Nobody Told Me About Id is my favorite DOOM track. But more importantly, I am so glad I finally found a music channel dedicated to the rich tapestry of DOOM MIDI music. Instantly subscribed!
Did You Know?(tm) Bobby made another variant of the song for Blake Stone: Planet Strike (1994), track called "Mourning", mostly the same but in different step.
Nobody Told Me About id has always been a fav track of mine solely b/c of how moody it is and how it builds up over time. When that melody stops for a bit and it turns to the part with the drums is what gets me every time.
It might not be as recognizable a song in terms of title reference but one can't forget Plunge Saw from the Plutonia MIDI pack- it's a mashup between this track and another one and one of my favorite iterations of the track
It's not a MIDI, but only watching this do I really appreciate that the stereo panning, repeating tones in BouncyTEM's "Perdition's Champion" are likely also particularly inspired by this song while fitting in that more dark ambient style.
There's a similar case of memorable notes that were later remixed from TNT: Evilution's Blood Jungle (Deepest Reaches and Ballistyx), such as TNT: Evilution MIDI Pack's "Wrought in Blood", TNT Revilution's "Reaching Deeper" and TNT2: Devilution's "Mechanical Illuminations". Also I'm pretty sure the first time I heard Nobody Told Me About id was in Plutonia's MAP32: Go 2 It, I used to think that the last numbered map in Doom95's launcher was the last map in each game.
From what I've read, Primeval intentionally left out the square lead, as he was inspired by the SNES rendition of Nobody Told Me About ID (of which is a fantastic sounding rendition).
Love how you break thing down and show how progression could give it a different personality. Don't get a lot of time to do that while blasting imps and zombies lol
This track encapsulates DREAD. Dread from the massacred barons. Dread from the Cyberdemon's roar and the stomping of his feet. Then finally, SHOCK when you realize that this mf is assaulting you with non-stop rockets!
Your analysis made me actually study the song more closely myself, turning on my keyboard and Audacity! Augmented triads are special for their lack of clear root: any one of the three notes could be the root, which can be seen from that you get the exact same shape in any inversion. This is a significant part of their eeriness: it disorients your internal perception of chord root. Wrapping it around a chromatic circle would give you an equilateral triangle because it divides the octave evenly into three major thirds, as opposed to the irregular shapes of major and minor triads, which divide it into a major third, a minor third, and a fourth. Here the Eaug effectively substitutes EM: G# leads to A, and we move from a more dissonant and disorienting chord to a more consonant and grounded chord, so this is like an anxiety-inducing 5-1 return. And indeed, the bass holds an E under the Eaug, and then resolves down to A. As for the perceived tempo change, the song is actually in a polyrhythm: the song starts in 6/8, giving it a ballad feel, each phrase taking two bars, then the drums establish a 4/4 with the same bar duration, and then drums and bass in 4/4 are overlaid with the chords in 6/8. You could count the entire first section of the track as "1-and-a-2-and-a-1...": (Am) One and a two and a (Dm) One and a (Eaug) two and a (Am) One ... Then "1-a-2-a-3-a-4-a-1..." when the drums come in, And then, the saw bass and square chords return, but now each phrase takes only one bar before repeating, effectively going twice as fast. The bass groove changes to be in 4/4 as well (I'm using mascii notation): a [e A] [d f] [E E] | A Meanwhile the square chords seem to be in 6/8 still, but in a different pattern: (Am) One and a (Dm) two and (Eaug) a (Am) one... This was a very interesting analysis to make, would like to hear your thoughts!
Fantastic analysis! You worded everything a lot more clearly and concisely than perhaps I did in the video haha. In the back of my mind, ahead of recording this, I had been thinking, "Oh yeah, this track could be in 6/8 despite what it says in Anvil Studio," simply because you can count along to the square part and get six 8th note beats per measure. This makes me want to now do a compilation video of MIDIs with polyrhythms, as I can think of a few already. As for the augmented chord, it would make the most sense for it be Eaug instead of Caug, given the context of the piece. You also refer to the chord progression by numbers as well (i.e. '5-1 return') - haha it took me way too long in all my years studying music to realize that's how a lot of people refer to chords, which is something I'd like to start doing in more videos going forward. Thank you for sharing this!
@@ThePhobosAmphitheater You're welcome! I really enjoyed counting it, dissecting it, and trying to play along on keyboard, split into saw and square. :3 As for numbering chords, yes, i did that since about when i started doing music theory. I put "one" on any note or chord that has some emphasis on it. Melody and harmony is all relative and modal. For example, when the bass in the piece we're discussing does "d f E", it feels like "b7 b2 1" in E, tapping into some of that threatening, ominous sound of Phrygian. These three notes in the bass really sell the vibe that you're in for a boss fight that'll test your circlestrafing. Analysing these three notes as "4 b6 5" just doesn't really capture its effect. Anyway... Your name neat and creative ;3 you have earned a sub
I like your musical approaches musics in Doom. I am used to play doom wads and one of the concerns for wad is music besides game play of course. This track is not my favorite, but I enjoy listening musics motivated from it in several wads. Because one of my preferences in music is recreation of an original track like sampling, homage or even simply changing code! As I immediately saw the intro, 2 tracks came in my mind and one of them is discovered and the other one will be, I think, discovered in next part ;) Good to share your music thought and talent and I looking forward next video! :D
So, the notes in Caug are C - E - G# but the notes in Eaug are E - G# - B# so they are enharmonic; so wouldn't it make just as much sense to call the third chord Eaug instead of Caug? Likewise with the Ebaug (Eb - G - B) which is enharmonic with Gaug (G - B - D#).
Hmm, that could be Eaug actually now that you mention it. Ah well, I think my mind defaulted to Caug since I was thinking of the A minor key not having any flats or sharps (like B# in the Eaug chord)
@@ThePhobosAmphitheater No, I get that. It's just that the sawtooth lead hits a pretty hard E on that beat and when the bassoon enters it plays G#, so I personally see it more as Eaug than say Caug/G#. Anyway, great video. I am not as familiar with the non-main game wads' music but feel pretty comfortablle talking about main games. Like one of my favourite tracks is Dark Halls (E1M3). Bobby Prince loved using the 12 bar blues but in this one he seems to use an 11 bar blues instead (removing the 2nd chord from the third set of four chords). I always found that very interesting.
I always looked at "Nobody Told Me About Plutonia" as also paying homage to "Run Like Smeg" from Rise of the Triad.
People keep telling me about iD. I wish they'd stop.
lol
new doom mod: stop telling me about id. everything’s done as different as possible from the original doom games
@@beeswithchainsaws
Doom the way iD didn't
STOP. POSTING. ABOUT ID! I’M TIRED OF HEARING IT!
Nobody Told Me About Id is my favorite DOOM track. But more importantly, I am so glad I finally found a music channel dedicated to the rich tapestry of DOOM MIDI music. Instantly subscribed!
I had to tell some of my friends in my circle who know nothing about ID. But now they understand.
Did You Know?(tm) Bobby made another variant of the song for Blake Stone: Planet Strike (1994), track called "Mourning", mostly the same but in different step.
I did not. That's pretty neat!
This is a fantastic video, I love when songs are dissected, always come out of it loving the song a lot more! Please make more!
Nobody Told Me About id has always been a fav track of mine solely b/c of how moody it is and how it builds up over time. When that melody stops for a bit and it turns to the part with the drums is what gets me every time.
It might not be as recognizable a song in terms of title reference but one can't forget Plunge Saw from the Plutonia MIDI pack- it's a mashup between this track and another one and one of my favorite iterations of the track
It's not a MIDI, but only watching this do I really appreciate that the stereo panning, repeating tones in BouncyTEM's "Perdition's Champion" are likely also particularly inspired by this song while fitting in that more dark ambient style.
This was my favorite Doom song to play on piano, one of the best original tracks imo
There's a similar case of memorable notes that were later remixed from TNT: Evilution's Blood Jungle (Deepest Reaches and Ballistyx), such as TNT: Evilution MIDI Pack's "Wrought in Blood", TNT Revilution's "Reaching Deeper" and TNT2: Devilution's "Mechanical Illuminations".
Also I'm pretty sure the first time I heard Nobody Told Me About id was in Plutonia's MAP32: Go 2 It, I used to think that the last numbered map in Doom95's launcher was the last map in each game.
From what I've read, Primeval intentionally left out the square lead, as he was inspired by the SNES rendition of Nobody Told Me About ID (of which is a fantastic sounding rendition).
I can't believe you're not a demon
The PRCP MIDI is actually a MIDI version of Tower of Babel from the SNES port of Doom.
Lovely stuff! Easily one of my faves from Doom. Been a fan of Andrew Hulshult’s version for such a long time too. :)
Yep, my first encounter with this track was when I first played E2M8, like many people!
James Paddock and John Weekly did awesome remixes!
5:36 ANVIL STUDIO!!!!!!!!!!!!!!!!!!!!!!!!!!!
Love how you break thing down and show how progression could give it a different personality. Don't get a lot of time to do that while blasting imps and zombies lol
Please keep making videos like this, your insights are a joy to hear
This track encapsulates DREAD. Dread from the massacred barons. Dread from the Cyberdemon's roar and the stomping of his feet. Then finally, SHOCK when you realize that this mf is assaulting you with non-stop rockets!
Your analysis made me actually study the song more closely myself, turning on my keyboard and Audacity!
Augmented triads are special for their lack of clear root: any one of the three notes could be the root, which can be seen from that you get the exact same shape in any inversion. This is a significant part of their eeriness: it disorients your internal perception of chord root. Wrapping it around a chromatic circle would give you an equilateral triangle because it divides the octave evenly into three major thirds, as opposed to the irregular shapes of major and minor triads, which divide it into a major third, a minor third, and a fourth.
Here the Eaug effectively substitutes EM: G# leads to A, and we move from a more dissonant and disorienting chord to a more consonant and grounded chord, so this is like an anxiety-inducing 5-1 return. And indeed, the bass holds an E under the Eaug, and then resolves down to A.
As for the perceived tempo change, the song is actually in a polyrhythm: the song starts in 6/8, giving it a ballad feel, each phrase taking two bars, then the drums establish a 4/4 with the same bar duration, and then drums and bass in 4/4 are overlaid with the chords in 6/8.
You could count the entire first section of the track as "1-and-a-2-and-a-1...":
(Am) One and a two and a
(Dm) One and a (Eaug) two and a
(Am) One ...
Then "1-a-2-a-3-a-4-a-1..." when the drums come in,
And then, the saw bass and square chords return, but now each phrase takes only one bar before repeating, effectively going twice as fast.
The bass groove changes to be in 4/4 as well (I'm using mascii notation):
a [e A] [d f] [E E] | A
Meanwhile the square chords seem to be in 6/8 still, but in a different pattern:
(Am) One and a (Dm) two and (Eaug) a (Am) one...
This was a very interesting analysis to make, would like to hear your thoughts!
Fantastic analysis! You worded everything a lot more clearly and concisely than perhaps I did in the video haha. In the back of my mind, ahead of recording this, I had been thinking, "Oh yeah, this track could be in 6/8 despite what it says in Anvil Studio," simply because you can count along to the square part and get six 8th note beats per measure. This makes me want to now do a compilation video of MIDIs with polyrhythms, as I can think of a few already.
As for the augmented chord, it would make the most sense for it be Eaug instead of Caug, given the context of the piece. You also refer to the chord progression by numbers as well (i.e. '5-1 return') - haha it took me way too long in all my years studying music to realize that's how a lot of people refer to chords, which is something I'd like to start doing in more videos going forward. Thank you for sharing this!
@@ThePhobosAmphitheater You're welcome! I really enjoyed counting it, dissecting it, and trying to play along on keyboard, split into saw and square. :3
As for numbering chords, yes, i did that since about when i started doing music theory. I put "one" on any note or chord that has some emphasis on it. Melody and harmony is all relative and modal.
For example, when the bass in the piece we're discussing does "d f E", it feels like "b7 b2 1" in E, tapping into some of that threatening, ominous sound of Phrygian. These three notes in the bass really sell the vibe that you're in for a boss fight that'll test your circlestrafing. Analysing these three notes as "4 b6 5" just doesn't really capture its effect.
Anyway... Your name neat and creative ;3 you have earned a sub
I like your musical approaches musics in Doom. I am used to play doom wads and one of the concerns for wad is music besides game play of course.
This track is not my favorite, but I enjoy listening musics motivated from it in several wads. Because one of my preferences in music is recreation of an original track like sampling, homage or even simply changing code!
As I immediately saw the intro, 2 tracks came in my mind and one of them is discovered and the other one will be, I think, discovered in next part ;)
Good to share your music thought and talent and I looking forward next video! :D
I loved the Doom soundtrack
Sinepre me parecio curioso que haya tantos remixes de este track y como nadie se le dió por hacer un vídeo conpilando los remixes.
So, the notes in Caug are C - E - G# but the notes in Eaug are E - G# - B# so they are enharmonic; so wouldn't it make just as much sense to call the third chord Eaug instead of Caug? Likewise with the Ebaug (Eb - G - B) which is enharmonic with Gaug (G - B - D#).
Hmm, that could be Eaug actually now that you mention it. Ah well, I think my mind defaulted to Caug since I was thinking of the A minor key not having any flats or sharps (like B# in the Eaug chord)
@@ThePhobosAmphitheater No, I get that. It's just that the sawtooth lead hits a pretty hard E on that beat and when the bassoon enters it plays G#, so I personally see it more as Eaug than say Caug/G#. Anyway, great video. I am not as familiar with the non-main game wads' music but feel pretty comfortablle talking about main games. Like one of my favourite tracks is Dark Halls (E1M3). Bobby Prince loved using the 12 bar blues but in this one he seems to use an 11 bar blues instead (removing the 2nd chord from the third set of four chords). I always found that very interesting.
Go 4 It, my dude.
Bobby Prince was a lawyer before he was a musician. This is why no metal band went after id software at the time.
Did anyone else hear some Darude - Sandstorm at the start of Nobody Told Me About Plutonia?
verynice
no plunge saw 😢😢
In Part 2 :)