the mercy of inertia waiting to see where you land. Kind of like going off a ramp. How do you do this? Remove the drums. Maybe the bass as well. In this case, it was all of them. We just had the melody playing. Then we brought back the drums. Let me go back a second or two to do this. Uh Nong, I see that is not members only video. You only posted another because of Huckleberry. I don't know like some of them like some of them are um some of them get delayed like sometimes I can't post all of them the same week so they just get delayed to the push to the later week. So yeah, let's see. Um let's just Oh yeah. Yeah. No, I I don't know. I I am not very good at baking sweets. Like I'm still learning how to bake pizza. So anyway, let's see where this goes.

[00:12:16]So yeah, there's some trivets there.

[00:12:21]Beautiful. Okay, so we're bringing in the melody. Now we're doing this break.

[00:12:25]Don't forget that this is built for a rhythm game. So we are going to try adding some tricky stuff. What we are doing here is that we're adding some poly rhythms. And yes, no, if a song um like in general, I do have a system for it. I'll explain it later. And the groover, thank you for the follow.

[00:12:43]Welcome to the mosh. today. So, a poly rhythm is when you have multiple rhythms playing at the same time, usually clashing rhythms. And that clash is what makes it sound cool. The simplest one is a three versus two poly rhythm or at least the easiest one to explain, right?

[00:12:56]You have one part doing twos. One, two, one, two, and the other one doing threes or straight eighth notes against triplet eighth notes. One, two, three, one, two, three. You do both at the same time.

[00:13:09]So we are having something like that happen of course but we are using very much more complicated. We're having the bass drum some arpeggios going up very very fast interrupting everything. Let's see this.

[00:13:23]We can hear very uneven very uneven rhythms over there.

[00:13:31]And off the ramp we go. We go to another melody. And we are progressing forward.

[00:13:37]And speaking of progressing forward, we have the Patreon now. Yes, I have set up the Patreon. It is now there.

[00:13:43]patreon.com/jamesrbastard.

[00:13:46]If you want to support this channel more than you already are by watching and and subscribe and all that good stuff, consider joining the Patreon today. Uh this is where the non-gaming LFAS will go to. That will be free for everyone.

[00:13:57]So even if you're not pledging any money, join uh follow the Patreon in general. What are the non-gaming LFAS?

[00:14:03]anime, film, label music, the stuff that we usually don't do on the main channel.

[00:14:09]What we do on YouTube is fair use.

[00:14:11]Period. But that does not stop bad actors from abusing the system. So, in order to just not have that headache, we're just going to upload these to the Patreon. There will be paywalled content on the Patreon, which is going to be not not limited to the music lessons video series that I have. Yes, proper music theory lessons that we have uh that I have in production for this kind of stuff. So, um yeah, if you want to support this channel more than you already are and you want to uh help what we do over here, consider joining the Patreon, patreon.com/jamesrarbastard linked in the description. Thank you for those of you who already have joined, particularly French guy and real nemesis. Thank you so much for your continued support. Anyway, back we go over here. Off the ramp we went again.

[00:14:55]And uh no, don't don't don't don't give me images that I would enjoy. Don't don't give me a mental image that I would enjoy. Let's see where this goes.

[00:15:08]All right, we're doing a variation of the motif and we're starting to build up.

[00:15:18]Okay, so we are now having the motif played in this beautiful chime. We're slowly bringing up the drums and we're having the violins coming in again. And um yes. What did you say? What did I say? I said what I said. Let's see where this goes.

[00:15:38]Building up the melody variations on the motif and off the ramp from up the ramp.

[00:15:46]So we're now doing a rhythmic variation of the motif over here. We have displaced the rhythm so that the start of the melody doesn't fully align with the start of the measure. This is something that I absolutely love seeing.

[00:16:01]This is a really cool way of doing like poly rhythms and um and rhythmic displacement and all that kind of stuff.

[00:16:06]If you want a song that really shows that to a very extreme degree, listen to the intro of Swim to the Moon by um Between the Buried um and Me cuz that song it's my f this is my favorite song of all time. Number one uncontested favorite song of all time. Uh the intro this is going to be like 40 seconds.

[00:16:29]Like the song is 18 minutes long but the intro of it has this initial uh percussion But the start of this phrase is not when I was playing it is halfway through the melody. So it gets interrupted and then the phrasing starts and it just changes the dynamic so much. It's really really cool. And right now to a very different extent we're doing something like that by changing and shifting things around for that kind of stuff. And yes, no, you are absolutely magical. You are our you are my sweetest salt. What else? What What is more magical than that?

[00:17:12]Nor welcome today. How you doing? Let's see where this goes.

[00:17:17]All right. Quick build up. And oh.

[00:17:25]ALL RIGHT. SO, WE bring in a big break.

[00:17:28]We bring in the big drums, the big climax of the piece, and we have this little like this little melody off the ramp right before we start. Uh these ones are called pickup bars, by the way.

[00:17:38]Uh pickup uh bar. Basically, it is it can be usually it's something that happens before the piece. Right now, we're just using the same principle where we have the melody starting before everything else starts. Uh like a head start of everything. We bring in the big drums, the big bass, and we're having the melody. Let's see where this goes.

[00:18:05]Oh, variations of level.

[00:18:08]And of course, because it's a rhythm game, we are doing a lot of very minute messing around with the rhythm. Like, we're changing the tempo around. We're changing very, very lightly where the drums are hitting. We're including these very offtempo, like offbeat kind of phrasings. really cool poly rhythms with this whole thing. Let's see where this goes.

[00:18:32]A lot of a lot of syncopation as well.

[00:18:34]By the way, syncopation uh syncupation is when you play against the drums, against the beat or against your metronome. We're having a lot of that right now. We've been having a lot of that so far. But usually the the idea of syncopation is that it gives you that sense of extra pace, of extra momentum, as we are hearing it right now from the melody. The melody is played syncopated.

[00:18:55]See?

[00:18:57]There we go. We're having those arpeggios again with that one, two, three hit. Melody building up further and further.

[00:19:06]One more run. Speeding up those drums.

[00:19:10]Uneven rhythms.

[00:19:12]Speeding up. Building up extremely.

[00:19:17]One last glitch.

[00:19:19]We land.

[00:19:21]We land. We get one last offbeat siren beeping there. Uh like a sonar beep, but that beep because there's no more drums has its own beat. And we ended with that. There you have it. My god, what a journey that was.

[00:19:40]Oh my god. There you go. That was so byaro s featured in my my is my understanding and the videos from Opti Animation. What an insane journey that was, dude. Oh my god. Once again everybody, this has been a bastard Zelfe, a layman friendly analysis. I'm a professionally trained musician composer and my objective here has been to explain things in a way so 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, whatever you use, like the video, share the video, comment, turn on notifications, become a member. Once again, everybody, don't forget to join the Discord server. That's where everything is announced first. Whether it is the streams going live, the videos going up, the channels, updates, projects, giveaways, everything gets announced there first. Of course, we have the community there. We have we hang out, we chat, we steal memes from other people servers, claim him as our own. And where I host the vintage story vintage community server. It used to be a Minecraft mod. Now it's his own standalone game. I love it. I prefer it.

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[00:22:33]Oh, featured in my my my what a journey that was, dude. Really good stuff, man. Really good stuff. But uh yeah, let's move on. And there's a one.