TLDR;
Drumroll Tony reacts to and analyzes "One-Winged Angel" from Smash Ultimate, praising its intricate orchestration, dynamic use, and impressive arrangement. He highlights the contrast between the orchestral sections and the heavier, rock-influenced parts, ultimately favoring the former for its complexity and the demands it places on the musicians.
- The intro orchestral section is praised for its use of muted trumpet, clarinets/flutes, and rhythmic establishment by the timpani player.
- The return of motifs with horns and the choir's ominous sound, enhanced by tubular bells, are noted as highlights.
- The piece transitions into a rock section, which, while enjoyable, is considered less intricate than the orchestral parts.
- The dynamic use and chord swells in a later orchestral section are commended, showcasing the composer's skill.
Intro and Initial Impressions [0:00]
Drumroll Tony introduces the video, which features him reacting to "One-Winged Angel" from Smash Ultimate, a choice determined by a Patreon vote. He expresses his excitement to listen and analyze the piece.
Orchestral Opening [0:22]
Tony is immediately impressed by the orchestral arrangement, particularly the use of muted trumpet and woodwinds, supported by the timpani's rhythmic foundation. He appreciates the cool orchestrations and arrangements involving brass, woodwinds, and strings.
Motif Returns and Ominous Choir [1:57]
The return of specific motifs played by the horns catches Tony's attention. He also notes the powerful sound of the choir, enhanced by the use of tubular bells, creating an amazing combination.
Harmonic Weaving and Percussion [3:32]
Tony observes the weaving harmonies and the use of timpani and snare drums. He also points out how the woodwinds play with something very similar to bring the next section. He expresses his appreciation for the percussion elements, including the aggressive timpani, snare drum, and various other percussion instruments.
Transition and Tango-like Melody [5:30]
Tony describes a section where the melody, devoid of the drum's influence, briefly evokes a tango-like feel. He notes the anticipation built by the bass player. However, he finds the symbol level and guitar to be dominant in the mix, making it difficult to hear the other underlying elements.
Rock Section Introduction [7:36]
Tony identifies a clear shift into a "butt rock" style, contrasting with the earlier orchestral sections. While the choir maintains its grand, legato style, the drums alter the feel significantly. He admits a preference for the intricate nature of the first section over this one.
Duple Rhythm and Shredding [8:40]
He describes the section as having a duple rhythm and being very "in your face." He notes the sound traveling from left to right and the presence of shredding guitar, but acknowledges that the sound is dominant in the mix.
Dynamic Orchestral Section [10:27]
Tony considers this section the most impressive part of the piece due to the demands it places on the musicians. He highlights the dynamic use, noting the swelling chords and well-written arrangement. He also points out a decrescendo that he missed on the first listen.
Guitar and Trumpet Lead [12:42]
Tony jokes about the similarity between guitar players and lead trumpets. He reiterates his preference for the orchestral sections, praising their interesting and well-crafted arrangements. While he finds the heavier guitar and drum sections cool, he is more fascinated by the arrangement of musical ideas in the orchestral parts.
Final Thoughts and Outro [13:24]
Tony expresses his satisfaction with the chosen piece and hopes the audience enjoyed the reaction. He encourages viewers to check out his Twitch channel and Discord, and thanks them for watching.