#bryng makes music

[bryng]

dinky ass song i just made

[poorly-drawn-albums]

bryng - I'm not scared

[razzmatazzzzzzzzzz]

Some set up:

-I like listening to creepypasta readings -TallyHall makes great music

So one of my favorites of all of the TallyHall boys is Joe Hawley, and he has p much a whole album of backwards music, and it’s my Jam. You Do Not get better than Go To Bed or Bryng Her Along. I can fall asleep to this shit, it’s some of my comfort music. BECAUSE it’s my comfort music, I find most all backwards music comforting.

And BECAUSE backwards music is often used to set and eerie tone, and/or creep people out, AND I love creepypasta readings to bits, which are yknow, meant to creep people out. Sometimes they’ll set the mood by reversing music and it has No Effect on my bcs I like that shit.

Takeaway from this? Listen to Joe Hawley for +10 Emotional Constitution Listen to all of TallyHall together because they’re awesome And listen to Actual Cannibal Shia LeBouf because it was written by Rob Cantor, who is from Tallyhall

[libidomechanica]

Quoþ þat doȝty watz þe myriest music of the bargain drink oblivious

Þe apparayl of þe Rounde bryng, I hope  there schewen, bot slokes! Was sloping  to behold the stole that 

these field, thou believed be, that, we  just can be maden mon most 

high stars shining in each others bower.  My pipe of alle. For all  my lorde of hir blake chyn with 

she perfume the strayne, in sleeping  sweet hours that your though nothing  far away in the oxens low  came glimmering eyelids screech owl to  me, and letterd farms the carppez  his bedded in a cragge, 

and a foreigner 

grass. I sing the aik, on Yarrow 

ever loved myself, þat he laȝed  and gomen, for I bayþen þay mette 

þer lady noȝt bot as the first  die I will be loud, and kepe þy  kanel at chek so ȝep þat he w as a bumble-bee. God mon þat gay,  grayþed hym so þik, þat euer ȝe fonde, bi hym þat  all where me þerfore þe hallucinations,  and my beauty making be the 

to Gawan, “where you stille;  þe werbles and on stilts of eucalyptus  fronds. —O Tibbie, I hae seen the  stood transports move the  taverna crammed with the  day, draw mens day, and let us breaking  the cypress that look  on the jewel has changed 

my falls and gos þeder in the  long its hopes I may live with 

the market I steals”  in a moment than mine recalld  this rounding Devon, winding grape, cherries  to come heart-wearying round him  rang, and the best. Me from your  ideograms, how cream, for sugarcane,  in love with his bedded?  Little bird upon our pavilion 

her hangs live I want, I  was island is she let no  one island is pass? But we set forever, 

blessyng, and wayned hym þere þat  þou not talked bylyue and shadow of a  stif kyng water and talking in 

thy behavior; beautys best. Nawþer halowed  þat seuer me, the Des Plaines  River 

And I loved you just arranging  old song at hert louies, and her theories,  rendering waves that I do  not keep, for to haf wroȝt at 

his were she but thee thou like shameless  and stuff was caught that  I know ye: alas!  Fair again.

[autodidact-adventures]

Music History (Part 12): Secular Music & Christmas Carols

Many of Josquin's secular songs were also unhappy.  His most well-known song was Mille regretz (A thousand regrets), in which the singer is regretful and self-pitying at having abandoned his beloved.  Sad love songs were common all over Europe, and the advent of music printing helped to spread them widely.

The first piece of printed music that we know of was a piece of plainsong, printed in 1476 by Ulrich Han, in Rome.  Around 1500, Ottaviano Petrucci (a Venetian printer) began publishing songbooks with movable type.  This sped up the dissemination of printed music throughout Europe, although it was expensive.

In England, the songs of the nobility and ordinary people had much the same themes (as do songs today) – the great difficulties of courting, and nature (which was used to describe the difficulties of courting).  The most popular love songs of the Tudor period (1485-1603) were That was my woe; Woefully arrayed; Absent I am; Adew, adew, my hartis lust; I love unloved; and I love, loved, and loved wolde I be.

Not all secular songs were sad, though.  Pastyme with good compayne (by Henry VIII) was a popular favourite.  Others were Hey Trolly Lolly Lo!; Hoyda Hoyda; Jolly Rutterkin; Mannerly Margery; Milk and Ale; and Be Peace! Ye Make Me Spill My Ale!

It's often believed that Henry VIII wrote Greensleeves, but this is unlikely – it probably became well-known in England long after he died.  A more likely author was the composer-poet William Cornysh (1465-1523).  He wrote regularly for Henry VIII's court and strange occasions, and one of his most well-known works is Field of the Cloth of Gold (1520), a strange mixture of fashion & politics.  His other songs have similar chord usage as Greensleeves, and have the same plaintive air.  His most famous song was Ah, Robyn, Gentle Robyn, in which the singer asks a robin for advice on the faithfulness of women.

Church music, on the other hand, was not so cheerful.  Before the Reformation, the singing was mostly done by the choirs & priests; the congregation were expected to repeatedly ask forgiveness, while listening to music on the same theme.  The exception to this was the Christmas carol, and it would have a significant influence on the development of melody & communal music-making in Europe.

The first printed collection of Christmas carols was in 1521, printed by Wynkyn de Worde (William Caxton's apprentice & successor). There was a strong increase in carol composition around in northern Europe around this time, inspired partially by an earlier Italian tradition of lauda (meaning “praises”) or cantiones (meaning “songs”) – tuneful sacred songs that welcomed the Christ-child's birth, and were written for the whole community, including the peasants.  They were written around the same time as the concept of the model manger, which Franciscan friars had thought of in an attempt to get the local shepherds down from the hills and into church.

Dancing songs were another origin of the Christmas carol – in fact, the word “carol” comes from the Ancient Greek choros and Latin choraula/caraula (a circling, singing dance).  Other influences were the pagan celebration of the winter solstice; and some fragments of Advent plainsong.  The northern European carols Personent hodie and Gaudete have their origins in earlier plainchant melodies, and so does Good King Wenceslas.

In dulci jubilo was a very popular carol in the 1400's & early 1500's.  It had a catchy melody, and also two of the distinctive elements of early Christmas carols – 1) a burden or refrain, where it repeats the final line “Oh that we were there, Oh that we were there”; 2) the mixing of Latin with English (or the language of the country it was written in).  This language-mixing was very popular in the 1400's & 1500's, and these lyrics are called macaronic lyrics. (The term macaronic may come from the Italian maccare, meaning “to crush/knead.  The word macaroon, a sweet cake made from crushed almonds, also derives from that verb.)

In countries that had a very cold winter, two non-Christian elements got mixed into carols.  The first was the pagan celebration of the winter & spring solstices, such as in The Holly and the Ivy, which is almost entirely pagan – evergreen shrubs, bark, blossom, horns, berries, the rising of the sun, the running of the deer – only the grafted-in line “and Mary bore Sweet Jesus Christ to be our sweet Saviour” is Christian.

The other non-Christian element was seasonal binge-drinking.  Wassailing (Anglo-Saxon for “saying cheers”) runs through many Christmas carols, such as the early Tudor carol Bryng us in good ale:

Bryng us in good ale, and bryng us in good ale;

Fore owr blyssyd Lady sak, bryng us in good ale.

Bryng us in no befe, for ther is many bonys,

But bryng us in good ale, for that goth downe at onys.

And bryng us in good ale.

Bryng us in no mutton, for that is often lene,

Nor bryng us in no trypys, for thei be syldom clene

But bryng us in good ale.

Bryng us in no eggys, for ther ar many schelles.

But bryng us in good ale, and gyfe us nothing ellys.

The song continues on, comparing various foods to ale and finding them lacking.  After the one line as lip-service to “Our Lady”, it's basically a drinking song.  During the Tudor era, carols about food, drink were very common, surpassed in popularity only by the Victorian era.

The Boar's Head Carol is a once-popular Victorian carol, which actually began as a tribute to an excessively gluttonous banquet at an Oxford college.  Its focus eventually shifted onto the Nativity, comparing Christ's later crucifixion to a wild boar on a spit.

It was quite common for carols to anticipate the Crucifixion.  Those that weren't thinly-disguised drinking songs, or pagan descriptions of forests, tended to focus on the fact that the baby Jesus was eventually going to die a terrible death for mankind's sins.  This trend suggests that Christmas and Passiontide (Easter) songs may have once been linked – the Coventry Carol, for example, is a Christmas lullaby that originated in a Passiontide “Mystery” Play, performed during Holy Week.

While the Christmas carol was gaining popularity, a change in choral texture was taking place.  The tune was shifting to the top voice.

Around 900 BC, monks had begun adding new parts with different notes (rather than just paralleling the main part a certain octave apart) to plainsong tunes, thus beginning the journey towards polyphony. Between 900-1500, two voices became three and then four, and the melody stayed where it was pitch-wise – and because all these new parts had been added, it was now in the middle of the texture.  This is why the top male part in a choir is called the tenor – it was the part that held the main tune, coming from the French tenir & Latin teneo.

The tune had begun to shift to the top voice in some songs during the 1400's, but it was during the 1500's that it became the norm, especially in choral music.  The only European vocal genre that still has the tune in the middle is in barbershop quartets, where the 2nd-highest voice usually sings it.

There were two main reasons for this shift.  The popularity of love songs created a demand for songs that were memorable, which wasn't as possible if the tune was hidden inside the texture.  Second, singing was becoming less constrained by the 3-part/4-part structure. Polyphonic singing was still a popular pastime among the nobility, it is true, but a new generation of singers was growing up, who had learned to accompany themselves to sing solo songs.  At this time, there were a number of instruments to choose from, as new instruments, and improved variations upon old ones, were arriving on the scene.

[bryng]

is anyone busy on the 15th

[bryng]

hey new ep out in a few minutes ok?

[bryng]

"you hold yourself to too high a standard and those standards kinda leak out and start gettin applied to other people i guess sometimes"

Hello everyone!!! my last album (under bryng) will be released on June 7th, 2024 on bandcamp, just like all my other albums it'll be completely free to download!!!

Deep Death isn't the most ambitious or experimental album. rather, it's a combination of everything I've learned throughout my musical career. I think it's a really pretty album, and I really hope you stop by to listen to it. :3

The album will have 2 singles, Silence is a Social Skill (May 10th), and Wolf in the Reeds (May 24th). There may be a few other surprise releases shortly before the album releases, but we'll see.

Whether you listen or not, I want to thank all of you who've ever listened to my music! whether you liked it, hated it, or anything in between, I'm very glad you gave it a chance!!!

[bryng]

new roxy roxy album. broken hills. september 27th. everywhere.

[bryng]

I'm fuckin outta here!!!!!!!!

hey mutuals after seeing babymatt have a fucking meltdown over a looney tunes ass "death threat" i have made the executive choice to get the hell out of here!!! stoop kid is leaving her stoop!!

with this choice I am basically not on the internet anymore, I do not have a twitter or tik tok or instagram or bluesky or anything, the only real way to follow me is on bandcamp, where I will still be releasing music. I guess you could also add me on discord (bryng.), but I'm not very talkative unfortunately.

as for this account, I'm not deactivating or anything, and I'll even occasionally post about new music I release, but I won't be using this casually or browsing tumblr at all. sorry mutuals, i love you all forever.

so yeah, fuck you @photomatt grow the fuck up and get a grip! goodbye everyone!!!

[bryng]

My sixth album, Petticoat, has been remastered in it's entirety and will soon be released on bandcamp! It includes all 20 original songs AND another 20 songs that are either demos of songs on the album OR never before heard demos. To get you excited, here's a song that has NEVER BEEN RELEASED before now, Lies by bryng.

[bryng]

the last fran fran fran fran fran fran fran fran album is out really soon, okay?

[bryng]

Hello! new single out right now, happy bandcamp friday ;3

[bryng]

Hello everyone! My new album, Please Stay With Me., is out right now! It is, like every other release, free to download and free to use in any creative content without credit or asking! Please check it out, I worked very hard on this album.

plaintext link: https://bryng.bandcamp.com/album/please-stay-with-me

[bryng]

Hello everyone! My new album, Ascends -> Light, is out right now! It is, like every other release, free to download and free to use in any creative content without credit or asking! Please check it out, I worked very hard on this album.

plaintext link: https://bryng.bandcamp.com/album/ascends-light

[bryng]

NEW SONG

@bread-pat @thearomanticsnake <3