New interview on CDJapan

[Berserk]

Wait... I thought Mana went to a music university... Was this false? Because at a music university, he would have learned things like reading music and music theory and the like... o_O

In the CDJapan interview for Beyond the Gate, he briefly mentioned that he couldn't write music. At that time I thought that it might have been just sloppily translated because I also thought he went to a music university, but I don't know... My first instinct was that he was possibly lying about if for his image (to seem like more a free spirit or something? I don't know), but he really doesn't sound like he's just making it up in this interview. There are two possibilities:
1. People who say he went to a music university are full of bull.
2. He could have still gone to a music university... Just because he attended one doesn't mean he passed

I'm very interested to hear that Mana doesn't know music theory or chord progressions, because MdM's songs always struck me as tightly composed and quite 'theoretical' songs to listen to! (Well, I am completely wrong!)

I felt the same way! The principle thing that drew me to his music is how expertly his counterpoint is written and how he seems to be extremely experienced with music theory. It isn’t too shocking, though. Music comes naturally to everyone, even the complex theories, I guess.

I like very much what he has to say about the harpsichord. He's described its sound perfectly. I never thought I'd find a modern musician that would even consider touching the instrument; much less have similar feelings about it as I do.

I wasn't aware of any orchestra being a part of Bara no Seido. I thought the strings were synthesized (except for the support violin)? They sound like it, anyway.

 

[Halvorc]

You get so stuck on the theory that you forget what you're doing.

I agree. In my personal experience technical knowledge can be restricting. Granted, it gave me a lot of useful tools but it also made me analyse and re-analyse my work and having to have reasons for everything I do, which, rather than giving me freedom, has at times limited my creativity and spontaneity. Perhaps Mana's stance is a little extreme, but in the end it doesn't matter if he achieves what he does through consciously applying musical theory or by instinctively doing whatever he does. His aim is to let his compositions "flow naturally from my feelings and imagination", so they probaly wouldn't sound much different if he did know musical theory.

I used to think so, but my thought is that 'theory can lock you into pre-made composing patterns' is just a fear that people who begin learning music may have. But once you earn experience, you may learn to compose with theory, and not for theory, or like if theory composed things for you. Look at jazzmen, they must be the more theorical skilled musicians, and they're often known to play "out of scales", and that's a thing for which it's better to know and master scales first. That's even a thing taught at music schools. Pretty paradoxal, isn't it ?

 

[Kinsao]

Mastering the theory is the key to artistic liberty. It's a tool, not slavery.

I am another who is in agreement.

I'm not saying that good compositions can't be made without music theory. I am just saying that in general, knowing the theory is a Good Thing and helpful in making music. ^^

BUT I also understand how under some circumstances it can seem constricting, depending on the way the person works. If I start off trying to compose by building something around my 'theoretical knowledge', it usually ends up boring. Personally, I prefer to start off by allowing myself to be led down a path without regard for theory. Then, at some midway point I begin to re-apply my knowledge over what is existant. So perhaps the 'framework' that I made to start with is more unconventional, but it's also brought under control, and the advantages of theoretical knowledge can be brought in to open up gates once more, and progress the piece. ... but that's just my peculiarity.

I disagree with those who say theory is restrictive, and such, though. I'm not saying everyone making music should be forced to learn it if they are working perfectly well without it. I just think people should open their minds (and that goes in both directions too! ^^).

 

[Halvorc]

Mastering modes is good if you can't do enough variations within a scale, in one song. Too bad I still understand nothing about modes... all those dorian, myxolydian, aeolian things... *dies*

 

[Kinsao]

Mastering modes is good if you can't do enough variations within a scale, in one song. Too bad I still understand nothing about modes... all those dorian, myxolydian, aeolian things... *dies*

I'm glad I'm not the only one!
Well, that's a bit of a lie, actually... I do understand about modes... it's just remembering all of the damn things... >__<

(And yes, I really am going to bed now... XDD)

 

[ken]

Listen to Halvorc, he knows what he's talking about

 

[flowersofnight]

There are two possibilities:
1. People who say he went to a music university are full of bull.
2. He could have still gone to a music university... Just because he attended one doesn't mean he passed

In this interview he claims he "graduated from an all music school":
http://www.scape.sc/translations/mm-che ... -sep94.php

Of course, Mana's hardly averse to lying in interviews XD Who knows...

I wasn't aware of any orchestra being a part of Bara no Seido. I thought the strings were synthesized (except for the support violin)? They sound like it, anyway.

In "sei naru koku eien no inori", the strings are credited to "Goto Yuichirou Group", so for that song they're real. The others just have one or two support instrumentalists when necessary.

 

[navate]

I used to think so, but my thought is that 'theory can lock you into pre-made composing patterns' is just a fear that people who begin learning music may have. But once you earn experience, you may learn to compose with theory, and not for theory, or like if theory composed things for you.

I'm gonna have to repeat myself and say that everyone's mind (creative process) works differently. While you may find that thoery helps you, the way you go about music isn't the only way to do it. Everyone has their own process, and the key thing to creating anything is to be comfortable in your process. So, if Mana can get by being anti-theory... let him be. He, of all people, should know what he needs to be able to write. Perhaps he's being unnecessarily stubborn or "fearful", but who cares? I don't feel his music has suffered for it; indeed I find it be some of the most intricate and moving music I've ever come across. I think it's cool Mana is interested in exploring music through emotion. It shows. So it must be working.

Theory won't get you stuck into a formula any more than not learning theory will, by the by--forumlas develop from your own tatses in things. That's what defines style. I'd say Mana, even though he doesn't know theory, is still pretty formulaic. Most artists are.

 

[Berserk]

In this interview he claims he "graduated from an all music school":
http://www.scape.sc/translations/mm-che ... -sep94.php

Of course, Mana's hardly averse to lying in interviews XD Who knows...

It would be odd if he was able to take courses/get by and graduate without learning musical notation or theory at all. I think I'll bet that he was making it up in that interview. If he can't even read music, what could he have possibly learned at an all-music school?

In "sei naru koku eien no inori", the strings are credited to "Goto Yuichirou Group", so for that song they're real. The others just have one or two support instrumentalists when necessary.

It's possible that Yuki or Kozi were able to notate the music, in that case... I'm really not sure how he could have possible arranged it himself. It's also possible that he used a computer program to notate it for him, I suppose. I guess we'll never know.

 

[DementedThingie]

. It's also possible that he used a computer program to notate it for him, I suppose. I guess we'll never know.

You can ask him via fanmail

 

[PureElegance]

(will not talk about that music stuff that you guys are talking about) Like Mana, I can't read a thing XD

Wow That interview was wonderful, I feel like I love Mana even more now. And that biography at the end just made me feel so happy. Who writes these things? ..I really do feel so glad for him.
The 10th Anniversarry was beginning to ruin it for me though >_>; But that little summary about MM was just written wonderfully. And I thought that the "aloof" thing was strange o.o'...I never thought Mana as being "aloof" hm...

 

[Amatsu]

Wow That interview was wonderful, I feel like I love Mana even more now. And that biography at the end just made me feel so happy. Who writes these things? .

i've always had a theory that Mana himself does... O.o;; i also think he writes the questions for the interviews, just so that they ask him about everything he wants to convey as a messege in the interview.

 

[Mistoline]

I simply disagree with Halvoc. I've done the process - I've played piano by ear and composed on the piano by ear.

Then I was taught theory and I'm not nearly as good as I was then because the knowledge literally gets in the way. It might not be like that for everyone, but saying Mana would loose nothing if he learned theory is a totally one-sided view, narrow-minded and conservative.

That's like that German book that came up here recently, saying women need to cook and do household again and not go to work, because it would make everyone happy. If that made the author happy, it is fine for her, but must not be true for every other woman.

Also, I amazed by what Mana can do without theory. He does do Bach-like compositions without even knowing all the rules Bach knew. That's quite an achievement to be proud of and he needs nobody to disrespect him for that - especially not those who COULDN'T do it without theory.

 

[Formless]

I never found it difficult to compose by combining theory and natural talent. Why not use them both to come up with something unique? I just never found it to be difficult. o__O

 

[Mistoline]

I never found it difficult to compose by combining theory and natural talent. Why not use them both to come up with something unique? I just never found it to be difficult. o__O

Yes, that is how it works for you. It might work differently for others, you see?

Some people can only compose well with the theory, some might be better off not knowing theory and some have no problems combining the two. People have individual differences. It would be stupid of me to assume everyone's skill worsens by knowing theory, but it would be just as stupid of you to believe that nobody has difficulties combining natural talent and theory.

 

[Formless]

I never found it difficult to compose by combining theory and natural talent. Why not use them both to come up with something unique? I just never found it to be difficult. o__O

Yes, that is how it works for you. It might work differently for others, you see?

Some people can only compose well with the theory, some might be better off not knowing theory and some have no problems combining the two. People have individual differences. It would be stupid of me to assume everyone's skill worsens by knowing theory, but it would be just as stupid of you to believe that nobody has difficulties combining natural talent and theory.

I just never thought it'd be a problem to improvise on something you've learned with your own abilities. My mistake, I guess.

 

[ken]

I never found it difficult to compose by combining theory and natural talent. Why not use them both to come up with something unique? I just never found it to be difficult. o__O

Yes, that is how it works for you. It might work differently for others, you see?

Some people can only compose well with the theory, some might be better off not knowing theory and some have no problems combining the two. People have individual differences. It would be stupid of me to assume everyone's skill worsens by knowing theory, but it would be just as stupid of you to believe that nobody has difficulties combining natural talent and theory.

I just never thought it'd be a problem to improvise on something you've learned with your own abilities. My mistake, I guess.

Nah, not your mistake, you're right on target there.

 

[Halvorc]

Yngwie Malmsteen and Patrick Rondat (in his latest album) make Bach-like music, thanks to the harmonic minor scales. They do not use arpeggios generators on computer. Mana's music doesn't remind me of him. Sorry, I'm not saying it's good or bad, but for me it's just another style.

Guitariste.com Your album ends with 'Partita n°1 for violin solo, by J.-S. Bach. Has this track been difficult to play ?

Patrick Rondat : It is a difficult work for a single violin, which forced me to overcome the technique I've had already. This music always modulates, no bar repeats itself... It's a music I play in strict alternate picking. The writing is very complex, but it sounds ! Bach or Mozart, honestly, it's different from Neoclassical music. While Neoclassical music contents itself with bringing some harmonic minor arpeggios and modulating one or two times, Classical music modulates permanently, alternates very various passages. It demands much more efforts. I've had to work a lot on this piece, to the stage I've had a tendinitis for the first time in my life. I admit that I have forced it a bit, like an idiot. Here's an advice : if you begin to feel pins and needles in your hand, make a pause !

Again, he does not compare himself to Bach, because he spoke about a direct re-interpretation of some Bach's works. Neoclassic is cool, too.

 

[Kyuketsuki]

Yngwie Malmsteen

"I am your new God, little boys."

 

[Halvorc]

Yngwie Malmsteen

"I am your new God, little boys."

Is there one person left on Earth who hasn't watched that video ?