Video Game Work 2014 - Part 2 - 02/05/2014 (FMP and CD)

This is the second page detailing my work so far into 2014. On the first part I wrote about game music that I worked on driven by inspiration, on this page I am going to talk about the pieces of music I have written, so they can implemented on video game modding work.
 




The first piece is a musical piece that was written using Sustained Chords and featured various horror elements, such as high pitched strings and a deep lead instrument (bass guitar) with a string section playing D#, G, A (first chord) D, G, A (second chord) and finally C, F, G (final chord.) This was the night time version of the Iconic Lost Woods theme prolific throughout the Zelda series, to which I have also added my own version for a modification called Shattered Fate.






The second piece is my version of the Lost Woods, unlike the horror elements of the night-time counter part this one opts for mystery using the original two chorded progression A minor (A, C, E) and F major (F, A, C.)  Using string sections, choirs, and bells as the main instrument. this piece features a more orchestral element, due to the nature of the piece I decided to use this as the main focus, while having an Alice-in-Wonderland type feel to the song. Recently I remixed this piece to give it a more melodic yet aggressive sound - https://soundcloud.com/jamesandrewharrisgrant/forest-ableton-live-9-demo-full

                                                          

Figure 1: Lost Woods

         
The third piece is a rendition of the Gerudo Desert theme from Twilight Princess, this was made using a non-diatonic chord progression (like most of my video-game pieces) that goes up in semi-tones. This chord progression provides an intense Middle-Eastern/Arabic theme, this was something I thought of during the initial stages of composition e.g. I sat down and wrote the piece based on an Arabic scale of G, G#, and A# with an added C and D# focused lead. The main instrumentation was based around guitars, wood instruments and wind instruments, with a sampled vocal providing power to the later sections of the song.

                             

Figure 2: Gerudo Sunset

The fourth piece was for the Ice-Temple, this one unlike the other three was an original piece, that didn't come from material already there. This piece featured ambient qualities that relied heavily around a reverberated synthesized lead, this song was made around seventh chords, starting with G# (G#, C, G. C) then F (F, G#, C, G.) then C (C, D#, F, G#) and D# (D#, F, G#, C.) While this started out as an ambient piece I later decided to add drums to the song to make it sound less empty. This song also featured a chord change, this was from a Three chorded progression in the beginning sections and then a Four chorded progression.

Figure 3: Snowpeak Ruins

This piece describes the writing qualities and the outright methods I used to create the music for the listed soundtracks in the introductory post. This also helped me boost my skills writing about them professionally.