I made a couple mistakes in the notation around 2:14! The "V" chord should be lowercase ("v") to represent a minor chord, and the v6 should be VII6... I was tired and started thinking in the relative major when writing that bit out. Apologies!

Just realized upon hearing your (excellent) analysis, the first two chords from "Hopes and Dreams" also form the entirety of the song "Small Shock," from when you first meet Asgore in the garden. The song is only those two chords repeated, but by using the "energy" you're talking about from the in-between nature and tendency to motion of the chords, contrasted against the simplicity and the calming tone of the instrumentation, it becomes a lot more emotionally charged, and sets up Asgore's theme and his fight extremely well.

I'm never gonna be able to un-hear that Rickroll mash-up.... but it was worth it cause this video taught me a lot, thanks!

honestly tobyfox has been so influenced by japanese composers there was a phase where everyone kept saying his stuff sounded like touhou music (which has a similar focus on using predominant chords to hell and back)

@shingshongshamalama

6 жыл бұрын

Whenever I hear synthesizer accordian now I just automatically think of Touhou.

@zaynab-to-a

4 жыл бұрын

Kinda random, the heaviest touhou sound I heard was in the yellow SOUL version of Flowey's motif

@clar1nettist204

3 жыл бұрын

Now on the 15th anniversary, a Japanese orchestra played the soundtrack for a live stream

@pseunition6038

3 жыл бұрын

Yeah except the musical similarity between the Undertale soundtrack as a whole and Touhou are about as big as that between Undertale and something like Kirby. There's pretty much only one section in one song that is an OBVIOUS reference to Touhou, and that's from Battle Against A True Hero

@SlyHikari03

2 жыл бұрын

@@shingshongshamalama same

Damn you and your music theory knowledge on Rickrolling!

came here from Game Score Fanfare's Undertale track video. Hopes and Dreams is absolutely my favorite track in all of UT so I had to see what you were gong to talk about :D I was not disappointted, your vids are always fascinating.

@SlyHikari03

2 жыл бұрын

Nice

I know that was intentionally a rickroll but that was actually really helped cement the idea of this chord progression into my brain

This explains why Hopes and Dreams sounds good on the piano.

3:10 so this is why megalovania sounds like anime when on major

do you have any more music theory videos? id love to listen to them, im taking music classes and you are just as good as all my teachers and text books. lol

@OngakuConcept

6 жыл бұрын

Click on my channel, then the “videos” tab...

oh, wow... Hopes and Dreams is throbbing with energy, perfect for the moment it plays in... it's epic.

So THAT'S why it sounds so full of energy! Great work man. Your videos are always so simple and clear, and yet convey a decent amount of knowledge with them. You seriously deserve to have more subscribers than you do.

@OngakuConcept

8 жыл бұрын

+Ben O'Sullivan Thank you! Yeah, it's a big source of energy, but of course the rest of the arrangement helps enormously - it's a fast song, around 170 BPM; big drums and everything's just "loud" to begin with.

@emitamura

8 жыл бұрын

I think this is in Bb. just listen to it, stop it, then hear what everything settles on, its tonality, its tonic. are u really hearing G minor?? and while of course the bass matters, I also think the melody notes do matter in this case and serve as more than just embellishments or extensions. because it is so sparse, it does effect the harmony. if analyzed in Bb, it may first be considered that each bass notes (Eb, Eb, D, G-A-Bb) is functioning simply as roots to major or minor chords, (which i would still think is far more correct than hearing bass as roots with tonic of Gm.) but I think cassidyswanson's suggestion that the first chord with the Eb in the bass functions as an inverted sus is an interesting idea that really takes into consideration the melody notes and how they play into the harmony as well as the tension that is resolved when it goes to D. it's really a matter of what you are listening to and taking in. analysis is not always black and white. it instead reflects and communicates what or how one hears something, how the music is functioning to their ear. and in this case I think theres a lot more to get from it and hear happening than just VI- v-i in Gm, or IV, iii7 (or I6), vi, V6, I in Bb. I think the importance and influence of melody notes on harmony can really change and effect our hearing if we allow it to. just my 2 cents. all in all it was fun thinking about it and reading the discussion!

Ah! I don't delve into KZread enough to find stuff like this, but I really appreciate someone going into my favorite kinds of music to explain the formal elements.

an alternate interpretation could be that the "predominant" is actually the tonic and the song is in lydian. that's often considered a hopeful mode, too...

How about "tap-dancing on the Predominant"?

@CasuallyFeral

6 жыл бұрын

I've heard that phrase before, suppose it works better than anything

Now, whenever I listen to "Green Hill Zone", I can't help but think "predominant prolongation". Haha!

a bit late but the song is in Bb major

Very nice observation my man. When I was analyzing some of the soundtrack myself I noticed that unresolved tension is sort of a big theme in it. Most prominently noticed during sections in two parts like the very opening phrase (when you boot up the game). I find that one in particular very funny because Fox seems to be actively defying historically common usage of dissonance in western tonality.

you have such amazing content. I should be paying you

@OngakuConcept

8 жыл бұрын

+Fenrir Bass I prefer my payment in friendliness pellets

@Trirosmos

8 жыл бұрын

+Ongaku Concept wait...

Hopes and Dreams has got to be one of my favourite game music in all the games I’ve played

i was almost dying cuz you wasnt looking at the camera... btw great vid man

Instant subcribe, great channel

the first time I heard it I thought the IV was the I chord and the I chord was the V

@OngakuConcept

8 жыл бұрын

+The Unknown For some reason I've gotten good at telling if a song begins on a IV (or in a minor key, VI), even if I've heard no context yet. oO I know exactly what you mean though

Music Theory is really interesting tnx to you ♡

impressive again :D

Two things: 1) The chord that you're calling V is actually v; at 0:29 in the song, I can clearly hear a minor third in this chord. 2) In part because of this (the lack of a raised seventh scale degree), I hear this more as Bb major than G minor. Neither tonic chord is very prevalent at the beginning, so it could go either way, but the chord progression at 1:18 makes much more sense to me as ii -> I6 -> IV -> V7 -> vi than as iv -> III6 -> VI -> VII7 -> i.

@OngakuConcept

8 жыл бұрын

+Whirligig Studios 1) whoops, that was a typo! 2) can't agree there... it's in a minor key for sure.

@arekmenner

6 жыл бұрын

100% agree that this is probably in Bb major that is deliberately avoiding the tonic (like Digital Love!). If it's in G minor the whole thing is in G natural minor with no accidentals, which is pretty uncommon. You called it out yourself with Green Hill zone. The first two chords are Eb (IV), and Dm (iii), which is a huuuugely common video game start. Green Hill Zone, Great Fairy Fountain, Save Area from Great Cave Offensive. The ii -> I6 -> IV -> V7 -> vi analysis of the next chord progression makes perfect sense, too. Try playing Bb after that V7 and you'll see that this is Bb major. Thank you so much for the video, though! Many of these chords have predominant function in both Gm and Bb, so the idea of "standing on the predominant" is still very powerful.

@tebby24

3 жыл бұрын

Exactly what I was going to comment lel. Good work

@badusername723

3 жыл бұрын

@@OngakuConcept it really sounds like the melody resolves on Bb for me

@badusername723

3 жыл бұрын

Is the Eb a Sus2? And are some weird inversions here too? Some of these chords don’t sound right to me

good explain!

I agree with you that Hopes and Dreams focuses on the predominant, the key signature feels more like Bb major. When I try humming a G, it feels more out of place compared to humming a Bb. Technically, its the same set of pitches, but the tonic is different for me.

Hopes and dreams is my favourite ;(

Wow that was fast thanks

3:44 ........w-why are you looking at me like tha-..........god dammit

@OngakuConcept

8 жыл бұрын

+Zaid Hikmet :D

what does vii6 mean? i'm having trouble understanding that entire part there. when i try to play the song, and i look at the notes that i'm playing, and what these chord things say, it just doesn't match up. could someone help?

@Ultima2876

8 жыл бұрын

vii6 is the 7th chord in the key (vii), in minor form (lowercase, as opposed to VII which would be major) and with the 6th note of that chord added (6). So in the key of G minor here, that'd be F minor 6 - F minor is the vii chord in the key of G minor, and you want to turn it into a 6 chord. F minor 6 is F, Ab, C, D (D is the 6th note in the key of F, and a minor chord is made up of the 1st note, F, flatted 3rd, Ab, and the 5th, C). Hope that helps!

@dylanross10

7 жыл бұрын

I believe what he's actually referring to is the VII chord in 1st inversion. The VII chord in this instance being F major which is spelled FAC, but in 1st inversion the 3rd is in the bass so in this context it's actually spelled ACF. The 6 denotes that the root note of the chord is a 6th above the bass note (A to F). This allows the bass to diatonically ascend (G A Bb) while avoiding the diminished chord based off the second scale degree in minor keys, which in a tune that has a serious sense of movement, would seriously stick out and hamper that sense of being driven forward. Hope that clears it up a little bit for you

really interesting video and well explained! one question: which instrument libraries/plugins do you think are best for game composers? i mean plugins for logic pro or fruity loops for example. do you use any plugins?

@OngakuConcept

8 жыл бұрын

+knuffyTAS depends on your style and preferences, so I can't recommend the "best" libraries. Personally, though, I use Positive Grid's BIAS for my guitar tones, Ample J Bass II for programming bass, Addictive Drums 2 for drums, XCE for a lot of orchestral stuff, and various libraries from Premier Sound Factory + Precisionsound for other instruments. If you want to hear these in action, check my covers on my personal KZread channel (link in the description).

@knuffyTAS

8 жыл бұрын

+Ongaku Concept ok thanks I'll check them out!

I need a separate video for the special transposed version of this song, for... reasons B))))

A better name for this would be "Hanging onto the Predominance" sounds way better and gets more at the feeling

Which chord function category does ii dim fit in a minor key?

@OngakuConcept

8 жыл бұрын

+Fabricio Lima predominant! Not sure why I forgot to list it... I was tired!

isn't this related to modes? I feel the tonal center on the IV and when it resolves to i I don't feel the music's resolved

Ah, so THIS is why I always jam out when I hear that song. Thanks :D

Dang. You are getting good at this rick rolling thing...

eTHEEReal

i'd like to see a video like this but for Devil May Cry 5's "Devil Trigger"

NO STOP I AM NOT A MAGICAL GIRL NO WHY IS MY HAIR TURNING PINK NO

@OngakuConcept

8 жыл бұрын

+Tromino GOOD, LET THE MOE FLOW THROUGH YOU

Ha ha ha ha. Love the ending.

Can you make music theory on ace attorney pursuit theme?

What about Oil Ocean Zone

Why isn't the ii chord considered a subdominant?

@OngakuConcept

8 жыл бұрын

It is...

@sleepyd1231

8 жыл бұрын

Oh I guess I was confused because It wasn't listed at 1:17

@chrisjose8400

8 жыл бұрын

Awkward..!

After analyzing the intro myself, I personally disagree with your analysis. Your harmonic analysis is relying on the bass for its naming conventions, but I think you'll find it makes more sense and carries the general theme better when you instead focus on the melody. Ex: the first measure is played F, f, C with and Eb carried in the bass (Thus your predom notion [though it would actually be a sub-mediant])....Already, this is either an Fdom7 without the 3rd or a Cminsus4. However the strong perfect fifth motion and repeated F tells me it's the prior, and that the bass is acting as the dom 7 of the chord. You'll find the following 2 harmony changes support my claim. (The last bass note doesn't count as it only lasts for the last 16th note) 2nd measure: Bb, f, F in the melody; Eb still in the bass. Suddenly the Bb and F carry that strong perfect fifth relation, but with the 3rd omitted; it should be noted though that the Eb in the bass is acting as a sus 4 if we consider this chord to be Bb5sus4; The bass follows up in the next measure with D, resolving the chord, also supporting my claim. The only other possibility is that the chord is actually Eb5sus2; the problem with this is that if we consider the F to be the 2nd of the chord, it doesn't really go anywhere, which makes it's characteristic as a 2 less strong than considering the Eb as a 4. Regardless, 2 perfect 5ths occur, but again, the doubling of the F seems to imply the chords function as being the 5th of the chord (It hardly sounds like a 3rd and as a 2nd serves no purpose). The Eb in the bass still makes sense, as dom 7s can easily change to extensions of following harmonies. 3rd measure: F, A, a , b, a, f, d; D in the bass mm3 and mostly G and A in the bass mm4: mm3 is clearly Dminor. Personally I'm not hearing v at all, there's and has been almost no indication of this chord holding a dominant functionality. This is almost certainly a mediant chord; and lord does it sound like it. It's acting as an airier tonic (But it's not). with the clearest harmonic structure, no suspensions or extensions, save the passing tone b. 4th Measure: The melody outlines a dminor, but here's the kicker with the bass. It's playing a G for the first beat, then an A for the 2nd beat, the Bass almost clearly must be the extension. The chord is too clearly outlined in the melody and contains a perfect fifth. And the bass only stays for a moment, fulfilling its roll as an extension, being raised quickly to A, the 5th of D; making it a Dminor 6/4 chord (Even better, that the A plays when the D in the melody is played). Also, it happens quickly, but by stripping the polyphonic texture from the bass and melody, on the 2nd beat you have an A in the bass and an F in the melody; this makes a first inversion V (F) chord in the key of Bb. The following beat has a D in the melody with a Bb starting the bass melody on the final 2 beats; this makes an implied Bb chord (The tonic of the key). Which is further strengthened by the following. Here's what really tells me that all of my harmonic analysis thus far is correct; the final bass melody. The melody goes Bb, A, F, D, C, Bb, F, than repeating back to the first measure, playing an Eb a minor 7th up. Add up the notes and you have either a Dminor or BbMajor; or more accurately, an arpeggiated BbMajor 7th chord. This is what gives the song such a hopeful and fiery determination. That Major 7th we were waiting for from the beginning. It's spacious, airy and determined. And the D that ended in the melody acting as the third of this chord was icing on the cake. The C can either be interpreted as a passing tone or as an arpeggiation of the 9th of the chord; either fits my analysis. When heading back to the initial chord, if we assume my analysis to be correct, returns to the V, making it a half cadence; very fitting for a repeating game phrase, and with the bass traveling a minor 7th, the song is given a tension that is also fitting for a final confrontation. This was obviously only an analysis of 4 measures, like given in the video; but I really feel that my explanation better explains the nuances, feelings, and colors provided for this fight. I refuse to accept that it's a minor key piece. Rather, it's a major key piece with very open chord voicings, and the reason for the tension, romance, and vigor of the piece is not in the harmonic function, but rather in the choice to extend the chords and have many of the extension and aux tones lying in the bass; creating a lifted and non-resolved (But hinted at) tonic. Tl;Dr: I believe the harmony and key is not as you stated in the video. Rather, it is (V4/2 - I/sus4 -iii - (vi-V6) - I [back to V] If you analyze the following melodies proceeding the piece, it is literally riddled with lines Beginning and ending with F=>Bb just filled up by extensions of 2 and 4. This makes a lot more sense, given the j-pop esque open and airy sound that Toby manages to achieve in this track, while still sounding Major-y. It's not undertale and the pre-dom, more like undertale and the heavy suspensions and mediant I really appreciate your channel and love your work; I hope you'll consider my comment and consider reviewing your analysis.

@OngakuConcept

8 жыл бұрын

+Cassidy Swanson Thanks for the analysis, you put a lot of work into this and it's clear you have a good understanding of how chords are built and all that - that said, I think your analysis is almost entirely incorrect. I'll explain. I understand the importance of the melody, so I'll factor that in as best as I can, but the harmony is far more important when understanding a chord's function. Starting with the first 2 bars (this is a quick tempo, it's not just one bar)... We have Eb in the bass throughout, occasionally hitting F as a embellishing tone, the guitars playing Eb and Bb consistently (this is important), and the strings playing D (with F as an embellishing tone). Together, we have Eb, Bb, and D... EbM7, minus the 3rd. Even adding in the notes of the melody, F is perfectly normal to add in - we just get EbM9. Even the C can be seen as a 13th. The biggest problem with looking at this as an F7/Eb is the Bb - the guitars keep chugging away at an Eb5 chord, which doesn't really make any sense if you look at this as an inverted F7. Even supposing F7sus4/Eb... It really doesn't make any sense at that point, it's functioning purely as a predominant (I say PREdominant... the VI of Gm is a "submediant," but functionally, it's classified as a "predominant," leading into the V chord). This holds even better over the next 2 bars, where the only change is the use of a Bb in the melody. Next 2 bars, you're right, we have Dm7. Again, guitars chugging away at D and A, bass stays on D, strings play D and C, melody outlines D, A, and F... There's no question at all that it's Dm7. It may not be as strong as D7, but it's still a "v" chord in the key of G Minor, pulling towards the next bar... ...where we resolve on Gm9, climbing up to F/A, then BbM7, as you mentioned. Looking back at my analysis, I think I can drop the iv chord, there's not enough to imply it's really there, it's just a bass/guitar climb up the scale at that point while the BbM7 arpeggio continues. To sum this up: I see the entire motif as an embellishment of the "Royal Road" progression, typical of modern Japanese music and the reason for it's J-Poppy sound. In Gm, this would be EbM7 > F7 > Dm7 > Gm7; although in this variation the F7 is dropped and EbM7 continues through that bit as well (a very common variation, I might add). Edit: I forgot to address the "half cadence"... Aside from the chord being EbM7, not F7/Eb, that's not really how half cadences work. Half cadences END phrases on V, they don't start new ones.

@Kettako

8 жыл бұрын

+Ongaku Concept Thanks for the quick reply. Sorry, this is gonna be long (And I really respect your analysis) but: Here's my rebuttal 1. The melody is the harmony, I see no distinction; you simply placed so much emphasis on the bass that I believe you missed the bigger picture. and most importantly how the bass and melodies movements dictate their function 2. The tempo is in fact quite slow (I'm marking it at 84bpm), the bass line is moving in rhythmic divisions of 16th,8th,16th over 4 beats, while the melody initially goes quarter, quarter, half note. That's where I'm getting my metric division. Which is in fact 4 measures till the repeat (This really does make the most sense in terms of phrasing) The guitar is just accenting in dotted 8ths while holding straight 16ths on the bass; except on the final beat (While were on the subject) 3.I agree, the F is an embellishment, I mentioned that. The Eb holds for the first too 3 note melodic lines within the phrase. 4. You can not tell me you're hearing an EbM9. The phrasing literally takes the Eb and moves it to a D which becomes the new root. and The F doesn't ever stop being played in the melody; it is almost certainly not functioning as a 9, otherwise it would do what Eb was doing, descending to a resolve. Instead, we keep seeing the F playing with C (The suspension of Bb) and Bb itself. This should be a red flag. This trick was literally made to bring color by the jazz and pop repertoire. The guitar is merely following the bass; it's impact really doesn't seem to be a harmonic one in the sense you are referring to. Besides it makes sense when you consider the 5 of the power chord is the Tonic Bb. It's following the bass while doubling up the potential tonic that is getting implied. 5.I agree that you can drop the extra chord, because the final 2 beats hold on one arpeggiated chord; the BbM9 5. You can't just gloss over that guitar line. If it was scalar; that would be one thing. But the melody and bass outline a BbM9; this is strengthened by the preceding note values. If you look at the bass and melody in polyphony, you'll see this. Likewise, it ends the phrase, solidifying its strength as the tonic of the piece. 6. I agree that the ideas are very similar to j-pop and the harmonic structures you mentioned (with the Royal Road Progression). I even watched your video on the subject of that line (I really enjoyed it btw) But tbh I even had an issue with some of your analysis. You gloss over how phrases often end using that structure; ignoring where dominant tonic relations inevitably occur. Gm7 isn't the tonic, it's just a means to subvert the tonic ). "Somewhere over the Rainbow" does the exact same thing. Using the Mediants and submediants to prolong cadences, since their structures are nearly identical to the tonic; giving a more lifted or darker resolve. your EbM7 > F7 > Dm7 > Gm7 isn't VI-bVII7 > v > i; It's more likely IV-V-iii-vi. This makes sense, when you consider those mediants are used as extensions of the true tonic, the V now has total dominance, and the phrase even resolves on the BbM9. 7. About the half cadence, I guess I should have elaborated that I meant to say the movement makes a conjoined phrase for the repeat and that the move was I-V. So in that way, you're right, it's not really cadential. 8. Look at the melodies the guitar plays through the piece. It is literally filled to the brim with Bb Major modal lines F>Bb..C..B>F>Bb..C.>D>C>Bb (The C is a neighbor tone, but the F Bb and D are a recurring tonic, emphasized by the F>B perfect fifths, and ending both parts of the phrase with Bb. It never sounds like the third; but rather a clear phrase end. Addendum: Honestly, this is a tough thing to agree on; Toby Fox is borrowing really heavily from the pop repertoire. And with that field comes really ambiguous chords and harmonic functions. It certainly can't be treated like classical harmonic analysis the majority of the time. (Funny story, The rolling stones still can't agree what key "Satisfaction" is in because of these oddball functions) I can understand where your disagreement and opinion are coming from as well. The bass is a huge element to most harmonic understandings; But I think those strong perfect fifth relationships in the melody are undermining the Basses value and from how I'm listening, it just feels like you're putting too much emphasis into something that is, for all ends and purposes , functioning like a suspension or extension half of the time. Likewise, this feels like one of those progressions that have long since had this debate in the music theory world. But I really wanted to throw my 2 cents in there because I feel their is more to this analysis (and this harmonic progression) than meets the eyes and that any people venturing into the comment sections ought to be aware.But of course there is more to an analysis than just harmony; and that's where my entire argument and perspective lies, in the overall motion. As a closing, thanks again for replying to my comment, regardless of the difference in opinion (To which I don't think there will be a conversion) I really do enjoy many of your videos; it's nice to see someone placing this kind of focus on music theory. Wrong or right, you're putting it out there and giving others (like me) something to think about. And its been fun; I do still think I'm on the money, but truly it's a bit pedantic since either analysis provides a similar reasoning behind the pieces solid structure, open sound, and sense of finality. Good work with the vid and response

@TheZenytram

7 жыл бұрын

it is possible to do a video just from this three coments haha

@charlesrodriguez3657

6 жыл бұрын

Zenytram Searom hold my avocado

@mariomaster4128

3 жыл бұрын

Kettako top 10 anime battles

Actually, Toby fox didn't compose one song, Ghouliday. It's just jingle bells but with a sPoOkY sample, and i don't think Toby composed jingle bells.

What program do you use to write scores

@OngakuConcept

8 жыл бұрын

+DubbelA Djaoen I use MuseScore!

Good stuff, also worth noting: Hopes and Dreams is Sorairo Days and Bonetrousle is Unfounded Revenge

@Sonicrida

8 жыл бұрын

+Poxuz What do you mean by this......I was very reminded/inspired to listen to Soraido Days after listening to Hopes and Dreams haha

@iantaakalla8180

6 жыл бұрын

It means that if you were to overlay Bonetrousle and Unfounded Revenge, they would sound very similar.

What is VI? I've never heard of "predominant" so I am assuming it's the same as "subdominant" which is IV. I tried to Google and found this en.wikipedia.org/wiki/Predominant_chord ... which doesn't mention VI. I love the video though, just trying to understand what VI is.

@OngakuConcept

7 жыл бұрын

It's a little confusing. "Subdominant" is a degree's name, "predominant" is a function. The subdominant (IV) functions as a predominant. In major keys, VI is a tonic-family chord, but in minor keys, the functions are a little different; VI functions as a predominant in a minor key.

@base2446

7 жыл бұрын

Ok that was confusing. I'll need some time to process this. Thanks for the explanation and fast response :)

@mongoose1582

7 жыл бұрын

Ongaku Concept THANK YOU FOR THIS I'VE BEEN TRYING TO FIGURE THAT OUT FOREVER

ZUN? ZUN! GET BACK HERE!

this is basically my thing. i do this in every song lol

@virgobro2025

5 жыл бұрын

One-trick

What is the song that plays at the end?

@OngakuConcept

6 жыл бұрын

"Hopes & Dreams" from Undertale + "Never Gonna Give You Up" by Rick Astley

@OngakuConcept

6 жыл бұрын

... unless you mean the song that's playing during my outro, before that... in which case, it's a song I wrote for the endings of my videos.

@shauneborn

6 жыл бұрын

That was fast. Thank you.

Todokete setsunasa ni wa

Lol I love you for this bro

@OngakuConcept

8 жыл бұрын

+HollyTheHylian

I think you can call it lydian

are you happy with yourself

@OngakuConcept

8 жыл бұрын

+happyricepaddle indeed :D

hopes and dreams > megalovania

@loopstratos4619

5 жыл бұрын

undertale > hopes and dreams

@minasion1475

5 жыл бұрын

All Undertale Music > Other Music

@Azure1013

5 жыл бұрын

It's just the best song in the whole soundtrack, especially if you put it into the context of when you hear it in the game.

@Catshapedblobofdarkness

3 жыл бұрын

music choice one > music choice two

@niiii4134

3 жыл бұрын

Yeah :)

Do you use makeup?

@OngakuConcept

6 жыл бұрын

Nope.

I'm trying to learn to make music like Toby, but you kinda lost me at around 1:17 xD

@virgobro2025

5 жыл бұрын

Still following him. Are you a child or something?

joshua! get some sleep, bro!

@OngakuConcept

8 жыл бұрын

+AugustBurnsSam FINE MOM :

@AugustBurnsSam

8 жыл бұрын

+Ongaku Concept don't you use that tone with me.

Huh, that's why I find the song a bit eerie probably, it uses a chord used for buildup in the section where it's already built up

@virgobro2025

5 жыл бұрын

Not eerie

3:44 You have abused your powerful knowledge of Chord progressions and Music theory, and used it for your own evil purposes. #dissapointed

@virgobro2025

5 жыл бұрын

What are you talking about?

You like Sonic. Dont you.

でも、彼は日本語が話せるのか???????

@hyrekandragon2665

5 жыл бұрын

トビー？最近に日本語を勉強しているそうです。トビーは deltarune に声優で、日本語を話した。

@liethanvelasco3973

5 жыл бұрын

@@hyrekandragon2665 really? I didn't know that 😂 かっこいいね!

Ya got rickrolled sucah

100th comment xD