University o Arkansas, ayetteville ScholarWorks@UARK Theses and Dissertations 5-2013 The inal Cut: Music or ilm and Electronic Media ohnathon Edard Paae University o Arkansas, ayetteville ollo this and additional orks at: htt://scholarorks.uark.edu/etd Part o the Comosition Commons Recommended Citation Paae, ohnathon Edard, "The inal Cut: Music or ilm and Electronic Media" (2013). Theses and Dissertations. 757. htt://scholarorks.uark.edu/etd/757 This Thesis is rought to you or ree and oen access y ScholarWorks@UARK. It has een acceted or inclusion in Theses and Dissertations y an authorized administrator o ScholarWorks@UARK. or more inormation, lease contact scholar@uark.edu.
The inal Cut: Music or ilm and Electronic Media
The inal Cut: Music or ilm and Electronic Media A thesis sumitted in artial ulillment o the requirements or the degree o Master o Music in Music Comosition By ohnathon Paae University o Arkansas Bachelor o Arts in Music, 2010 May 2013 University o Arkansas
Astract This thesis contains oth music scores and audio iles that ertain to the scoring o music or ilm and video games. My thesis contains ive ieces that ere ritten or either ilm or video games. The scores ere made using inale 2011 and the audio tracks ere created using the sequencer Reaer in comination ith East West Hollyood Brass, East West Stormdrums 2 and Vienna Symhonic Orchestra virtual instruments. With these, I ill demonstrate my aility to eectively comose and orchestrate music or various genres.
Thesis Dulication Release I herey authorize the University o Arkansas Liraries to dulicate this thesis hen needed or research and/or scholarshi. Agreed ohnathon Paae Reused ohnathon Paae
This thesis is aroved or recommendation to the Graduate Council. Thesis Director Dr. ames Greeson Thesis Committee Pro. Gerald Sloan Dr. Roert Mueller
Tale o Contents Statement o Purose...Page 1 Scores: The Escae...Page 1 The Pond Proect...Page 20 Close Pursuit...Page 39 Till Tomorro's irst Light...Page 63 Dark Ascension...Page 71 Aendix Comact Disk Track Inormation...Page 77
Statement o Purose As someone ho ants one day to rite music or ilm and video games, it seemed only aroriate that my thesis reect my aility to cometently rite or these media. Instead o riting a single, large iece, hoever, I have comosed ive smaller ieces, ith dierent emotional states. This ill create a ortolio that can e used to sho otential emloyers my comositional ailities. The main oint o this thesis as to test my aility to not only rite music that as aroriate or each genre, ut also to make convincing recordings o each iece using Digital Audio Workstations (DAWs) and various sets o virtual instruments (VSTs). A Digital Audio Workstation is a rogram that allos or the creation, recording, editing and layack o digital sounds. The DAW that as used to create each soundtrack is called Reaer. Similar to rograms such as Logic or Pro-Tools, Reaer is a sequencer that can e used to record live instruments, or used as a MIDI sequencer to trigger VST samles. The VSTs used in this roect ere East West Hollyood Brass, East West Stormdrums 2 and Vienna Symhonic Orchestra.. DAWs are erect or scoring or ilm ecause one can imort a video cli into the rogram hich allos the comoser to accurately line u cues and get a general eel o hether or not the music they have comosed orks ith a articular scene. They also allo you to edit many asects o the audio, including, ut not limited to, equalization, eects, volume and anning. All o these are utilized y comosers to create an audio that is as realistic as ossile or the most art though, realistic samles are not used in Hollyood ilms. Most ig udget ilms have enough money to hire live erormers. In this case, a comoser using a DAW ould create the audio mock-u to give the director an idea o hat the music ould sound 1
like. This saves time and money y alloing the director to have the comoser change (or in some instances, scra) the music eore any real layers are aid to record a iece that ill not e used. Not all ilms, hoever, have the otion o using live erormers. Most indeendent or small udget ilms usually do not have the money to hire live layers and rely on comosers ho can give them close to the same sound, ut at lo cost. Even some ig udget ilm or games ill use digital samles i they can get the same sound or cheaer. The Elder Scrolls: Skyrim, comosed y eremy Soule, is one examle that comes to mind. Even though it has an entirely orchestral soundtrack, all o the sounds heard in the game ere created using DAWs and VSTs. It is necessary as a comoser today to e ale to ork ith this technology, and esecially as a ilm and video game comoser it is quite essential and useul. Being knoledgeale in this area o music technology could make the dierence in your music eing used in a ilm, or eing scraed or something else. The Escae The iece titled, The Escae, is ased on a scene rom Buy the Vamire Slayer titled Hush. In the scene, hile Buy is usy ighting o various demons, her riends are eing chased y creatures that have stolen their voices. Since the scene starts out very ominously, I elt that having strings holding to high, dissonant itches ould set the mood. To kee the music rom ecoming stagnant, a small motive is resented in the violas and reeated in the cellos. The overall harmony o the iece consists o keys ith chromatic mediant relationshis. Examles o this can e heard in music y ohn Williams, Hans Zimmer and Klaus Badelt. Chromatic mediants have a very striking sound and are a erect aural reresentation or an action scene. Though they are not the only ay to achieve intense sounding music, the sudden 2
shit o tonality makes or not only interesting harmony, ut also can allo or interesting melodies. The main motive o the iece starts in m. 8 in Violin I and lutes and is ased on a recurring sixteenth-note trilet attern. The overall harmony o the irst section consists only o a d minor chord or six ars eore shiting to minor, a chord ith a chromatic mediant relationshi to d minor. The olloing is a transition section that is imitative o Igor Stravinsky. This section underscores a section o the video here the creatures egin chasing the victims. I elt it as imortant to do something secial here ecause this is the irst time you see the creatures chasing eole. Starting in m.18, the motive rom m.12 is used (ithout the rising sixteenth-note trilet attern) as the ne motive. While Violin I, utes, ooes and clarinets lay the melody, Violin II, viola and cello rovide a syncoated rhythm to vary the rhythmic texture. The trumets are used to rovide motivic content, hile at times also roviding coloration y laying notes that are not art o the chord heard under them. The horns in m. 20 recaitulate the melody layed to measures earlier, creating a call and resonse relationshi. The iece ends ith the horns and trumets imitating the to sixteenth and eighth note attern the asses had een laying throughout the iece. The Pond Proect In the summer o 2012, I as contacted y Taylor Yust, a student at the University o Arkansas, ho as looking to add music to a video game he as designing. It as a game or cell hones called Pond. Pond is a game in hich the layer takes resonsiility or maintaining a virtual ond. To do so, the layer must eliminate dierent creatures as they enter 3
the ond y taing on them. I this is not done eectively, the ond ill sloly ecome more contaminated, and eventually ecome unusale, in hich case, the layer loses. Taylor as looking or some tranquil music that ould it the idea o the game. or this roect, I rote to ull ieces, Pond and Dia Pereito, and music or the gamelay, that is not a iece er se, ut a collection o randomized sounds that I have dued Pond Gamelay. The reason that I chose to rite the music or his game as to learn hat as dierent hen riting or a game as oosed to a ilm. One o the iggest dierences eteen comosing or ilm and or video games is that some games, such as Pond, do not have a ixed video duration. This means that one scene or level could last eight seconds, ten minutes, or never change. The diiculty here is to create interesting music that ill have the aility to loo. Because o this, ieces ill need to either end in such a ay that the loo unnoticeale or leasing transition to the ear, or e minimalistic to the oint that here it loos ould not matter. Pond Title Screen Pond as the irst track I rote or the roect. I used as e instruments as I could or the uroses o making the track sound tranquil. The main instruments used are har, ute, ooe and clarinet. The strings are used to ill out the sound and to ill in the harmony. The overall orm o the iece is AABA. The iece starts in E maor ith ute and har, the melody eing in the ute. In m.5 the ute lays the melody again, this time ith strings added. In m.9, the melody is layed again y the ute, ut this time ith the clarinet a third loer. At m. 19, the melody returns, only this time in the ooe art and ithout any suort rom the strings. The ute remains to lay a counter melody against the ooe. This is to add a it
o comlexity to hat has een, thus ar, a very simle harmony and melody. Measure 27 marks the eginning o the B section. To start the B section, the ute is given a ne melody, ith har and string suort. I anted the B section to sound distinctly dierent rom the A section so the key as changed to G Lydian to emloy a modal sound. The clarinet here has a very imortant art. Its o is to rovide sounds imitative o real lie sounds. In m.27, it lays a high B to G igure and in m.30 the clarinet has to trilled notes. These are used to imitate the sound o a ird call, something one might exect to hear at a ond. Ater this, the A section is reeated in the original key o E (via common chord modulation). In m. 39, the melody is heard in harmony eteen the ute and clarinet, ut instead o comleting the melody, the harmony shits a chromatic mediant higher (to G) and initiates a alling melody, ith the iece ending a measure later on a B chord (another chromatic mediant shit) hich ill act as a V-I resolution i and hen the music is reeated. Pond Gamelay This as the hardest asect o the roect to deal ith ecause o the nature o the game. The entire game takes lace on one level, a ond. It is the layer's oective to kee the ond clean or as long as ossile y deeating various creatures that are inecting the ond. As the ond loses health, the layer must remove the creatures rom the ond y taing the screen in order to stay alive. The only thing that changes in the game is the diiculty o the enemies, hich makes it harder or the layer to kee the ond healthy. This means that reresenting the ond's health musically is imortant as it kees the layer alert to his or her ond's status. or this section o the game, looing is essential. 5
The overall iece is very minimalistic in nature. ive arts are layered searately, ut can e added to one another in a random time sequence. Each layer is in a orld o its on and is activated hen the layer reaches a certain health level. irst, e have the iano simly laying to chords, an A to a D. Until e get to layer ive, the iano is the rimary musical element. When the layer's health dros elo a re-set numer, layer to comes in. Layer to consists o another iano laying all o the notes not ound in the key o A, to give the layer the sense o unease. The interesting thing, though, is that they could haen in any order. One o the eatures o the rogram used to uild the game is randomization o sounds. To reak any monotony and kee the ile size small, the iano notes ere roken into individual arts and ut in searately in the game. This alloed the rogram to lay the notes in any order. A ind chime is used or layer three to add not only a it more uneasiness (most o the notes are outside the key o A) ut at the same time a it o tranquility. The ind chimes are the most natural sounding instrument heard. They give the illusion that you are actually sitting near a ond ith the ind loing. Layer our consists o izzicato celli. They lay rimarily in the loer range, going rom lo note to high note to imitate the sound o droning. This is so the layer ecomes aare that they are close to losing the game. Also, y adding a dierent timre to the mix that is harsher than the others, the layers may ecome more anicked y the sudden lack o tranquility. The inal layer is comosed o a multitude o izzicato violins in the middle to high range. Since at this oint the layer ould e very close to losing the game, the gentle iano cuts out hile the agitated violins are heard. This should cause the layer to anic due to the harsh nature o the sounds, ossily making it harder to reestalish his or her concentration. 6
Pond Credits- Dia Pereito This iece is the inal art o the game and ill e heard during the credits. Dia Pereito means erect day and is directly related to the oening iece Pond. To kee continuity, the melody is the same as Pond, hoever, the harmony as re-orked to it the style o a ossa nova. A ossa nova is an evolved orm o a sama, ut ith no dance stes. Bossa nova literally means ne trend. Examles o ossa novas are ieces such as The Girl rom Ianema, and Desainado y Antonio Carlos oim. The instruments o choice here are a tyical ossa comination: guitar, ass and iano. To rovide a more relaxing eel, a recording o the ocean has een added to the soundtrack. The harmony starting rom the eginning is very similar to the oening o Pond, hoever, all o the chords used are seventh chords. The rhythm has also een changed to a tyical ossa style rhythm. The melody is exactly the same melody used in Pond, ut here starting ith iano, and later moving to the guitar. The guitar is used as the rimary rhythm instrument and kees a syncoated rhythm against the ass to accentuate the ossa eel. In m.19, the guitar takes the melody, ut ith a e ornamentations added. This continues until m. 27 here the iano comes ack in ith the B theme. The guitar gives a ack-eat to the rhythm at m.27 to dierentiate the rhythm o the B section rom that o the A section. I elieve that a ossa style song or the ending is very aroriate. It has a very, hoe you come ack mood to it. Hoeully, regardless o hether the layer ailed or succeeded, they ill eel more elcome to lay the game again. 7
Close Pursuit Close ursuit as y ar the hardest iece to inish. Not only is it the longest iece o my thesis, ut it contains the most sections and themes o all the other ieces. Close Pursuit is ased on the oening chase scene rom the ames Bond movie Casino Royale. Since the scene starts immediately ith Bond's accomlice chasing the target, the music starts o very intensely. To create a trial music quality, ongos, as ell as other ercussion, are introduced early on. Harmonically, the iece starts ith an octatonic tetrachord that shits urther u the octatonic scale every time it is heard. The quality o the scale hels create a sense o tension and susense. This tension increases until m.11, hen Bond himsel oins the chase. Once Bond oins the chase, a 016 trichord ecomes the asis or the harmony. This rovides the scene ith a sense o grittiness. It also sets u uture sections ith the aility to shit easily to D minor y centering the trichord around D. In m.19, the rhythm changes drastically rom constant eighth notes to sarse orchestral hits. This coincides ith a scene shit in the ilm rom Bond chasing the target in the city, to oth o them running through the ungle. This is very common in ilm scoring. Oten the rhythmic ulse, or even harmonic nature o the music, is changed to reresent a shit in angle or a change in scenery. Another technique emloyed here is the use o multile metric shits. To make certain cues line u in a ilm it is sometimes necessary to change the numer o eats in a measure. In m.27, the mood drastically changes rom exciting to static. This is the oint here Bond temorarily stos chasing his target to think o a more eicient ay to catch him. Right eore the chase recommences, there is a sixteenth-note urry o cluster chords in the trumets. This signals the restart o the chase. At m.35, another rest section aears hen the target stos to rantically search or Bond. Since I used more lo tones during the last reak, I thought that 8
using higher sustained tones ith disconnected hits ould etter reresent the target s sense o anic. In m.1, Bond makes a ig entrance ith a ulldozer and a more rominent harmony is called or. I recycled art o the octatonic scale I used rom the eginning to create an E(5) chord. rom here, I use a series o inverted chords to create a alking ass line hich allo the eventual change to D minor to not sound so arut. Once e get to m.7, e are successully in D minor. The next section starts in m.73 and is in 7/ time (3+). The melody here starts in the rench horn and is a maniulation o the melody heard at m.1. The dierence eing that this melody continues to rise here the other stoed ater only our measures. Once the melody has een ully layed y the horns, the trumets oin in an octave higher and the irst violins to octaves higher. At this oint, Bond is closing in on the target and is ascending a uilding under construction. The added octaves add a sense o heightened danger and action to the scene. All o the musical uildu to this oint is released at m.8 ith a grand 016 trichord uildu. Once the trichord is released, the next section egins in minor and is ack in / time. This is to reect a musical dierence hen the camera angle changes and Bond has all ut cornered his target. The harmony consists o all minor chords, ith a e chromatic mediants, to kee the intensity even in a sloer temo. In m.102, the melody is smoothly transitioned into a crescendo that is essentially a rising E natural minor scale. This is not ecause the section is in E minor, ut is rather a result o the chromatic mediant shit rom C minor to A minor. The harmonic shit orces the melody to shit ith it hile it is rising, creating the scale. The rising scale leads us to a section o orchestral hits. These hits line u ith a art o the scene here the target is rantically searching or Bond. The hits hel to uild susense and 9
to oreshado that the target ill ind Bond, ut things ill roaly not go as he lanned. The scene ends on a B, E, E trichord. This 016 trichord rovides enough dissonance to create unease and alloed the iece to end the same ay it egan. Till Tomorro's irst Light I rote this iece to evoke a sense o Americana, similar erhas to ohn Williams score to Lincoln. My inuences hen riting this iece ere Coland's anare or the Common Man, Quiet City, as ell as ohn Williams. The oening melodic line in the clarinets mostly consists o ourths and iths, very common intervals in the music o Coland. The main melody o the iece is introduced in m.22, ut more interesting than the melody is the harmony used throughout the iece. Part o hat makes Coland's sound unique is not only the very oen sounding intervals he uses, ut also, the use o orroed chords and added tone chords. I emloy a very an-diatonic sound ith the use o added tone chords and ste-ise movement giving the iece a oing-like quality. Dark Ascension Dark Ascension as y ar my avorite iece to ork on. I have never tried to incororate electronic sounds into any o my ieces eore, so getting the chance to do so as a thrill. Although I did not have a articular scene to ork ith, I tried to imagine a sci-i scene such as one rom Aliens. The oint as to create a iece ith a dark, other-orldly mood. Various eects are used to create a dark setting. Violas use tremolo cluster chords to create a sense o unease, hile violins use harmonics. In the electronics, a ounding sound can e heard throughout most o the track. This is done uroseully so the listener ill imagine that something evil is trying to enter, or ossily trying to escae rom its rison. The only harmonies used are ones ith chromatic or doule chromatic mediant 10
relationshis, hen there is any harmony at all. My avorite assage o the iece occurs in m.25, here a screeching, terriying arrage o sound haens. I as inuenced y Krzyszto Penderecki's Threnody or the Victims o Hiroshima. Penderecki's use o various extended techniques and screaming string arts ere a erect sound or hat I as looking to accomlish. Right ater the threnody section, a calm, yet ominous sound is heard rom the horns and lo rass. The harmony here, also consisting mostly o chromatic mediants until the second-tolast chord, is G minor, hich is resolved don a hal-ste in the outer voices only, alloing it to o into G maor. 11
Instrumentation The Escae Close Pursuit 2 lutes Piccolo Ooe Ooe 2 Clarinets in B 3 Clarinets in B Bass Clarinet Bassoon Bassoon 3 Trumets in B Contraassoon 2 Tromones 2 Horns in Bass Tromone 3 Trumets in B 2 Horns in 2 Tromones Xylohone Bass Tromone Timani Tua Percussion Timani Bass Drum Percussion Crash Cymal Crash Cymal Susended Cymal Susended Cymal Snare Violins I Violins I Violins II Violins II Violas Violas Celli Celli Bassi Bassi Till Tomorro s irst Light Dark Ascension 2 lutes 3 Electric Keyoards Ooe (With EW:Stormdrums2) 2 Clarinets in B Horn in Bassoon 2 Tromones 2 Horns in Bass Tromone Trumet in B Tua 2 Tromones Percussion Bass Tromone Crash Cymal Tua Susended Cymal Timani Bass Drum Percussion Violins I Crash Cymal Violins II Susended Cymal Violas Snare Celli Violins I Bassi Violins II Violas Celli Bassi 12
Pond Title Screen lute Ooe Clarinet in B Har Violin I (Solo) Violin II (Solo) Viola (Solo) Cello (Solo) Pond Gamelay 2 Pianos Wind Chimes Violins Celli Dia Pereito 2 Guitars Piano Bass 13
ã B 2 lutes Ooe 2 Clarinets in B Bass Clarinet 2 Bassoons Contraassoon 2 Horns in 3 Trumets in B 3 Tromones Bass Tromone Tua Timani Percussion (Sus. Cymal, Crash Cymal) Violins I Violins II Violas Celli Bassi q=120 q=120 P P 1 The Escae Score Ominously
With Intensity lts. 6... O. B Cls B. Cl. Bsns. C. Bn. 3 3 Hns. B Tt. 1 Tn. 12 B. Tn. Tua Tim. Perc. Vln. I Vln. II Vla. Vc. Bs 6 6 6 ã 6 B Sus. Cym. æ 3. a' 1 3. 15
lts. 11. O. B Cls B. Cl. Bsns. C. Bn. Hns. B Tt. 1 Tn. 12 B. Tn. Tua Tim. Perc. Vln. I 11 11 11 ã 11 n n. 3 3....... n Crash Cym. a' 1.... Vln. II Vla. B... Vc. Bs 16
lts. 16 n O. B Cls B. Cl. Bsns. C. Bn. n Hns. B Tt. 1 Tn. 12 B. Tn. Tua Tim. 16 16 n Perc. 16 ã Vln. I 16... n Vln. II Vla. B... n n Vc. Bs n.. n.... 17
lts. 21 O. B Cls B. Cl. Bsns. C. Bn. Hns. 21 B Tt. 1 a' 1... Tn. 12 B. Tn. Tua Tim. 21 æ Perc. Vln. I 21 ã 21 Vln. II Vla. B Vc. Bs........ 18
lts. O. n 25...... n B Cls B. Cl. Bsns. n C. Bn. Hns. B Tt. 1.. 25.... n a' 3... a' 1........ Tn. 12 n n B. Tn. Tua n n Tim. Perc. Vln. I 25 25 ã 25 Crash Cym. n... n Sus. Cym. æ Vln. II Vla. B Vc. n n Bs n n n 19
Score Pond q=100 Tranquil lute Ooe. Clarinet in B Har Violin I DCB/EGA lasciar virare P Violin II Viola B Cello 20
l. O. 5. B Cl. H. Vln. I Vln. II 5 5 Vla. Vc. B 21
l. O. 9. B Cl. H. 9. Vln. I Vln. II 9 Vla. Vc. B 22
l. O. 13. B Cl. 13. n H. An Vln. I Vln. II 13 n Vla. Vc. B 23
l. O. B Cl. 17. H. Vln. I 17 17 P Vln. II Vla. B Vc. 2
l. O. B Cl. 21.. H. 21 Vln. I 21 Vln. II Vla. B Vc. 25
l. O. 25..... n B Cl. H. 25 rk rk.. n n DCB/EGA rk. rk. n n Vln. I Vln. II Vla. Vc. 25 B izz. n n n izz. n n n æ n æ n n æ æ n n n n 26
l. O. B Cl. 29. Ÿ~ Ÿ~~. rk rk.. rk rk.. 29 H. n n n n Vln. I Vln. II Vla. Vc. 29 B n n n n n n æ n æ n n æ æ n n n n 27
l. O. 33. B Cl. 33 H. Vln. I Vln. II Vla. Vc. 33 B arco P arco P P P P 28
l. O. 37. B Cl. H. 37. Vln. I Vln. II 37 Vla. Vc. B 29
l. 1 n n rit. n O. B Cl. H. 1 n n n n n n n n n n n n n n ~~~~~~~~~~~~~~~~~ Vln. I Vln. II 1 n Vla. B n Vc. n 30
Score q=60 Pond Gamelay Piano Piano 2 Ruato.. P Layer 1.... Windchimes Violins Celli Pno. Pno. 2 W. Chm... Layer 2. Ped....... Vln. Vc. 31
Pno. Pno. 2 W. Chm Vln. 7. 7 7 7..... Layer 3. n.. 3. n Vc. Pno. Pno. 2 W. Chm 10 10 10. n n....... n. n... n. Vln. 10 Vc. 32
Pno. Pno. 2 W. Chm 13 13 13.. n n... n.... n.. 3... n n Vln. 13 Vc. Layer izz. n n. n. Sim. 3 Pno. Pno. 2 W. Chm Vln. Vc. 16. 16 16 n. 16.. Layer 5.... n. n n n n n izz..... n. 3 n n n n n n n n n 33
19 Pno. Pno. 2 W. Chm 19 19 n n... n. n.. n. Vln. 19 Sim. Vc. 22 Pno. Pno. 2 W. Chm Vln.. 22 22 n n. 22. 3 n n.. n Vc. 3
Score q=120 Dia Perieto Γυιταρ 1 Βοσσα Νοϖα Εµαϕ 7 Û Û Û Û Û Û Û Û Û Αµαϕ 7 Û Û Û Û Û Û Û Û Û Γυιταρ 2 Πιανο. Βασσ....... n Γτρ. 1 5 Εµαϕ 7 Û Û Û Û Û Û Û Û Û Αµαϕ 7 Û Û Û Û Û Û Û Û Û Πνο.. Βασσ....... n Γτρ. 1 9 Εµαϕ 7 Û Û Û Û Û Û Û Û Û Αµαϕ 7 Û Û Û Û Û Û Û Û Û Πνο.. Βασσ....... n 35
Γτρ. 1 Πνο. 13 Εµαϕ 7 Û. Û Û Û Û Û Û Û Û Φ 13 Φ 7( 5) Û Û Û n Û n Û Û Û Βασσ.... n... Γτρ. 1 Γτρ. 2 17 Φ 7 Β 7 Û Û Û Û. Εµαϕ 7 Û. Û Û Û Û Û Û Û Û 3 Πνο. Βασσ.. n.... Γτρ. 1 21 Αµαϕ 7 Û Û Û Û Û Û Û Û Û Εµαϕ 7 Û Û Û Û Û Û Û Û Û Γτρ. 2 n. Βασσ... n.... 3 36
Γτρ. 1 Γτρ. 2 25 Αµαϕ 7 n Û Û Û Û Û Û Û Û Û Û Û y Û Û y Û y Û Û Û y Û Γµαϕ 7 Φ 7 Πνο. n. Βασσ... n. n. n Γτρ. 1 Πνο. 29 Û y Û Û y Û. Γµαϕ 7 Û Û y Û Û y. n Û y Û Û Û y Û. Φ 7 Û Û y Û Û y Βασσ.. n n. n.. n Γτρ. 1 Πνο. 33 Β 7 Û y Û Û y Û y Û Εµαϕ 7 Û. Û Û Û Û Û Û Û Û Βασσ.. n.... 37
Γτρ. 1 37 Αµαϕ 7 Û Û Û Û Û Û Û Û Û Εµαϕ 7 Û Û Û Û Û Û Û Û Û Γτρ. 2 Πνο.. Βασσ... n.... Γτρ. 1 1 n n Û Û Û Û Û Û Û Û Û. Β Πνο. n Βασσ n.. n n.. 38
Score q=120 Close Pursuit Piccolo/Ooes With Intensity 2 Clarinets in B Bassoon 3 Trumets in B 2 Tromones 2 Horns in. Xylohone Timani Percussion (Bass Drum, Crash Cymal, Sus. Cymal) Snare ã Bass Drum Violin I Violin II Viola Celli/Bassi B. 39
Pcl/O 5 Cls Bsn Tr Tns 5..... Hn Xyl 5 Tm Per ã Sn Vln. Vln III Vla Vcl/Bs 5 B. B.... 0
Pcl/O 11 3 Picc.... Cls 3 Bsn 3 Tr Tns Hn Xyl 11 11.. ƒ 3 3 3 3. n..... n... Tm Per ã 3 3 Crash Cymal Sn 3 Vln. 11 3 Vln III Vla Vcl/Bs B 3 3 3 1
Pcl/O 15 5 Cls 5 Bsn 5 Tr 15 5 Tns 5 Hn Xyl 15 5 5 æ P Tm 5 Per ã 5 Sn 5 Vln. 15 5 Vln III 5 Vla B 5 Vcl/Bs 5 2
Pcl/O Cls Bsn 19 O. 5 5 5 5 5 5 Tr Tns 19 5 5.......... 5 5 Hn 5. 5 Xyl 19 5 5 Tm 5 5 Per ã 5 5 Sn Vln. Vln III Vla 19 B 5 5 5 5. æ n 5 5 5 5 Vcl/Bs 5 5 3
Pcl/O Cls Bsn Tr Tns 22 22 5 5 5 5 5..... Hn Xyl 22 5 5. Tm 5 Per ã 5 Sus. Cymal æ Sn Vln. Vln III Vla Vcl/Bs 22 B 5 5 5 5 5. æ n n æ
Pcl/O Cls Bsn Tr Tns 26 26.. n 3 3 3 3 3. P Hn Xyl 26.. 3 3 Tm 3 Per ã æ 3 Sn æ 3 Vln. 26 3 Vln III Vla Vcl/Bs B 3 3 3 n. P. 5
Pcl/O Cls Bsn Tr 31 31 Picc. O... 5 5 5 5.. n Tns 5 Hn 5 Xyl 31 5 Tm 5 Per ã 5 Sn 5 Vln. 31. 5 Vln III Vla B. 5 5 n. Vcl/Bs 5 6
Pcl/O Cls 35 n n 3 3. Bsn 3 Tr Tns 35........ 3 3 Hn 3 Xyl 35 n 3 Tm 3 Per ã æ 3. æ Sn 3 Vln. 35 3 Vln III n 3. Vla B.. 3. Vcl/Bs... 3. 7
Pcl/O 1 3 Cls 3 Bsn 3 Tr Tns 1 n n 3 3............ Hn.. 3 Xyl 1 3 Tm 3 Per ã 3 Sn 3 Vln. Vln III Vla Vcl/Bs 1 B n n n n 3 3 3 3 8
Pcl/O 7 Cls Bsn Tr Tns Hn 7 æ Straight Mute Xyl 7 Tm Per ã Sn æ æ æ æ æ æ æ æ æ æ Vln. 7 Vln III Vla Vcl/Bs B 9
Pcl/O 51 n n n n Cls Bsn Tr Tns Hn Xyl 51 51 Oen n n n n n Tm Per ã Sn æ æ æ æ æ æ æ æ æ æ Vln. 51 Vln III Vla Vcl/Bs B 50
Pcl/O 55 5 Cls Bsn Tr Tns Hn Xyl 55 55 5 5 5 5 5 5 Tm 5 Per ã 5. æ æ Sn æ æ æ æ æ æ æ 5 æ æ æ æ Vln. 55 5 Vln III Vla Vcl/Bs B 5 5 5 51
Pcl/O Cls Bsn Tr Tns Hn Xyl 59 59 59 n Tm Per ã Sn Vln. 59 æ æ æ æ æ æ æ æ æ æ Vln III Vla Vcl/Bs B Div. 52
Pcl/O Cls Bsn Tr 63 63 Tns Hn Xyl 63 Tm Per ã æ æ Sn Vln. 63 æ æ æ æ æ æ æ æ æ æ Vln III Vla Vcl/Bs B 53
Pcl/O 67 Cls Bsn Tr Tns 67 n n 3 3 3. 3 3 3 3 3 3 3 Hn Xyl 67 Tm Per ã æ Sn. Vln. 67 Vln III Vla B Vcl/Bs 5
Pcl/O Cls Bsn 72 7 7 7 Tr Tns 72 7 7 n n Hn 7 Xyl 72 7 Tm 7 Per ã 7 Sn 7 Vln. 72 7 n n 3 3 3 Vln III Vla Vcl/Bs B 7 7 7 n 55
Pcl/O Cls 76 Bsn Tr 76 Tns n n Hn... Xyl 76 Tm Per ã Sn Vln. 76 n Vln III Vla B n Vcl/Bs 56
Pcl/O 80 8 6 Cls 6 8 Bsn 6 8 Tr 80.... 8 6 Tns Hn. n... n. 8 6 8 6 Xyl 80 8 6 Tm 6 8 Per ã. 6 8 Sn Vln. 80 n.... n 6 8 6 8 Vln III Vla B n n 6 8 8 6 Vcl/Bs 6 8 57
Pcl/O Cls Bsn Tr Tns Hn Xyl 8 8 8 6 8 6 8 6 8 8 6 ß 6 8 8 6.. ß.. ß 6 8.. ß. n.. ß........ ƒ..... Tm 8 6 Per ã 8 6... æ Sn Vln. Vln III Vla Vcl/Bs 8 B 8 6 8 6 8 6 6 8 6 8. n. ß.. ß..... 58
Pcl/O 89 Cls Bsn Tr 89 Tns Hn n. n. Xyl 89 Tm Per ã Sn Vln. 89 Vln III Vla Vcl/Bs B n n 59
Pcl/O Cls 9 Picc.. n. Bsn Tr Tns Hn 9... n. n. Xyl 9 Tm Per ã Sn Vln. 9 Vln III Vla Vcl/Bs B n 60
Pcl/O 99. n n. Cls Bsn Tr 99. n. Tns Hn n. n n. Xyl 99 Tm Per ã æ Sn Vln. 99 n. Vln III Vla B n n n n n Vcl/Bs 61
Pcl/O Cls Bsn Tr 10 10 n n.. n n n n n n Tns Hn. n n.. Xyl 10 Tm Per ã Sn Vln. Vln III Vla Vcl/Bs 10 B n n n n. n n n.... n. n 62
B 2 lutes Ooe 2 Clarinets in B Bassoon 2 Horns in Trumet in B 3 Tromones Tua Snare Cymals (Crash, Medium Sus.) Timani Violin I Violin II Viola Celli Bassi æ q=96 Gently π π æ æ æ R æ æ R æ æ R æ æ 63 Till Tomorro's irst Light Score
ls 8 O Cls. Bsn Hns 8 Tr Tns Ta Sn Cm 8 R æ R æ R æ æ ß æ Tm Vln 1 8 Vln. 2 Vla Vcls Bsi B æ Div. 6
B ls O Cls. Bsn Hns Tr Tns Ta Sn Cm Tm Vln 1 Vln. 2 Vla Vcls Bsi 1 1 1 1 æ q=75 65
ls O Cls. Bsn Hns Tns Ta Cm 22 22 Maestically ẇ.. ẇ.. ẇ Tm Vln 1 Vln. 2 Vla Vcls Bsi 22 B. æ. Div. 66
ls O Cls. Bsn Hns Tr 26 26 P P accel. Tns Ta Cm Tm Vln 1 26 æ æ Vln. 2 Vla Vcls Bsi B 67
ls 31 q=85 O Cls. Bsn Hns Tr Tns 31............ 3 n n Í Ta Cm Tm Vln 1 31. Vln. 2 Vla Vcls Bsi B.. n 68
ls O Cls. Bsn Hns Tr Tns Ta Sn 38 n 38 38 n n n n... n n n n n Cm Crash Cym. Med. Sus Cym. æ Tm Vln 1 Vln. 2 Vla Vcls Bsi 38 B..... æ 69
Vln 1 Vln. 2 Vla Vcls Bsi B. P P P P oco rit.. a temo P rit. U U U U U 70
Score Keyoard (Stormdrums 2: Radioactive Anomoly) Keyoard 2 (Stormdrums 2: Godzilla Hits) Keyoard 3 (Stormdrums 2: Neural Exosure) Horn in q = 90 72 (Mod Wheel) 50 (Mod Wheel) 0 (Mod Wheel) Dark Ascension... 75 85... 35. 3. 50 2 Tromones Bass Tromone Tua Cymals ã Bass Drum ã Violins I Violins II Viola B Celli Bassi 71
Key. 2 5 50. Key. 3 Vla. B. 70.. 60.. n 3 72 60 æ. æ Key. 2 11 Key. 3...... n..... Vln I Vln. II Vla. Vc. D.B. 11 B 15 O P 50 O O 72
Key. 2 16 With Emhasis 15 Key. 3 Hn....... 3. 75 3.. 3 Tn. B. Tn. Tua Cym. 16 ã æ ƒ ƒ ƒ ƒ ƒ ƒ ƒ ƒ ƒ B. Dr. Vln I ã 16 O Vln. II Vla. Vc. D.B. B 73
22 Key. 2 Key. 3 Hn. 0 Tn. B. Tn. Tua Cym. 22 ã ƒ ƒ ƒ 1st Violins glissando and/or tremolo on any notes eteen C6 and C7 B. Dr. Vln I Vln. II ã 22 2nd Violins ill lay the notes listed on the sta as harmonics and glissando one hole ste aove and elo the note chosen YY Y Y ƒ Vla. B Vc. D.B. 7
B Hn. Tn. B. Tn. Tua Vln I Vln. II Vla. Vc. D.B. Key.1 Key. 2 Key. 3 27 27 æ æ æ æ P 75
Key. 2 Key. 3 31 15 3 3 Hn. 50.. Tn. B. Tn. Tua. Key. 3 35... Hn. Tn. B. Tn. Tua 76
Aendix Comact Disk Track Inormation Track 1: Track 2: Track 3: Track : Track 5: Track 6: Track 7: Title: The Escae Style: Action Length: 1:03 Title: Pond Title Style: Video Game Length: 1:9 Title: Pond Gamlay Style: Video Game Length: 1:51 Title: Dia Perieto Style: Video Game Length: 1:33 Title: Close Pursuit Style: Action Length: 3:15 Title: Till Tomorro's irst Light Style: Americana Length: 2:28 Title: Dark Ascension Style: Sci-i Horror Length: 1:50 77