This article is my examination and explanation on how musical form is utilised in much of modern media music (i.e. in video games and motion pictures). It includes a basic introduction to musical form itself and then follows up with the recommendations I follow myself.
In this post, I’ll be going through some chord progressions commonly associated with a grand feeling, or “epicness,” with some examples of how they’ve been used in popular media.
This is an examination of ‘The Witcher 2: Assassins of Kings’ by CD Projekt Red. I ended up having a lot of things to say after finishing it, about the story and mechanics as well as the music. In addition to picking apart the game experience, I’ve transcribed the title theme, Assassins of Kings, and made a scrolling sheet music video of it.
With Jeremy Soule having recently scored his third instalment — almost 10 years since the first, Morrowind — now would be an excellent time to not only review the Skyrim OST, but also to make a little note on how the music has changed over the years.
I’m not sure whether I had high expectations for the music of Mass Effect 3. Safe to say, it wasn’t as good as it could or should have been, but that it’s not bad by any stretch of imagination, it even came with a single track that’ll surely be remembered.
The original Symphobia by ProjectSAM is a comprehensive orchestral sample library with very solid quality across the board. Sonically, it’s one of the best ones out there. Its successor, quite conveniently named Symphobia 2, focuses less on replacing or improving the already existing samples, and instead features quite a few legato ensembles and solo instruments.
© Raniel Dan MMXXI.