Music in Lusternia

Tremula

We've all seen the sound ambients throughout the game, but when it comes to actually writing them what advice do you all have to give? It may sound silly to ask as a bard, but this is one of the most challenging aspects of the game to me. Without god-modding (directly controlling what another person does/sees), you're expected to describe your music so perfectly that they've no choice but to hear the same thing that's in your head. So what advice does everyone have to see this through? Is this a time when it's acceptable to take just a little more control of  what your audience experiences than any other time?

Maligorn

Cacophony =

Maligorn

Sorry, I didn't actually read the thread before posting. My advice is to just let people interpret your emotes however they want. Mature people aren't going to be like "zomg godmodding" if you "play your violin with notes of wrath, yet sorrow, dipping into your ears etc etc etc".

Daraius

My advice comes from more years than I care to confess of barding in Achaea before migrating here, and assumes you're making instrumental music with no lyrics or illusions. Generally I don't think you need to take more control over the audience's perceptions, but you should aim for evocative language. Since the music is text, it's more about conjuring a mental image than trying to actually convey a melody. Use similes and metaphors that relate to the theme of your piece, but always show, don't tell. To that end, avoid phrases like "you imagine" or "you see" or "the music calls to mind." Sprinkle in actual musical terms for credibility, just be sure you're using them correctly. Engage the senses with words that ordinarily describe color or smell. 

Here's a passage from an Achaean bard's graduation piece (not mine) that exhibits some good techniques. Make of it what you will.

C2: takes up the theme again, in a slower tempo. This time <he/she>

holds each rest just a bit longer than before in a halting, anxious

fashion, as if seeking the sound of a second voice. After a few

measures, the cello rests.

V2: breaks the brief silence to echo the cello's theme in a similarly

halting fashion, the voice of <his/her> instrument tense with longing,

remaining at the higher end of its range. After a few measures it rests,

as well.

F3: cuts in with a sudden sharp, clear note, then spirals down the scale

by irregular steps; a fluttering, ethereal sound, like the fallen petal

of a cherry blossom carried to the ground by an errant breeze. <He/She>

concludes <his/her> passage with a gentle, pastoral trill.

C3: takes up an assertive, upbeat rhythm, the cello's voice rich and

commanding, striding proudly from note to note like a regal stag with

head held high.

I recommend watching any of Irillia's Aeromantic Melodies series. She does some things outside the realm of strict instrumental (text) music, but they're all really good (and most were subjected to my ruthless critique). There's also Flutura's Crystal Aria, which is just amazing. That one seemed to emerge fully formed as this perfect example of text-based music, and although that's not strictly instrumental either, it's really deftly written and worth a watch.

Tremula

Excellent suggestion, @Daraius, and a great time to not be enemied to Hallifax. These Aeromantic Melodies are really good, so I can't wait to see the Crystal Aria.

Elanorwen

Tremula said:

Excellent suggestion, @Daraius, and a great time to not be enemied to Hallifax. These Aeromantic Melodies are really good, so I can't wait to see the Crystal Aria.

The Hours, Like Dust is and will probably forever be my favorite.

Daraius

Can't go wrong with any Shevat production, really. Except the Mandala is a bit of a snore.

Maligorn

Don't even fish for compliments. The Mandala is straight up dank, my djingo.