Analyzing "HyperioxX" by ParagonX9 (Geometry Dash) | Basterd's LFA (Layman-Friendly Analysis)

[00:00:00]Next up, we have Hyperio by Paragon X9 featured in Geometry Dash is my understanding. Once again, everybody, this is a bastard ZFA, a layman 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 want 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, subscribe to the react channel, how to request songs if you're not on the live stream members. You're getting early access to the content. I have a beautiful list and a bunch of other things later down this video. Stick around for that. Disclaimers showing on your screen right now, so go ahead and pause the video to read them in full.

[00:00:45]Otherwise, please be patient with me. I am acoustic and guitared, so please keep that in mind. With that, let's do this.

[00:00:51]Hi, Pedios. Let's go.

[00:00:55][music] Okay. So, we start with three primary elements. One, we have our drums there giving us the drum beat. Um, we have a bass there giving us a baseline, right?

[00:01:18]Like a baseline uh uh baseline uh which is uh syncopated. Syncopation is when you play against your drums, against your beat, or against your metronome. In this case, the bases uh it might be playing it's a bit tricky cuz I it might be in between drum beats or it could just be that the way that the melody was played that confused me. And then the melody is giving us some very very fast arpeggios, right? And arpeggio being when you play a chord one note at a time. For example, here's C minor. Here's arpeggiated. So yeah, we're having that. And um basically we are doing um a melody with an arpeggio on top of that. So instead of um of having we are doing something like that, right? Uh and of course this melody giving us our initial motif. Motif being the smallest version of a musical idea, the seed, the essence from which everything else comes from.

[00:02:15]IDK welcome. So yeah, let's go ahead and um do the shi. Here we go.

[00:02:26]Okay, another thing that I forgot to mention at first is that we also had like a drum roll. We were like uh increasing, not really increasing the volume, but we were kind of like uh removing the filters of um of the music that was a bit more opaque and now it's a little bit more. Now we are bringing a couple of more background sins. I think we have one of them just holding down the chords and then we have another one playing some of the notes that the arpeggios are doing. Of course, there is a more textured bass coming in giving us um what sounds to be a pedal tone, but because of the texture of the bass itself, it sounds syncopated. Right? So, in this case, we might be dealing with a pedal tone. A pedal tone or a pedal note is a note that is usually held down for a longer arbitrary period of time. So, while this whole thing is happening, the bass technically is just holding down a note, but the texture of the synth itself is going like wow wow wow wow wow kind of thing even though it's just pressing a single note. Uh, wonders of uh electronic music, right? Let's see where this goes.

[00:03:29][music] Another texture of up and okay. So we have a quick build up over here. We're continuing that motif. Now the second synth that was playing only some of the notes. Now this one is doing some accentuations. Right? An accentuation in music is when you are highlighting something in a specific part of the rhythm. Right? So in this case it is the the upper melody itself that is happening rather than the arpeggios underneath. We are having a second synth basically just highlighting that melody and letting us know that that is the actual motif. Um I mean a pedal. No not a not a not a not a not a pedo like pedal like pedal like as in uh like pedal notes. Um these were common when like pedal pedal tones pedal notes these originate I believe from the pipe organ. If you look at a a pipe organ, um you will see that the way that they were played will have this extremely convoluted set of keyboards, including the pedal keyboard. And usually mo what most people would do that weren't JS Bach is that you would have um the player playing whatever they were doing up here and then they would just press down on a single note on the pedal and keep playing with their hands. Yes, technically speaking, you can develop it so that you play full-on melodies on the pedals, but most players were not that skilled. So, they would just press down on a single pedal, have that one stay where it was, and then play the rest with the with the rest of their hands.

[00:05:13]So yeah, this I believe this is where the term pedal tone comes from because the pipe organ is one the oldest instrument that we have that is still standard in um in in um what's it called in environments like orchestral and classical music. And number two, because it's the oldest instrument that has physical pedals that we are still using nowadays that like it's the oldest that has this that um where this could apply because the piano is what like 700 years after the pipe organ something like that like the pipe organ has been around for a very long time like we are estimating about thousand years. So yeah. Yeah. And um second scene elongation of the image page. Let me hear a bit more. We had a bit there.

[00:06:06]Okay. And off the ramp we go. Okay. Off the ramp being a colloquial term that I use. Colloquial. By that I mean there is 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 transition 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. So, we do this. We bring it back to just the first two synths. Um, but yeah, it should reappear later. So, let's uh [music] [music] Okay, new synth.

[00:06:49]Okay, so this one sounds to be seems to be a rhythmic variation.

[00:06:56]And in the case of this one, I think this is an elongation. It's a type of elongation. Uh we're taking an elongation of the arpeggios themselves cuz we are taking the overall shape. And this one might be a um this one might be a type of retrograde.

[00:07:19]Uh retrograde is a way to develop your melody in which you play something backwards basically. Right? So if I have this, then a retrograde would be to play it backwards.

[00:07:31]And since we were doing the um then the retrograde.

[00:07:38]So we're having that, but the first note of the retrograde.

[00:07:44]So we remove the first note of the retrograde and we have something like that. Right? So, we are messing around with the order of things and we are removing some of the arpeggiation from before. So, I think we're doing a type of retro trigger.

[00:07:59]We're removing the arpeggios. We're doing an elongation. Elongation, another way to develop your material in which you do a slower version of something you've done before. So, the first few arpeggios we had were really, really fast. And in this case, I think we're taking the the essential points of the melody and then having that last note that would have been the arpeggio and we're putting that as the melody, I think. Let's see what it goes off the ramp and [music] bass coming back in with the pedal.

[00:08:35]Okay, I think it's two b we have two layers of bass. One of them is just holding the down the note and the other one actually has the the the texture itself like pow kind of um kind of texture over there giving us by what all means is a doubling. Doubling is when you have more than one instrument or more than one layer doing the same thing at the same time. And we are building off on this. And something we are kind of doing over here is a little bit of rhythmic displacement. So rhythmic displacement as the name suggests is when you displace something in your rhythm so that you're pushing something down so it sounds later rushing something up so it sounds earlier or you're using silence to or some sort of interruption to achieve either of the two. So what I think we are doing here with the rhythmic displacement is that one we have the retrograde two we have the inversion that's something I forgot to mention an inversion this motive is an inversion as well inversion is when you play something an upside down reflection of what you've done before so if we back to this example then the inversion would be going the opposite way basically and then if you do that backwards then it's your retrograde inversion.

[00:09:48]So in this case we are doing this um where the first note would have been the note of the arpeggio. We move that to be just over halfway through the m through the phrase. And um we take So we we basically had this uh let me let me try and um and so we had this kind of melody, right? We had this kind of melody. We then take this moment over here and um Yeah. No, I did it wrong. Uh we have this kind Hang on. I'm trying I'm trying to trying to figure it out as I'm saying. Right. So, we have this kind of melody. We take this and we retrograde it. We retrograde it and now we have you know I I think it's just um I think it's just because once it repeats once it repeats it's just um the next one over there, right? Just with the slightly different note at the start. So yeah, we retrograde this and we change uh we change some of the we change the the notes here at the very very start and we start getting a bit of more of a zigzag pattern and most importantly we change when the first note is played. So instead of the first note being at the start um of the pattern, it is now just just out of halfway through giving you that sense of displacement. There you go. Yeah. No, it took me it took me a moment to think this one through. Don't forget, like this is my first um this is a this is my first time uh hearing this one, so I have it's my first time hearing most of these pieces, so I have to figure it out on the spot. And you know what else we HAVE TO FIGURE OUT ON THE SPOT? The Patreon. patreon.com/jamesrarbastard.

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[00:12:43]Become a member today. All right, back we go. We're continuing with the variation of the motif. Let's see where it goes.

[00:12:53][music] Little bit of a adorment there at the very very end.

[00:12:59][music] Letting the bass play out. build up of the ramp and Okay. So, we take the motive we just did, we change over the instrument and we do a slight reduction of that. Right?

[00:13:22]So, um reduction. Reduction being the opposite of elongation. You were doing a faster version of something you've done before. Uh what happened in the stream?

[00:13:32]Well, number one, I don't don't don't bother um checking don't bother with the number of viewers. Um most people lurk in between songs and um YouTube just like Twitch, they lie about how many viewers there are on the stream. I guess if you're not active in the chat, then YouTube just automatically assumes that you're a bot and just takes you out of the view um of the view thing. So yeah.

[00:13:56]No, like um views are fake. VIEWS ARE just fake nowadays. No. Um, no. We just have a lot of people who lurk in between in between songs. Yeah. Anyway, so we're having the the new instrument over here.

[00:14:08]Yeah, we're we're GETTING SOME FAKE VIEWS OVER HERE. AND THIS IS NOT MY BOTTING. IT'S JUST UH YOUTUBE AND TWITCH ASSUMING THAT YOU'RE BOTTING BECAUSE your chatters are in chatting.

[00:14:22]You [snorts] know it. I know it.

[00:14:24]Everybody knows it. Bigly [laughter] Oh yeah, you you can see how many real viewers there are when when we open the requests, but that's that's when we open those. Either way, I like I I I'm I am doing this for the views, but it's not just for the views cuz this is entirely fun. Anyway, let's see what it goes.

[00:14:48]Original motif back with a different drum beat. Nice.

[00:14:55]Off the ramp.

[00:14:57]>> [music] >> piano piano reduction.

[00:15:06]Nice. So, we break everything down.

[00:15:08]Okay. So, we we have a little moment of the machine breaks. We bring in a piano.

[00:15:14]Uh the the piano is now doing um elongation of its version of the elongation that full-on arpeggios. We're having some like violin synths in the back just holding down the chords. Let's see where this goes.

[00:15:29]Nice.

[00:15:38]All right. Holding it back.

[00:15:40]The machine getting fixed.

[00:15:44]New variation of the motif.

[00:15:52]Okay, we're bringing that. We're panning that one actively. Okay, so we're doing some active panning on that one. And we are also having u what sounds to be one of the synths that did a doubling earlier um giving us like a sneak peek into either the bass or a doubling of the motif. So we're engaging in some active panning. So in music panning is um or in audio is when you focus the audio from one speaker to another or from one channel to another because if we were to pan over like for example in in audio visuals we can say let's pan over to our live doniote uh camera and we go see there and there she is. Oh and there I am. I I keep forgetting to change the camera. Uh and there she is.

[00:16:40]You know she's right there and that's the kitchen. That's the live view, the live view from the kitchen, right? And then we pan back to the uh to the main view over here. That is how things happen. That's like a way of doing like usually in in film is that you're moving the camera around. You're panning around, right? However, if we are talking about audio, we are talking about panning between audio channels.

[00:17:00]Channels is how many speakers the audio is configured to be able to handle. We have three main categories. We have mono, we have stereo, and we have surround. Mono means that it's a single channel. No matter how many speakers you have, there is one audio track uh configured for it. So all the speakers would get that single audio track.

[00:17:22]Stereo means that there's two audio channels which means you if you have two speakers, there will be an audio track exclusive to each speaker. Surround then takes that principle and puts it uh to 3.1 uh 5.1 7.1. I think we already have 9.1. There might be some places that already have 11.1. Right. The 0.1 is for the subwoofer speaker. That is the bass only speaker. And then we have three speakers plus subwoofer. Five uh three channels plus bass channel. Five channels plus bass channel. 7 plus bass channel. 7.1 is standard right now. If you go to something like uh IMAX or something like that, uh 9.1 I think something like um like stadiums, you might be able to see something like that. 11.1 I think it's one of the two. It's either 9.1 or 11.1 that the the sphere in Las Vegas has.

[00:18:18]It's one of these two that that it has that it's like completely ridiculous surround sound. So, um when will she be fully covered in snacks? Uh she's not going to be because she asked for she asked for a snack. She texted um that she wanted a snack, but she misspelled it. Uh she replaced the N for an M, so she got a smack instead cuz that's actually a brand of uh that's actually a type of noodles you can get over here.

[00:18:41]So yeah, there you go. Anyway, so yeah, we're having um we're we're having this we're doing some active panning right now, which means we are on stereo two speakers, left and right ear, because we are, you know, we have two ears and we're basically moving the track between the two goes.

[00:19:02]All right, bass drum is back with the syncopated baseline. The bass drum and baseline. All right, building up off the ramp.

[00:19:15]And we bring the gym synth. Okay.

[00:19:20]Gym gym synth is now in full effect. Gym synth. This one is another colloquial term that I use, right? A gym synth.

[00:19:28]This one is just the story that I have, which is when I was a kid, I would accompany my dad to the gym. Like I wouldn't do much. like it was just like he like it was his turn of having uh like hanging out with me and like we would go to the gym with him and he would go to like his like he's really into cardio so he would aerobics classes and spinning classes and that kind of stuff and that kind of synth that we're hearing over here is just what we'd be blasting there. So yeah, um yeah, we're we're hearing that kind of synth. It's it's a very subjective, very much super uh niche term that I'm using right now, but it just reminds me of that like the early 2000s kind of synth that you would see blasting in gyms um throughout that time. So yeah, let's see where it goes.

[00:20:19]So yeah, there's money doing their accentuations variation of the original motive.

[00:20:30]Building up and the second drum beat with the elongation.

[00:20:39]There we go with the elongation. And one more run. Original motif on the new drums.

[00:20:47]Nice.

[00:20:49]Are we going to do one more run? [music] One more repetition. And we resolve everything in the bass. We now let the sound dissipate. And there you have it. That was fun. That was fun.

[00:21:03]Relatively simple, very relatively straightforward. We had the motif. Then we did two variations of it. We did a bunch of ostinado on those. Right. So ostanado.

[00:21:12]>> [snorts] >> uh ostenato means that you are repeating something over and over and over again with little to no variation of itself.

[00:21:18]So in this case, the motific development didn't really come from the motif itself, but to what we were doing around it mostly, which still counts as development, not just the motif itself.

[00:21:29]We did get two variations of the motif, which were a lot of fun. And with that, there you have it. Hyperio by Paragon X9 featured in Geometry Dash.

[00:21:42]It's my understanding. That was fun.

[00:21:44]That was that was a fun track. Very straightforward kind of thing. How old is this track? Uh 15 years old. Yep.

[00:21:50]Yep. It it adds up to um it adds up to the time. There you go. There you go.

[00:21:54]Once again, everybody, this has been a basel layman 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'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, comment, turn on notifications, become a member. Okay, so this is from 2009.

[00:22:16]Okay, the video was uploaded in 2011, but that's besides the point. There you go. There you go. Once again, everybody, don't forget to join the Discord server.

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[00:23:57]Same as James Rastard. Extend the R2 reacts and you got it. And uh yeah, there you have it. Hyperio Pentagon X9 Geometry Dash. That was fun.

[00:24:11]That was fun. That was like very very like at the very edge of the early 2000s. But there you go. Good stuff, man. Good stuff. But uh yeah, let's move on. A small.