Analyzing "Molto Allegro" Cytus Chapter S OST | Basterd's LFA (Layman-Friendly Analysis)

[00:00:00]Next up, we have Molto Allegro from the Situs Chapter S soundtrack by Persona.

[00:00:08]Once again, everybody, this is a basel, a layman friendly analysis. I'm a professionally trained musician, 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 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, getting early access to the content, I have a paid for this, and a bunch of other things later on this video, so stick around for that.

[00:00:41]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.

[00:00:50]With that, let's go ahead and do this.

[00:00:53]Molto Allegro, let's go.

[00:00:57]By the way, before we start, molto algro, that is a type of tempo mark. Uh, so when it comes to music, we have this thing called tempo marks. A tempo mark is nowadays, it's been mostly um taken over by BPM. BPM meaning beats per minute. Uh, tempo marks, this is the expressions that were used from before um before metronomes. beats per minute.

[00:01:24]You something you can just take in a machine and you set it up there and that is it. You get yourself a um a BPM.

[00:01:32]However, just toss this in the trash. I I just tried to toss some something into the trash. It is less than 20 cm away from my hand and I missed. Anyway, so tempo mark. Uh this is something that you would use uh with certain expressions. For example, algro means happily. It's usually nowadays about 120 beats per minute. D that kind of thing. Molto means very very molto alero means a little bit higher than algro. Think 130 to 140 beats per minute. There are other common marks. There's moderat which means moderately. Usually this is about 100 maybe 110. There's andante. Uh, and some of these tempo marks, they weren't just to establish the BPM, but also to establish some sort of um, sentiment behind it. So, allegro would be happily, and would mean marching. Moderato means moderately, kind of neutral. You would have largo, which means longly, largely, that kind of stuff. So, we would get a lot of different um, expressions. So, it would be more than just the strict how many beats you get per minute. Let's see. Um, yeah, there's Vivace as well, which is vividly. There's a bunch like if you look up uh temple mark um marks list, and you're going to get temple markings uh in in here, you will get a pretty comprehensive list of of these.

[00:03:16]And these can get very very very convoluted especially if you go to something like uh to Wikipedia I think they have a pretty good list of a bunch of the of the ones that exist right so there's um there's quite a few and all of them will have um not just a certain speed but sometimes a vibe allow um attached to it. Let's see where this goes.

[00:03:43]All right, we bring in this Okay. So, we then bring in So, we fade in the first synth, giving us the first couple of chords, and then we bring in the drums, giving us the drum beat. We have the violin samples over there, giving us that initial descending scale with that very, very last minute um rising note, which could be our initial motif. Motif being the smallest version of a musical idea. the seed, the essence from which everything else comes from.

[00:04:16]We have the other violins in the back doing the thing. Do you recognize it yet? No. Let's hear it.

[00:04:26]And we immediately invert it. So, uh, inversion in melody, uh, inversion in melody is a way to develop your material in which you play an upside down reflection of something you've done before. So if we bring for example this melody over here, we are bringing um an alias of tat sh.

[00:04:47]Okay, good to know. Uh so if we have this melody over here, our inversion would be an upside down reflection of that. Basically going the opposite way.

[00:04:56]And in this case, since it was the this whole melody going down and then up, then we had the melody going uh up and then down as we heard over there. Let's see where it goes.

[00:05:10]And then of course we bring in the Mozart quote. We bring in the piano over here with a quote from Symphony number 40 by uh Mozart. A quote is when you bring somebody else's motif um and you bring it to your music in order to reference back to that other person's work. In this case we are using um the symphony number 40 motif that one over there we are quoting this work. Um we are bringing that and of course we are playing it in the piano this time around. We're playing it nice and slow and we're playing it in octaves. Uh octaves are the same note repeated up or down. Usually when somebody says played in octaves they mean played in parallel octaves.

[00:06:03]Parallel octaves is a type of parallel motion. Parallel motion is a way is a type of counterpoint. 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 playing at the same time. Counterpoint can be measured in many ways. One of which is motion. One of the types of motion is parallel motion, which is multiple melodies doing the same thing at the same time, the same shape from a different starting point. In this case, octaves. So, the same melody repeated throughout at the same time.

[00:06:40]Very, very popular in the piano, especially because it gives this kind of effect. Let's see where this goes.

[00:06:55]So we are bringing on the symphony number 40 uh motif over here and we're playing it as is the original motif that we introduced at the start right now is completely I mean part of it is still um for this. So we could say that um that the motif we used can be part of this like some of the rhythm is there the direction is still there but in general the motif is just completely now doing basically a tribute to Mozart with electronic music in the background. We just have the music in the back doing its thing. Now, one of the big big differences right now is that symphony number um number 40 and I think it's the multilegro um movement which um it's wrong one over here. Um yeah, symphony number 40 first movement is molto algro. Yeah, the reason why I couldn't recognize it is that there are many molto allegos out there. Um pieces are rearrangements of classical pieces.

[00:07:59]So yeah, in this case we are talking about an arrangement. In this case, it is absolutely an arrangement um arrangement of the music. We have rearranged the instruments. We have brought in a fresh new take without fully compromising everything else. In this case, we are leaving behind everything except the melody. The melody is the only thing that we are keeping from the original composition and we are now bringing an arrangement of it by and basically just making a tribute to Mozart with this piece over here. Let me hear a bit more. Let's see what it goes.

[00:08:39]Yep. It's a very long, very slow version. Little bit of arpeggios there.

[00:08:44]Okay. So, we bring the piano here doing some arpeggios at the end. An arpeggio being when you play a chord one note at a time. For example, here's E minor.

[00:08:51]Here's arpeggiate. So, yeah, we're bringing in some arpeggios, which um not too common when it comes to Mozart, at least not for the melody. Mozart was more of a fan of um of just doing scales wildly. Uh yes, Felix. Yes, it is.

[00:09:08]Whereas the one who really loved his arpeggios was Beethoven. Um that's the one who really really enjoyed his arpeggios in the melody. Mozart would mainly have them in the uh in the accompaniment. So yeah, we are building this. Let's see where this goes because we're using a transition material.

[00:09:28]There we go.

[00:09:31]We now bring back the piano and we introduce some violins here, giving us a doubling of the uh thing. Figure the crazy piano rhythm game section wouldn't be a part of the of the original. Yeah.

[00:09:44]I know. Like um in the original you have like the French horns and and uh the rest of the orchestra doing the thing.

[00:09:50]So yeah. No. So we bring in the violins over here. We're doing a doubling of the piano. Doubling is when you have more than one instrument doing the same thing at the same time. And we are basically bringing the next section. So the form and the uh format of this whole thing, we are basing it off the molto allegro of the original. Now the funny thing here is that we are playing more or less on the tempo uh the BPM of the original multileo but the melody is being played slower.

[00:10:22]The melody is not being played at multileo. The melody in multilo this one over here.

[00:10:35]So on top of this being um everything it is also an elongation of the motif of the original motif. Elongation being another way to develop your material in which you play a slower version of something you've done before. So in this case the melody is playing very very nice and slowly mainly so that you can get more time.

[00:10:56]Like it's it's a very very very clever thing to do because then it takes longer for the melody to resolve. If it takes longer for the melody to resolve, then you have less to worry about because it's Mozart. He already figured out the melody. He already figured out everything else. You just bring in the accompaniment for it. Make make it solid enough, which it has happened over here.

[00:11:15]And you're good. And you're good. And you're good. And you're good to go. And you know what else? We figured out the accompaniment for the Patreon.

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[00:12:30]Become a member today. And um yeah. No, no, the phone is still dead. Like I just put it on the other room cuz I think the the battery might have died with all those reboot loops. So, we will see.

[00:12:40]Just a bug that came in. Anyway, let's continue.

[00:12:48]Nice.

[00:12:50]Oh, little difference over there.

[00:12:57]So now we are taking the original melody and we are cutting it off a little bit and we are bringing in the section. So the original we don't have this um this section as it appears over here. There's a couple more de uh de developments of the original motif, but in this case, we are saving some time, which it's a choice. You know, we slowed down the melody so that we could do it slower, but now we're running out of time, so we're just cutting into the next section. So, a little bit of a contradiction over there. It still sounds good. So, let's see where it goes.

[00:13:34]Yep. the caden, the credential phrase.

[00:13:43]And this is where so we bring in over here the credential section. Uh a cadence of course when you're making music you're doing one of two things.

[00:13:49]You are building tension or you're resolving that tension. That point in between we call the cadence. Now in this case we are u bringing in the credential section of the original molto allegro.

[00:14:03]In this case, however, since we're only focusing on the main melody, it goes to show the importance of the original orchestration.

[00:14:12]Orchestration, um, orchestration or instrumentation is the art, the study of picking the right mu instruments for the right sound, for the right tone, right tambber, texture, sometimes for the right psychological response, and for other lines that might be happening. So right now the melody we just got very nice very lovely but in the original it has the counter melody provided by the rest of the orchestra but we didn't include that one over here. We only included the main one. So the main melody sounded a little bit slower than it should um because we didn't have the rest of the orchestra giving us because in this time it wouldn't fit with the accompaniment we already had.

[00:14:56]So, we have to sacrifice that bit. Let's see where this goes.

[00:15:02]Drums there. And nice. We switch over to arpeggios. Very much original to this uh over here.

[00:15:15]Nice. And I just realized the volume was down. The volume was down because the previous video that uh that we were looking at didn't have it. The volume fully up. I I hate when YouTube does this. I really hate when YouTube does this because I didn't turn down the volume of the previous track. Anyway, so we are bringing in arpeggiated versions of the motif itself and um I hadn't noticed. Me neither. Me neither. I hate YouTube when it comes to this. I hate when YouTube does this. Stop changing my volume.

[00:15:48]Stop changing my volume. So yeah, we modulate as well. we engage in a little bit of modulation. Modulation is when you go from one scale or a key signature or a collection of chords to a different one. There are many many ways to achieve it, but basically the the gist of it is that we're going from one to another. We are progressing there. Let's see where it goes.

[00:16:15]Speeding up those arpeggios a little bit, modulating.

[00:16:20]Bringing back those arpeggios from the piano with a bunch [music] of modulation over here.

[00:16:25]Slowing down this, extending that piano cadence.

[00:16:34]And we do the traditional way of ending a piece.

[00:16:44]All right. We do the very traditional.

[00:16:47]Usually this is very common in orchestral music cuz when you have a big machine that is an orchestra, you want to make the ending of it, excuse me, feel like it has weight. So you would have thisum like you can feel the machine slowly slowing down. We do that over here to pay homage of the classical uh tradition to this. And with that, there you have it. Molto Allegro from the Situs Chapter S soundtrack by Persona. This has another person has another name over here as far as I'm concerned. But there you go. Once again everybody, this has been a bastard. Zelfe, a layman friendly analysis. I'm a professionally trained musician, a composer. My objective here has been to explain things in no 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 with the new use, like the video, share a comment, turn on notifications, become a member. Once again everybody, don't forget to join the Discord server. That's where everything gets 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 that claim them as our own where I host the vintage story. Vintage community server, that kind of stuff. Also share these videos with everybody that you know the hype function on YouTube. We have a group on the Discord coordinates for that. linked in the description to help the channel grow. Members get early access to the content and schedule the videos per week 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 other phase. So, become a member today. If you want to listen to this without me interrupting every three and a half seconds of link in description down below. If you want to request a song and you're not on the live stream, check comment on this video. It has the instructions on what to do. If you want to catch the streams when they happen live, we aim from Monday through Friday. We stream live on Twitch, YouTube, and Kick so that you can tune in from platform you prefer. We have the full upto-dates and reschedule showing in your local times on both Discord and Twitch. So if you live in La Vega and you're like, "Yeah, but what time is whatever time it is in Hungary?

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[00:19:35]That was really fun. Oh, good. Good enough. Tribute of monster. Good enough.

[00:19:39]Good stuff. Good stuff. But uh yeah, let's move on. this morning.