• Register
  • Help
Page 1 of 2 12 LastLast
Results 1 to 10 of 11

Topic: Angel Tara's Awakening

  1. #1

    Angel Tara's Awakening

    This is a composition I created for one of my shared albums. The composition was meant to be sequenced such as what you would find in old SNES games although it is not a game composition. The atmosphere I wanted to bring into the song is fantasy, hope, and love. The main melody is based off of Tara's theme which I composed nearly five years ago. It is played by the flutes.

    Again, I am loving the harp from GIO! Garry has the best harp that I have heard so far. Even in the dimension pro GPO limited bundle the harp was good, but GIO definitely beats them all.

  2. #2

    Re: Angel Tara's Awakening

    Excellent work. Beautiful theme in a perfectly fitting style for your game. The production on it is great too with the small additions of choir and strings as it progresses.

    There are a lot of indie game devs looking for composers and this could be your step into that work if you want it.
    YouTube Music:
    My Channel

  3. #3
    Senior Member
    Join Date
    Oct 2009
    Canyon, Texas, USA

    Re: Angel Tara's Awakening

    Very nice, and the harp is great. My GPO4 lists two harps. I think Garritan Instruments for Finale has only one. Do you or someone else familiar with the two harps in GPO4 know which one this is?


  4. #4

    Re: Angel Tara's Awakening

    It's a lush, effectively atmospheric addition to your repertoire,sururick!

    This is part of your gaming world sound track series isn't it? I don't understand what you said about it not being a game composition. Because it's on your album which is separate from the gaming work, but has the same themes?

    The Harp indeed has a very nice tone. It does sound, however, that all of the velocities are of the same value. I know you put your projects together by inserting notes by hand. Don't forget that this automatically gives all notes the same velocity value, and they're perfectly quantized. Taking the time to hand edit the velocities and the start times would make the Harp's line more natural sounding. Right now it has the quality of old style synth arpeggios which were never intended to sound natural.

    GPO actually has 10 Harps, when counting all the permutations. The Glissando Harps are very useful, used in conjunction with the Harp Packets in GPO to get realistic fast arpeggios. But I don't know what Harp is in the "Garritan Instruments for Finale" package.


  5. #5

    Re: Angel Tara's Awakening

    This has a nice full bodied sound to it. The atmosphere that I get out of this, is a winged lady slowly rising to the heavens at dusk. ( I'm not sure, but she might be drinking a budweiser on her way up. I could be wrong about that though.) Anyway, I enjoyed this a lot. Thanks for putting up on the forum.

  6. #6

    Re: Angel Tara's Awakening

    Hello sururi, this is very nice, and I can see what you mean by the SNES style. Though, I don't think the composers back then had quite the hardware capabilities to use these samples

    Though, the simple, quick to catch, melody and repeated arpeggios in the harp are quite indicative of the genre and part of what made it so great! Afterall, if you are going to spend a week trying to figure out how to get to level 3 of the Light World in Zelda, there had better be some good music to go with it!

    Er... my point being, this is a great piece, and I really enjoyed the listen, thanks for posting!
    Michael Obermeyer, Jr.
    youtube channel
    soundclick page

  7. #7

    Re: Angel Tara's Awakening

    I want to thank all of you for the feedback on this song, and I am happy that all of you enjoyed listening to it. I would like the mention that this theme wasn't meant for The Legend of Erthia. I just sequenced it similar to game music because old style game music is my most memorable and favorite type of compositions to listen to.

    Thanks. I really admire the harp in GIO. I am not familiar with the full GPO, for I only have the limited version which came bundled with dimension pro.

    Thanks Jay, I like your vision of the winged lady and the nice cold bud!

    Thanks! My favorite zelda was 3. I loved the themes to the Dark World, Death Mountain, and Castle Hyrule the most.

    Thanks a lot Graham, I really do appreciate your feedback and support on my music and game. I can see you also like the good old days of Nintendo and video game music!

    Thanks again for the feedback, Randy. This kind of a theme is not meant to be natural sounding in terms of orchestration. The best way to explain is that I grew up loving video game music which is far from natural. Some of my favorite tunes come from games such as The Guardian Legend for NES, Final Fantasy VI for SNES, and good old Zelda 3 for SNES (a lot of old timer Nintendo fans would understand what I mean by this). I find that I love these tunes more than actual orchestrated pieces. With the higher quality of sampled instruments these days, it really enhances this type of music! However, some compositions do sound better with the dynamics and orchestration such as the the second movement I created for LOE. For instance (http://www.youtube.com/watch?v=NDcDsKmR7XE), this composition is fixed and with no dynamics, but it is so solid and effective. It remained with me since childhood. This is the kind of music I love listening to the most and which inspires me to create the tracks I do, but again, good compositions that come from Hans Zimmer, Jeremy Soul, etc... also have their purpose for dynamics and the atmosphere they were intended for. For me, the sequenced and fixed tunes are the most memorable, and that is why the majority of my compositions tend to end up the way they are, it's mainly what I love listening to. However, as I mentioned, some compositions do sound better with the dynamics such as the Silverfin Tavern and some of my compositions in my albums. Thanks again for the feedback!



  8. #8

    Re: Angel Tara's Awakening

    Quote Originally Posted by sururick View Post
    Thanks again for the feedback, Randy. This kind of a theme is not meant to be natural sounding in terms of orchestration. The best way to explain is that I grew up loving video game music which is far from natural. Some of my favorite tunes come from games... I find that I love these tunes more than actual orchestrated pieces. With the higher quality of sampled instruments these days, it really enhances this type of music!...For me, the sequenced and fixed tunes are the most memorable, and that is why the majority of my compositions tend to end up the way they are, it's mainly what I love listening to...
    Hello again, Richard - Thanks much for the reply. You did a great job explaining a concept that's literally never occurred to me before!

    It's a fascinating thing, how what you're talking about is something that would never have come about without the development of MIDI - the Musical Instrument Digital Interface specification.

    The original, older game music which was such an important part of your childhood was created when MIDI was being used in a simplistic, straight forward way. It was an example of what was generally referred to as "computer music." People weren't pushing MIDI's limits and trying to emulate the characteristics of acoustic music as it's performed in the real world. Notes were basically being put together on a grid, with constant velocities and perfect quantization to note values.

    It was about arpeggiators spinning out repeating patterns, robotically perfect chords pulsing out rhythms, and equally perfect notes winding out melodies. The sounds used were all the products of various kinds of synthesis. One of the most famous and complex pieces of computer music of this sort was Wendy Carlos' brilliant adaptation of classical music done for "A Clockwork Orange."

    The most commonly heard examples were in the earliest video games, and later in the games that started featuring more developed theme music, like what you're talking about.

    Key to that sound was the use of synthesis. There were "trumpet-like" sounds, "string-like" sounds, along with purely synthetic sounds swelling with LFO driven envelopes, and plink-plonk abstractions of percussion instruments. The sound was something based on previous music, but something new unto itself. Nobody putting this stuff together was trying to fool listeners into thinking they were hearing real instruments, and of course the public totally got that.

    It was a sound that hovered at a very constant level, with very little, if any, dynamic flow. The sound shimmered in the air at an nonfluctuating rate like the fantasy orchestra sound of Disney's famous "Electric Parade."

    Now in 2012, there's a lot more diversity in how MIDI is used. Samplers and synths are layered in with real orchestras to beef up movie sound tracks. Musicians, like many using the Garritan Libraries, are using the technology to simulate the live orchestras they're writing for. On TV we hear some wonderfully complex soundscapes which are a blend of natural and totally synthetic sound, often using amazing morphing sound manipulation completely unheard of even just 10 years ago. Video games can have beautifully produced, lush cinematic style scores. And then there's all the retro MIDI work, purposely using the synthetic sound of Roland drum machines, and harkening back to sounds like the original wobbley sounds of the Waldorf synthesizer - and so on.

    And that's all just background for saying that when I hear a simple little arpeggio like the loop the harp in "Angel Tara" is playing, and hearing it played in that old MIDI style, my ears want to hear a retro MIDI sound playing it. The original MIDI harps were square waves with an instant attack, actually managing to sound something like harps, only with that abstracted, pleasantly simple, pure sound that makes it definitely synthesized and not natural. That kind of sound works perfectly for me with this kind of raw MIDI material.

    It's the marriage of robotic MIDI and the natural harp sound that sounds peculiar to me. With digital sound and MIDI nowadays, most anything is possible, so there's no way anyone could tell you it's "wrong" to use a natural sound with unnatural production techniques. I'm just explaining, in reply to your post, why this combination just doesn't sit right on my ears. It sounds like an incorrectly used harp to me, while a "harp-like sound" would sound just right because I don't expect that kind of sound to be played naturally.

    Like I said at the beginning of this reply, you've described a concept that I've never thought of before. And I've tried to explain how I still can't wrap my head around the idea of liking how beautiful a harp sounds, but not wanting to play it more like a harp! --But I believe you! You're definitely doing what you want, so thanks again for your detailed reply.


  9. #9
    Senior Member Frank D's Avatar
    Join Date
    Apr 2006
    Suburban NYC

    Re: Angel Tara's Awakening

    Hi Again, Sururick ...

    Yet another emotional, atmospheric piece from the Game Music King!

    Although I haven't commented on all your installments (there seems to be a rather steady posting of them), I have listened to (and enjoyed) all of them. Nice work!

    I'm not a gamer and have only listened to game music when friends have played various cues for me. I do love the minimalist, somewhat ominious quality to all the ones I've heard (including all the ones you've posted) ... all rich with almost continuous string pads (often synthy-sounding strings) defining that ominious, almost surreal atmosphere. Here's a question: Do game composer's pretty much always subscribe to this model? I.E., is there ever a string quartet underscore, or a jazz band underscore, or <name a genre>? Just curious!

    I love that we have such varied and talented musicians at this site ... fun to share music outside our own genres.

    Also, like Randy, I never considered your perspective on dynamics ... good dialogue in this thread!



  10. #10
    Senior Member Silh's Avatar
    Join Date
    Sep 2010
    Alberta, Canada

    Re: Angel Tara's Awakening

    Thanks for the track sururick, I've always had a soft spot for this style of music, which has had a definite influence on the way I write as well.

    Game music has changed a lot over the years, obviously. From the ol' synth chips, to the introduction of samples (if I remember correctly, the SNES had a whopping 64 kilobytes of RAM for samples!), to the full recordings of today. There was a definite trend towards the the continuous arpeggios, especially in the RPG games which tended to become known for their music, but there were other styles around as well, though those songs may have ended up becoming as well known.

    The original Nintendo had a mere 4 voices I think, and I wouldn't be surprised if the trend of arpeggios came from the fact that you couldn't spare the voices to play a chord. 4 voices doesn't really create a lot of wiggle room for different musical styles though. The SNES sound chip bumped it up to an 8 voice hardware sampler, and along with the usage of (albeit limited) samples, you started to see different styles emerging... at least, the best they could manage within those limitations.

    The subsequent console generation just provided multichannel audio out (eg. original Playstation had 24 channels), so games would run their own little software samplers, or in some cases play music off the CD, and by this point, you could do whatever you want style-wise, and some of the samples used at this point were getting quite decent. There are a number of game soundtracks from this era which I quite enjoy as well, which combine some of the older composition styles with samples which were starting to get more realistic, so at least for myself, the combination of realistic sounds with not-necessarily realistic playing isn't as jarring for me as it may be for others.

    After that, everyone just prerecorded everything. For me as well, though, those earlier tunes remain more memorable. I don't know if it was because of those limitations that they had back then working with smaller sounds (then again, I'm one who often prefers listening to baroque pieces more than the modern orchestra), or just changes in styles and conventions over the years (eg. for myself, most movie soundtracks in the last 10-15 years have not caught my attention either...).

    (I don't want to derail sururick's thread, which is afterall, supposed to be about his piece! But, you've piqued my interest in what one could dig up for different genres of music for game soundtracks ... at least back in the SNES era, or maybe early Playstation era, since past that the limitations sort of disappeared)
    -- Matt Wong

Go Back to forum
Page 1 of 2 12 LastLast

Tags for this Thread


Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts