@porterrobinson & Anime Music (Wind Tempos Analysis)

I analyze @Porter Robinson 's “Wind Tempos” from his new album “Nurture”, and its connection to Masakatsu Takagi’s score for “Wolf Children”. I also talk about his use of harmonic devices found in songs by Hisaishi and Sakamoto.

Piano Performance, Score Preparation, Advising - 冬真Nyakkai
Cello - Dara Hankins

Wind Tempos full song:

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Link to Voice Leading meme:

My course on Master The Score w/ @RyanLeach

Interested in composition lessons? Book an initial call here.

Patreon:

Discord:

[whycantihaveanumber]

That whole isolated piano part really brings me to tears; not bawling like a baby necessarily, but I have to be real careful when and where I'm listening to it lmao

[carlosmartinez]

I couldn't imagine that this channel would ever review porter robinson, I'm sooo excited let's goo

[CrankyKidneys]

I love how inspired you always sound. You’re speaking about things that excite you not just uploading to make content. I truly appreciate that.

[smosifjr]

It was only a matter of time before Nurture ended up on this channel... And with my favorite song on it!!! Great job as always Gavin! <3

[Simrasil_]

I sometimes get this vague feeling of "wait that sounds japanese" and then try to figure out where that actually comes from music theory wise. This channel is definitely of great help with that, love the content. Thanks Gavin :D

[trung]

Why does this video have a few views? I love the way you react and explain. Really enjoy the video! love it

[class_shift]

Thanks Gavin-san! That was an interesting video

[mkhito]

I ended up watching the film because of this and I am astounded by the soundtrack. "Oyoste Aina" is sort of an unknown song In comparison to all the other pieces but I am so fascinated by it. If you may find it interesting as well, maybe it could make for an awesome breakdown or analysis video (and totally not because I cant figure out the sheet music for it for the last week or so) thank you to both you and Porter for introducing me to this film

[dabi_]

I just discovered your channel through the C major anime video, and I am so happy this channel exists as someone who composed and loves anime music in particular. Thanks for existing 🙏

[justinzhong]

This channel keeps covering all my favorite artists; I've never found a channel this close to my music tastes! It gives me a whole new level of appreciation for these pieces.

Also, nice climbing treadmill you got there lol

[odealianaffairs]

I love this channel so much. Since i self taught myself music theory i know a whole bunch of terms and concepts without ever putting it into real musical contexts, but here I can learn that in the frame of music that i actually enjoy. Thank you so much for the content.

[uwatanabmoe]

OwO Porter Robinson had been my biggest inspiration for my music, anyways can't wait for your colab video with Class_Shift

[Yolobolo]

I tried to understand what the song meaning was by listening to your review, which I found a little bit confusing. I'm not that knowledgable about music notes and how they simply work, but I do know in my heart that Porter Robinson created a new masterpiece. To filled my heart with joy while listening with my eyes close.

[JeiShian]

Yayyy a new video! Your voice is calming and reassuring 😊

[starbirdbeats_]

I really love your videos dude, please don't stop.... you make a difference to my compositions

[legoboy-oxkx]

That makes a lot of sense. I already knew a lot of porter's music had a lot of Japanese influence, Nurture as a whole always makes me think of Galileo Galilei or Joe Hisaishi

[Soreanol]

Had no idea Porter Robinson made this type of music - great analysis Gavin, as always!

Also, am I going crazy, or do I hear "the lick" in the background at 4:01?

[Son-vyrl]

Just found your channel, your content is really great. Please keep up the good work!

[perrydimes]

Your videos are great. The jazz rendition of the Sword Art Online song (?) in the background of the explanation is a wonderful touch.

[martialpanyvino]

Lors d'une cadence parfaite, il est commun de précéder le V par un V/V.
La position classique de ces accords est la suivante :
V et I sont tout deux à l'état fondamental, et le V/V est au premier renversement, puisque la sensible du V/V tend à se résoudre sur la fondamentale du V

Néanmoins toute sensible pouvant se résoudre exceptionnellement en restant immobile ou en descendant d'un demi-ton, la sensible du V/V peut devenir la septième du V (que ce dernier soit pourvu ou non de sa fondamentale) ou bien la fondamentale du IV en descendant d'un demi-ton.
Si un accord I au premier renversement suit les deux cas énoncés plus haut, on entendra à la basse une ligne chromatique.

Il ne faut donc pas seulement considérer le V/V comme un accord préparant le V, mais comme un accord dont les mouvements obligés peuvent ou non être respectés pour surprendre l'auditeur et piquer son intérêt. Une telle idée peut être étendue à tout accord de dominante passagère.