Current Examples:
"Daguerreo, the Hermit's Library" (FFIX Re-Arrangement)
"Dueling Destinies" (Star Wars/KOTOR Re-Arrangement)
Sci-Fi Ambient Theme Example, "Duplicity"
Slavic/Steampunk, "Trudy's Fire"
Projects:
Viking/SynthRock, "Neo Oslo" (concept)
Soundtrack for Game Demo, "Chosen Heart"
Soundtrack (still ongoing) for "Tom vs. Armies of Hell"
Marvin Hamlisch Contest Entry:
[youtube]11xkxwKEIZQ[/youtube]
More to be released at a later time. Some of our commissioned pieces below have been licensed for commercial use.
Rock/Electronic Examples:
"Liang Jiang" (Chinese, traditional, orchestral)
"Bounty Hunter's Ballad" - Rax's Theme, TOR (spaghetti-western, electronic, rock)
Song Info:
"Tools of the Trade" - Mikita's Theme, TOR (rock, electronic, femme fatale)
Song Info:
"Your Number's Up" - Tylen's Theme, TOR (rock, electronic, spy)
Song Info:
"_algoRhythm" - Cnids's Theme, TOR (electronic, synth, pop-opera, vocals)
Song Info:
"Blind Ambition" - Book's Theme, TOR (orchestal, rock, world fusion)
Song Info:
Orchestral:
"Aegis" - Karshok's Theme, GW2 (cinematic, war theme)
Song Info:
"One Spirit" - Clan Aisha Theme, TOR (cinematic, asian fusion)
Song Info:
"The Roads Between Us" - Luxelen and Araxus Love Theme, GW2 - LICENSED (Stage Production)
Song Info:
"The Man and the Mirage" - Araxus's Theme, GW2 (gypsy/assassin/gunslinger theme)
Song Info:
"Moonlit Waltz" - Moonlight Lantern's Guild Theme, GW2 (whimsical, dark fantasy)
"With All My Heart" - Rysari and Phylok Love Theme, TOR (choir, epic-fantasy)
Song Info:
"Heart and Hearth" - Kitty Sparkle's Theme, GW2 (Dickensian, warm orchestral)
Song Info:
"Blackened Sky" - Renswerth's Shanty, GW2 (sea shanty, vocals at the end!) - LICENSED (Stage Production)
Song Info:
"Lingering Whisper" - Eleanora Smith's Theme, GW2 (soft, meditative, asian-influence)
Song Info:
"Daguerreo, the Hermit's Library" (FFIX Re-Arrangement)
"Dueling Destinies" (Star Wars/KOTOR Re-Arrangement)
Sci-Fi Ambient Theme Example, "Duplicity"
Slavic/Steampunk, "Trudy's Fire"
Projects:
Viking/SynthRock, "Neo Oslo" (concept)
Soundtrack for Game Demo, "Chosen Heart"
Soundtrack (still ongoing) for "Tom vs. Armies of Hell"
Marvin Hamlisch Contest Entry:
[youtube]11xkxwKEIZQ[/youtube]
More to be released at a later time. Some of our commissioned pieces below have been licensed for commercial use.
Rock/Electronic Examples:
"Liang Jiang" (Chinese, traditional, orchestral)
"Bounty Hunter's Ballad" - Rax's Theme, TOR (spaghetti-western, electronic, rock)
Song Info:
Show Content
SpoilerBounty Hunter's Ballad (Rax's Theme)
Patron: Rax
Styles: Western, Folk, Orchestral, Rock, Electronic
Featured instruments: fiddle, whistle, harmonica, guitar, piano, full orchestra, synth
All of our songs tell a story. Some of them do that by evoking certain events or periods of a character's life. Others focus on the change or evolution a character goes through. The goal of this song was to tell a story in a different way; by personifying the feeling this character gives to others (particularly, his marks).
It starts off establishing the mood with rustic fiddles, harmonica, guitar twangs, and harmonica. We wanted to start a little atmospheric while also giving a sense that there's an epic yarn about to unfold. We imagined an outlaw and his friends sitting at a cantina, relating the tale of some larger-than-life bounty hunter on the loose.
After the dramatic intro, the story starts to "trot" at 0:46 with brass on top of rhythmic bass, piano, and tambourine. This is meant to be a sort of "desperado moseying into town" vibe; just a guy passing through, minding his own business. But then at 1:03, the song builds into an epic fanfare as things quickly escalate; perhaps he found his mark and dealt swift judgment, or maybe someone just said the wrong thing at the wrong time. In any case, whatever started up, he put a stop to, and at 1:25 the music relaxes back down to a trot, as if our gunslinger is already whistling off into the sunset, whatever violent business behind him.
At 1:43, a guitar riff heads us into an ambient, yet tense moment as the outlaw's story is interrupted. People in the cantina seem to be murmuring, restless. Things get quiet, and gradually folks' heads turn towards the entrance. At 1:52, an acoustic guitar at and mysterious strings herald the appearance of a shadowed figure in the doorway, silhouetted and obscured before the blazing sun outside. Everybody holds their breath, and the outlaw suddenly feels the hair standing up on his neck.
At 2:11, a tune begins to play; the last one in the galaxy the outlaw wants to hear. Harmonica on top of gritty electric guitar and modern beats confirm without question, he's not getting out of this one a free man. Things get a little classy at 2:40 with some smooth guitar riffs and brass coming back into the fray; Rax is a professional at his work.
3:01 highlights some electronic sounds melding into the beat as the song starts to build towards the inevitable takedown. 3:18 begins a dramatically-heightened reprise of the outlaw's story; ironically, as the outlaw is receiving his own bit of justice. The action ensues until 3:57, as trumpeting brass and rolling drums bring the scene down and Rax bags his quarry. Outside the cantina, amidst gaping stares and hushes whispers, Rax whistles to himself as he strides down the street, prize in tow, towards the sunset.
There's just something about doing a Western-style song that is inherently fun. Props to Rax for giving us the opportunity, and for coming up with the idea of someone dreading this theme playing in the background; we think it made for a really cool moment and brought the song up another notch!
Patron: Rax
Styles: Western, Folk, Orchestral, Rock, Electronic
Featured instruments: fiddle, whistle, harmonica, guitar, piano, full orchestra, synth
All of our songs tell a story. Some of them do that by evoking certain events or periods of a character's life. Others focus on the change or evolution a character goes through. The goal of this song was to tell a story in a different way; by personifying the feeling this character gives to others (particularly, his marks).
It starts off establishing the mood with rustic fiddles, harmonica, guitar twangs, and harmonica. We wanted to start a little atmospheric while also giving a sense that there's an epic yarn about to unfold. We imagined an outlaw and his friends sitting at a cantina, relating the tale of some larger-than-life bounty hunter on the loose.
After the dramatic intro, the story starts to "trot" at 0:46 with brass on top of rhythmic bass, piano, and tambourine. This is meant to be a sort of "desperado moseying into town" vibe; just a guy passing through, minding his own business. But then at 1:03, the song builds into an epic fanfare as things quickly escalate; perhaps he found his mark and dealt swift judgment, or maybe someone just said the wrong thing at the wrong time. In any case, whatever started up, he put a stop to, and at 1:25 the music relaxes back down to a trot, as if our gunslinger is already whistling off into the sunset, whatever violent business behind him.
At 1:43, a guitar riff heads us into an ambient, yet tense moment as the outlaw's story is interrupted. People in the cantina seem to be murmuring, restless. Things get quiet, and gradually folks' heads turn towards the entrance. At 1:52, an acoustic guitar at and mysterious strings herald the appearance of a shadowed figure in the doorway, silhouetted and obscured before the blazing sun outside. Everybody holds their breath, and the outlaw suddenly feels the hair standing up on his neck.
At 2:11, a tune begins to play; the last one in the galaxy the outlaw wants to hear. Harmonica on top of gritty electric guitar and modern beats confirm without question, he's not getting out of this one a free man. Things get a little classy at 2:40 with some smooth guitar riffs and brass coming back into the fray; Rax is a professional at his work.
3:01 highlights some electronic sounds melding into the beat as the song starts to build towards the inevitable takedown. 3:18 begins a dramatically-heightened reprise of the outlaw's story; ironically, as the outlaw is receiving his own bit of justice. The action ensues until 3:57, as trumpeting brass and rolling drums bring the scene down and Rax bags his quarry. Outside the cantina, amidst gaping stares and hushes whispers, Rax whistles to himself as he strides down the street, prize in tow, towards the sunset.
There's just something about doing a Western-style song that is inherently fun. Props to Rax for giving us the opportunity, and for coming up with the idea of someone dreading this theme playing in the background; we think it made for a really cool moment and brought the song up another notch!
"Tools of the Trade" - Mikita's Theme, TOR (rock, electronic, femme fatale)
Song Info:
Show Content
SpoilerTools of the Trade (Mikita's Theme)
 Patron: Nixie
 Styles: Rock, Electronic, Hybrid
 Signature: 4/4
 Tempo: 120 BPM
 Featured instruments: electric guitar, electric bass, various synths, cinematic and acoustic drum kits, piano, strings
 We're starting to hone the craft of creating the "badass sound". Recently, with Bain, that meant creating a secret agent theme that goes into overdrive with its wild, almost psychotic unpredictability. But Mikita's version of "badass" was refreshingly different; she's cool, confident, and in control, yet equally and undoubtedly badass. She uses her femininity as one of her "tools of the trade"; naturally all of this sparked ideas about how to approach an encompassing theme.
 The song starts off with an ambient synth sound, followed by a steady rhythm characterized by the sound of tools forming a regular beat. We imagined this as a sort of calm "zone" that Mikita enters when working on ships. It's a bit reflective, a bit therapeutic; it's sort of "out there" and solitary but with a sense of warmth brought upon by the major key piano and humming bass line. The drums move at a relaxed, deliberate pace, which we used to introduce a sort of confidence that is continuous no matter where she is.
 Which brings us to the first change in the song at 1:04. The warmth is quickly replaced by a bit of waiting and ambiguity. The synths sort of go into a holding pattern until 1:12, where a kick drum introduces this sort of 80's pop mixed with a bit of 50's rock-and-roll; sounds weird on paper, but it was one of those things that we tried out at it just worked. As Mat describes it, you can imagine Mikita walking down the street to the beat, heels and Wayfarers on, as everyone watching holds their breath. Or maybe Mat's been watching too many 80's music videos!
 At 1:21, we get into the main chorus with the introduction of the electric guitar. We wanted this guitar to be smooth and confident, in contrast to the wild, almost frantic guitar performance of Your Number's Up. It's supposed to represent Mikita's cover as a flirt, femme fatale, and overall badass. Key for this part was that feeling of deliberateness; being in control and having things go the way she wants them to. Another key was maintaining the qualities of ambiguity and femininity. For the former, we created the melody to be gritty and dangerous, but not to give the outright impression of "evil" or "dark". For the latter, we came up with a sort of "back-and-forth" piano rhythm for the phrase at 1:53; sort of cat-like with a slightly playful, sleek sound.
 2:25 brings us to a "palate cleanser" moment, where we drop the rhythm for a bit and focus on creating an ambience with contemplative synths, piano, and strings followed by furtive hi-hat taps and clean guitar. Here we do allow for a bit of darkness and questioning to come through; after all, not everything in Mikita's life is fast ships and lipstick. This in-between movement is sort of a metaphor for those moments when she's struggled to find herself before people like Zachiry came along. Sort of a "life between the fronts", so to speak.
 But 3:16 brings back that confident beat, and soon, we're back to the main chorus. Another guitar comes in to improv with the first, though we deliberately avoided the temptation to grow into some big crescendo. Also, there are no out-of-control guitar squeals or a lot of looseness on the performances. Everything remains cool and "to-the-plan". The phrase that comes to mind is "relax, I got this". Mat looked to the smooth sound of Santana's guitar performances for inspiration on this part in particular.
 Finally, the guitars echo away at 4:25 and a soft synth fades us out, slipping away before you knew what hit you.
 This song was an awesome experience to work on because it challenged us to take certain qualities (confidence, deliberateness) and continue them through the entire song, despite constant shifts in instrumentation, rhythm, and texture. Normally, we partition off characters' qualities pretty strictly into movements, but with Mikita, there are these overlying impressions that are there no matter where she is or what front she's putting on. It was this outside vs. inside dynamic that was one of the qualities Nixie asked us to incorporate, and it was an extremely fun challenge to try and pull it off. We're very excited at how this came out, and we hope you like it too!
 Patron: Nixie
 Styles: Rock, Electronic, Hybrid
 Signature: 4/4
 Tempo: 120 BPM
 Featured instruments: electric guitar, electric bass, various synths, cinematic and acoustic drum kits, piano, strings
 We're starting to hone the craft of creating the "badass sound". Recently, with Bain, that meant creating a secret agent theme that goes into overdrive with its wild, almost psychotic unpredictability. But Mikita's version of "badass" was refreshingly different; she's cool, confident, and in control, yet equally and undoubtedly badass. She uses her femininity as one of her "tools of the trade"; naturally all of this sparked ideas about how to approach an encompassing theme.
 The song starts off with an ambient synth sound, followed by a steady rhythm characterized by the sound of tools forming a regular beat. We imagined this as a sort of calm "zone" that Mikita enters when working on ships. It's a bit reflective, a bit therapeutic; it's sort of "out there" and solitary but with a sense of warmth brought upon by the major key piano and humming bass line. The drums move at a relaxed, deliberate pace, which we used to introduce a sort of confidence that is continuous no matter where she is.
 Which brings us to the first change in the song at 1:04. The warmth is quickly replaced by a bit of waiting and ambiguity. The synths sort of go into a holding pattern until 1:12, where a kick drum introduces this sort of 80's pop mixed with a bit of 50's rock-and-roll; sounds weird on paper, but it was one of those things that we tried out at it just worked. As Mat describes it, you can imagine Mikita walking down the street to the beat, heels and Wayfarers on, as everyone watching holds their breath. Or maybe Mat's been watching too many 80's music videos!
 At 1:21, we get into the main chorus with the introduction of the electric guitar. We wanted this guitar to be smooth and confident, in contrast to the wild, almost frantic guitar performance of Your Number's Up. It's supposed to represent Mikita's cover as a flirt, femme fatale, and overall badass. Key for this part was that feeling of deliberateness; being in control and having things go the way she wants them to. Another key was maintaining the qualities of ambiguity and femininity. For the former, we created the melody to be gritty and dangerous, but not to give the outright impression of "evil" or "dark". For the latter, we came up with a sort of "back-and-forth" piano rhythm for the phrase at 1:53; sort of cat-like with a slightly playful, sleek sound.
 2:25 brings us to a "palate cleanser" moment, where we drop the rhythm for a bit and focus on creating an ambience with contemplative synths, piano, and strings followed by furtive hi-hat taps and clean guitar. Here we do allow for a bit of darkness and questioning to come through; after all, not everything in Mikita's life is fast ships and lipstick. This in-between movement is sort of a metaphor for those moments when she's struggled to find herself before people like Zachiry came along. Sort of a "life between the fronts", so to speak.
 But 3:16 brings back that confident beat, and soon, we're back to the main chorus. Another guitar comes in to improv with the first, though we deliberately avoided the temptation to grow into some big crescendo. Also, there are no out-of-control guitar squeals or a lot of looseness on the performances. Everything remains cool and "to-the-plan". The phrase that comes to mind is "relax, I got this". Mat looked to the smooth sound of Santana's guitar performances for inspiration on this part in particular.
 Finally, the guitars echo away at 4:25 and a soft synth fades us out, slipping away before you knew what hit you.
 This song was an awesome experience to work on because it challenged us to take certain qualities (confidence, deliberateness) and continue them through the entire song, despite constant shifts in instrumentation, rhythm, and texture. Normally, we partition off characters' qualities pretty strictly into movements, but with Mikita, there are these overlying impressions that are there no matter where she is or what front she's putting on. It was this outside vs. inside dynamic that was one of the qualities Nixie asked us to incorporate, and it was an extremely fun challenge to try and pull it off. We're very excited at how this came out, and we hope you like it too!
"Your Number's Up" - Tylen's Theme, TOR (rock, electronic, spy)
Song Info:
Show Content
SpoilerYour Numbers Up (Tylen's Theme)
 Patron: Bain
 Styles: Cinematic, Rock, Electronic, Orchestral
 Signature: 4/4
 Tempo: 120 BPM
 Featured instruments: electric guitar, electric bass, various synths, cinematic and acoustic drum kits, strings, brass, woodwinds, piano
 We love electric guitar. In fact, when we finished Book's song, Mat was anxiously awaiting the time when he would get to play with it again. So when you mentioned that you wanted us to incorporate electric guitar for your song, well, let's say Mat didn't waste the opportunity.
 But we're getting ahead of ourselves here. The beginning of the song starts out sort of Bourne Identity; electronic beats and "cool"-sounding percussion, for lack of a better word. Then we get some classy strings, vibraphone, fluttered flute, and muted brass inspired by classic Bond films to help establish Tylen's confident, unflappable demeanor. A smooth guitar at 1:20 slides in to help reinforce the arrogance bit about him.
 At 1:37, things get a little dark and contemplative. The beat drops away for the moment, and we're introduced to dramatic, thoughtful string staccatos and ambiguous piano. This represents Tylen's struggle to balance his life as a Cipher with that of his attachment to Zirco. Both the piano and string staccatos get more urgent at 1:45 to signify the rising tension this creates with Tylen, culminating in a crescendo at 1:52 and the introduction of the badass guitar!
 Because, as we know, the job of being a Cipher doesn't wait on convenience, and it's back to being a badass. The guitar and amped-up drums take the stage for pretty much the rest of the song, taking a small break at 2:25 before diving right back in with a second guitar improvising face-melting riffs and squeals.
 We're really, really proud with how this song came out, and we hope you enjoy listening to it as much as we did making it! Oh, and thank you for giving Mat an excuse to shred on his guitar again.
 Patron: Bain
 Styles: Cinematic, Rock, Electronic, Orchestral
 Signature: 4/4
 Tempo: 120 BPM
 Featured instruments: electric guitar, electric bass, various synths, cinematic and acoustic drum kits, strings, brass, woodwinds, piano
 We love electric guitar. In fact, when we finished Book's song, Mat was anxiously awaiting the time when he would get to play with it again. So when you mentioned that you wanted us to incorporate electric guitar for your song, well, let's say Mat didn't waste the opportunity.
 But we're getting ahead of ourselves here. The beginning of the song starts out sort of Bourne Identity; electronic beats and "cool"-sounding percussion, for lack of a better word. Then we get some classy strings, vibraphone, fluttered flute, and muted brass inspired by classic Bond films to help establish Tylen's confident, unflappable demeanor. A smooth guitar at 1:20 slides in to help reinforce the arrogance bit about him.
 At 1:37, things get a little dark and contemplative. The beat drops away for the moment, and we're introduced to dramatic, thoughtful string staccatos and ambiguous piano. This represents Tylen's struggle to balance his life as a Cipher with that of his attachment to Zirco. Both the piano and string staccatos get more urgent at 1:45 to signify the rising tension this creates with Tylen, culminating in a crescendo at 1:52 and the introduction of the badass guitar!
 Because, as we know, the job of being a Cipher doesn't wait on convenience, and it's back to being a badass. The guitar and amped-up drums take the stage for pretty much the rest of the song, taking a small break at 2:25 before diving right back in with a second guitar improvising face-melting riffs and squeals.
 We're really, really proud with how this song came out, and we hope you enjoy listening to it as much as we did making it! Oh, and thank you for giving Mat an excuse to shred on his guitar again.
"_algoRhythm" - Cnids's Theme, TOR (electronic, synth, pop-opera, vocals)
Song Info:
Show Content
SpoileralgoRhythm (Cnids and Lenn's Theme)
 Patron: Cnids
 Styles: Electronic, Cinematic, Synthpop
 Signature: 4/4
 Tempo: 120 BPM
 Featured instruments: vocals, various custom synths and warped/distorted/digitized acoustic instruments
 When Teresa showed me (Mathew) the rich, detailed paintings of Cnids created by her roleplayer, I was both awestruck and a bit startled. As described, Cnids is not meant to be conventionally beautiful, and that's the first thing we wanted to get across in the song. It starts out a bit dark, with a lot of uncertainty, and also with some fairly grainy, distorted synth work. But in reading further into Cnids's journals, we also got a sense of the optimism that this character harbors, despite her lonely past. This is a person who is striving for something we didn't initially understand. In cinema and elsewhere, we are repeatedly conditioned to view the combination of man and machine as untrustworthy and dangerous (just look at Hollywood's most recent attempt, Transcendence). But in reading Cnids's journals, we asked ourselves "why?" In her eyes, Cnid's views her eventual transformation in a positive light. She sees beauty and tranquility in 1's and 0's. She craves a release from the loneliness that has remained with her all these years.
 0:00 to 0:25 represents the darkness of her young, organic life, From 0:25 to 1:37, warmer textures are introduced as well as a trebly warped piano, playing a thoughtful, exploratory melody. This represents Cnids's introduction to the digital world and eventually opening herself to the idea of transformation; it's somewhat uncertain, but wondrous at the same time. At 1:45, the lights "turn on", so to speak. We wanted to convey a sense of a system starting up, followed by lots of movement characterized by a synth arpeggio, synth beat, and warm synth bass.
 And then Teresa's lovely vocals arrive at 2:17, meant to represent Cnid's dynamic, emotional inner self at the outset. We spent a lot of time balancing the natural and synthetic applications of Teresa's voice, including dynamically morphing between the two (especially at the end of long sustained notes). We wanted to have the humanity and emotion come through at all times, while retaining a subtle synthetic quality.
 3:05 marks the beginning of Cnids's transformation, signified by a distinct key change and the introduction of heavy, busy, highly atmospheric textures. Just prior, Teresa's vocals dip into a slightly dark, ethnic quality; the decision to incorporate ethnic techniques was to convey Cnids's free-spiritedness; despite being pained by loneliness, she nonetheless remains optimistic. At 3:21, we reintroduce Teresa's vocals in a much more ambient manner, signifying the dreamlike state we imagine the process entails.
 At 3:38, the clutteredness and complexity fades quickly into tranquil clarity as Teresa's voice and smooth synthetic strings build into the climactic moment of "ascension", as we call it. The vocal harmonies at 3:59 take on operatic proportions, signifying the culmination of Cnids's dream coming true at last. There is a brief moment of uncertainty portrayed by a hanging string chord at 4:09 (as if to ask, "did she survive?"). The answer arrives in the form of the warm bass line and familiar beat returning at 4:15. The process having been successfully completed, we are now introduced to Cnids's newfound freedom. At 4:38, Teresa's vocals are at their most expressive, jovial, and free. For this, we looked to various Cirque du Soleil-style vocal techniques (an idea Teresa came up with after trying out a rewrite I did; I ended up really digging it) due to the liberating feeling that style of singing conveys. We also employed the technique of call-and-response to signify that Cnids and Lenn are finally together as one.
 We always like pushing our boundaries, and this song was no exception. Despite the lack of a "real" orchestra, the song nonetheless features some of our most intricate writing, mixing, and vocal work to date.
 Patron: Cnids
 Styles: Electronic, Cinematic, Synthpop
 Signature: 4/4
 Tempo: 120 BPM
 Featured instruments: vocals, various custom synths and warped/distorted/digitized acoustic instruments
 When Teresa showed me (Mathew) the rich, detailed paintings of Cnids created by her roleplayer, I was both awestruck and a bit startled. As described, Cnids is not meant to be conventionally beautiful, and that's the first thing we wanted to get across in the song. It starts out a bit dark, with a lot of uncertainty, and also with some fairly grainy, distorted synth work. But in reading further into Cnids's journals, we also got a sense of the optimism that this character harbors, despite her lonely past. This is a person who is striving for something we didn't initially understand. In cinema and elsewhere, we are repeatedly conditioned to view the combination of man and machine as untrustworthy and dangerous (just look at Hollywood's most recent attempt, Transcendence). But in reading Cnids's journals, we asked ourselves "why?" In her eyes, Cnid's views her eventual transformation in a positive light. She sees beauty and tranquility in 1's and 0's. She craves a release from the loneliness that has remained with her all these years.
 0:00 to 0:25 represents the darkness of her young, organic life, From 0:25 to 1:37, warmer textures are introduced as well as a trebly warped piano, playing a thoughtful, exploratory melody. This represents Cnids's introduction to the digital world and eventually opening herself to the idea of transformation; it's somewhat uncertain, but wondrous at the same time. At 1:45, the lights "turn on", so to speak. We wanted to convey a sense of a system starting up, followed by lots of movement characterized by a synth arpeggio, synth beat, and warm synth bass.
 And then Teresa's lovely vocals arrive at 2:17, meant to represent Cnid's dynamic, emotional inner self at the outset. We spent a lot of time balancing the natural and synthetic applications of Teresa's voice, including dynamically morphing between the two (especially at the end of long sustained notes). We wanted to have the humanity and emotion come through at all times, while retaining a subtle synthetic quality.
 3:05 marks the beginning of Cnids's transformation, signified by a distinct key change and the introduction of heavy, busy, highly atmospheric textures. Just prior, Teresa's vocals dip into a slightly dark, ethnic quality; the decision to incorporate ethnic techniques was to convey Cnids's free-spiritedness; despite being pained by loneliness, she nonetheless remains optimistic. At 3:21, we reintroduce Teresa's vocals in a much more ambient manner, signifying the dreamlike state we imagine the process entails.
 At 3:38, the clutteredness and complexity fades quickly into tranquil clarity as Teresa's voice and smooth synthetic strings build into the climactic moment of "ascension", as we call it. The vocal harmonies at 3:59 take on operatic proportions, signifying the culmination of Cnids's dream coming true at last. There is a brief moment of uncertainty portrayed by a hanging string chord at 4:09 (as if to ask, "did she survive?"). The answer arrives in the form of the warm bass line and familiar beat returning at 4:15. The process having been successfully completed, we are now introduced to Cnids's newfound freedom. At 4:38, Teresa's vocals are at their most expressive, jovial, and free. For this, we looked to various Cirque du Soleil-style vocal techniques (an idea Teresa came up with after trying out a rewrite I did; I ended up really digging it) due to the liberating feeling that style of singing conveys. We also employed the technique of call-and-response to signify that Cnids and Lenn are finally together as one.
 We always like pushing our boundaries, and this song was no exception. Despite the lack of a "real" orchestra, the song nonetheless features some of our most intricate writing, mixing, and vocal work to date.
"Blind Ambition" - Book's Theme, TOR (orchestal, rock, world fusion)
Song Info:
Show Content
SpoilerBlind Ambition (Book's Theme)
 Patron: Book
 Styles: Cinematic, Electronic, Rock, Orchestral
 Signature: 4/4
 Tempo: 120 BPM
 Featured instruments: violin, strings section, orchestral percussion, modern drums, electric guitar, electric bass, sitar, tablas, various synth leads/pads/drones
 This song gave us a unique challenge: how do you create a theme for a character who has done a little bit of everything, and been a little bit of everywhere? Well, we here at KeKoPro take challenges as opportunities, so we embraced that eclectic nature and put our own spin on the popular hybrid style.
 The song starts with an ethereal tone; somewhat muddy and indistinct, hollow. This is supposed to introduce the listener to a feeling of blindness. Another fun challenge was representing that Miraluka side and how they 'see' with the Force. A lone violin sounds in the void, played a bit melancholy, representing the presence of the Force.
 Things pick up pretty quickly, and soon we are enveloped by epic strings, pulsing synths, and aggressive electric guitar. The dark energy of this section represents her time with the Sith.
 At 1:44, the song slips into a cool, slick tone with smooth bass and guitar riffs. This section represents her life as an information broker, navigating the classy casinos on places like Nar Shaddaa as well as the seedier establishments. 2:00 molds the tune into a more shadowy representation of life on the job, adding fuzzy, whispery synths to reinforce the blur that she experiences from such a dynamic lifestyle.
 The blur served another purpose, as well. We wanted the 'distinct' things that a Miraluka sees to be, well, distinctive. The sitar, tablas, and 'clear' sounds all have their own distinctive sound, and the electronic stuff is fuzzy (as I imagine it would be in the Force). The sitar also added a nice worldly flavor at times, but we wanted to see what else it could do with it to make it more eclectic like Book and have it shift with her moods and whims.
 At 2:32, things slow down again as we return to the original melody. This reprisal once again brings back the violin, but also keeps a synth undertone, hinting that her past experiences might bleed into the next. The sitar also reappears here, but this time plucking in a manner evoking a Western, suggesting some rough times on the other side of the law.
 Before long, a large orchestral section enters the scene and propels the song towards the finale at 3:20. The octaved strings (sections playing at high and low octaves) evoke an epic, world travel feeling. The synth textures and energetic drums also return, suggesting that this is all of Book's many sides converging into one. At 3:44, we are reintroduced to Book's main theme with soaring strings and wailing electric guitar, culminating in a dramatic close.
 As always, we have a lot of fun weaving all the details into our songs, and this was no exception. We hope you like it!
 Patron: Book
 Styles: Cinematic, Electronic, Rock, Orchestral
 Signature: 4/4
 Tempo: 120 BPM
 Featured instruments: violin, strings section, orchestral percussion, modern drums, electric guitar, electric bass, sitar, tablas, various synth leads/pads/drones
 This song gave us a unique challenge: how do you create a theme for a character who has done a little bit of everything, and been a little bit of everywhere? Well, we here at KeKoPro take challenges as opportunities, so we embraced that eclectic nature and put our own spin on the popular hybrid style.
 The song starts with an ethereal tone; somewhat muddy and indistinct, hollow. This is supposed to introduce the listener to a feeling of blindness. Another fun challenge was representing that Miraluka side and how they 'see' with the Force. A lone violin sounds in the void, played a bit melancholy, representing the presence of the Force.
 Things pick up pretty quickly, and soon we are enveloped by epic strings, pulsing synths, and aggressive electric guitar. The dark energy of this section represents her time with the Sith.
 At 1:44, the song slips into a cool, slick tone with smooth bass and guitar riffs. This section represents her life as an information broker, navigating the classy casinos on places like Nar Shaddaa as well as the seedier establishments. 2:00 molds the tune into a more shadowy representation of life on the job, adding fuzzy, whispery synths to reinforce the blur that she experiences from such a dynamic lifestyle.
 The blur served another purpose, as well. We wanted the 'distinct' things that a Miraluka sees to be, well, distinctive. The sitar, tablas, and 'clear' sounds all have their own distinctive sound, and the electronic stuff is fuzzy (as I imagine it would be in the Force). The sitar also added a nice worldly flavor at times, but we wanted to see what else it could do with it to make it more eclectic like Book and have it shift with her moods and whims.
 At 2:32, things slow down again as we return to the original melody. This reprisal once again brings back the violin, but also keeps a synth undertone, hinting that her past experiences might bleed into the next. The sitar also reappears here, but this time plucking in a manner evoking a Western, suggesting some rough times on the other side of the law.
 Before long, a large orchestral section enters the scene and propels the song towards the finale at 3:20. The octaved strings (sections playing at high and low octaves) evoke an epic, world travel feeling. The synth textures and energetic drums also return, suggesting that this is all of Book's many sides converging into one. At 3:44, we are reintroduced to Book's main theme with soaring strings and wailing electric guitar, culminating in a dramatic close.
 As always, we have a lot of fun weaving all the details into our songs, and this was no exception. We hope you like it!
Orchestral:
"Aegis" - Karshok's Theme, GW2 (cinematic, war theme)
Song Info:
Show Content
SpoilerAegis (Karshok Ironclaw's Theme)
Patron: Karshok
Styles: Cinematic, Orchestral, Epic, Hybrid
Featured instruments: violin, cello, flute, trombone, tuba, choir, big-ass drums
There's a certain level of expectation when someone requests a theme for a Charr warrior. Big ol' drums, militaristic sound, very warrior-ish. That's what the song starts out with. We tried to meet that expectation early on, with the strategy of evolving it into something else. So there's a lot of dark energy at the start. Mathew busted out his epic low libraries; there's tubas, trombones, a cello played in a very gritty manner, double basses, and male choir. Oh yeah, and drums. Lots and lots of big-ass drums. In characterizing the Charr, we also used a lot of unique sound design; at 0:25, you hear what sounds like a low growl, which is actually a cello being bowed very rapidly (tremolo) and very close to the bridge, creating that nasally, wild sound.
But warrior though he is, Karshok is rare in that he was raised by humans, and carries with him an awareness and acceptance that expands his horizons so to speak. So there's a definite dichotomy here; a tug of war between the worlds that we needed to address. Thus, at 0:53 the song begins to delve into a more melancholy, sentimental mood, with a violin being introduced at 1:00. Whereas the cello represents his stern warrior nature, the violin represents the sobering loss and sorrow that he's experienced in war.
1:14 returns us back to the fiery Charr furnaces, complete with gongs and cymbals meant to resemble the hissing of steam, and anvils personifying the clanking of machines. Brass stabs lend an almost primal feeling to the section, further evoking the feeling of war.
1:46 sees a major shift in the tone; and this is indeed to be taken almost as a mirage or visage in the midst of battle; a moment of beauty and peace. Is Karshok wounded? Is he hallucinating, drifting out of consciousness? In any case, this is an unexpected moment of extreme peace and beauty, as Karshok gets to behold what it is he is fighting for. Warm strings, moving choir, elegant harp, and a lyrical flute... these are not what you would associated with a Charr. And true for Karshok as well, at least on the outside, but inside he is these instruments; an intelligent and thoughtful being fighting for beauty and peace.
Of course, we just can't let that last though! At 2:24, the chords take a subtle but knowing turn, and we lose our grip on the moment of respite and bliss, almost as if a bullet whizzes past and Karshok is forced to snap back to the deafening chaos and confusion of war. The drums return, and the horrors of battle ring loud in the ear once again.
But overall, Karshok's story is one of hope and the promise of a new dawn. At 3:30, with the sacrifices made and losses endured, we delve into a reprise of the earlier violin movement, this time finishing triumphant, but still with a color of sadness and remembrance. This time, the entire 1st violins section joins the concertmaster playing in passionate molto vibrato, with proud and dutiful rhythmic cello chugs supporting the feeling of warmth from this new dawn. 3:53 brings the piece to a close on soft chord, intentionally ambiguous and just slightly dark, as if questioning the future of this great warrior and his noble life's work.
Our friends in the composing business often roll their eyes at the ubiquitous epic stuff these days, but when done with the heart, and more importantly with character material to work with, it can become much, much more. That's what we felt happened with Aegis, and we couldn't be happier with the result. We hope you enjoy it!
Patron: Karshok
Styles: Cinematic, Orchestral, Epic, Hybrid
Featured instruments: violin, cello, flute, trombone, tuba, choir, big-ass drums
There's a certain level of expectation when someone requests a theme for a Charr warrior. Big ol' drums, militaristic sound, very warrior-ish. That's what the song starts out with. We tried to meet that expectation early on, with the strategy of evolving it into something else. So there's a lot of dark energy at the start. Mathew busted out his epic low libraries; there's tubas, trombones, a cello played in a very gritty manner, double basses, and male choir. Oh yeah, and drums. Lots and lots of big-ass drums. In characterizing the Charr, we also used a lot of unique sound design; at 0:25, you hear what sounds like a low growl, which is actually a cello being bowed very rapidly (tremolo) and very close to the bridge, creating that nasally, wild sound.
But warrior though he is, Karshok is rare in that he was raised by humans, and carries with him an awareness and acceptance that expands his horizons so to speak. So there's a definite dichotomy here; a tug of war between the worlds that we needed to address. Thus, at 0:53 the song begins to delve into a more melancholy, sentimental mood, with a violin being introduced at 1:00. Whereas the cello represents his stern warrior nature, the violin represents the sobering loss and sorrow that he's experienced in war.
1:14 returns us back to the fiery Charr furnaces, complete with gongs and cymbals meant to resemble the hissing of steam, and anvils personifying the clanking of machines. Brass stabs lend an almost primal feeling to the section, further evoking the feeling of war.
1:46 sees a major shift in the tone; and this is indeed to be taken almost as a mirage or visage in the midst of battle; a moment of beauty and peace. Is Karshok wounded? Is he hallucinating, drifting out of consciousness? In any case, this is an unexpected moment of extreme peace and beauty, as Karshok gets to behold what it is he is fighting for. Warm strings, moving choir, elegant harp, and a lyrical flute... these are not what you would associated with a Charr. And true for Karshok as well, at least on the outside, but inside he is these instruments; an intelligent and thoughtful being fighting for beauty and peace.
Of course, we just can't let that last though! At 2:24, the chords take a subtle but knowing turn, and we lose our grip on the moment of respite and bliss, almost as if a bullet whizzes past and Karshok is forced to snap back to the deafening chaos and confusion of war. The drums return, and the horrors of battle ring loud in the ear once again.
But overall, Karshok's story is one of hope and the promise of a new dawn. At 3:30, with the sacrifices made and losses endured, we delve into a reprise of the earlier violin movement, this time finishing triumphant, but still with a color of sadness and remembrance. This time, the entire 1st violins section joins the concertmaster playing in passionate molto vibrato, with proud and dutiful rhythmic cello chugs supporting the feeling of warmth from this new dawn. 3:53 brings the piece to a close on soft chord, intentionally ambiguous and just slightly dark, as if questioning the future of this great warrior and his noble life's work.
Our friends in the composing business often roll their eyes at the ubiquitous epic stuff these days, but when done with the heart, and more importantly with character material to work with, it can become much, much more. That's what we felt happened with Aegis, and we couldn't be happier with the result. We hope you enjoy it!
"One Spirit" - Clan Aisha Theme, TOR (cinematic, asian fusion)
Song Info:
Show Content
SpoilerOne Spirit (Aisha Family Theme)
Patron: Imoshi
Styles: World, Cinematic, Orchestral
Featured instruments: cello, shakuhachi, taikos, Celtic whistle, recorder, Tibetan chanting, singing bowls
This is was our first theme that encompassed more than two characters; five, to be exact. Composing a family theme provided it's own unique challenges and rewards, with each character being distinctly different yet needing to contribute to a cohesive whole. In the end, we're really excited with the result!
Imoshi wanted the song's style to incorporate the real-world influences of the Aisha family heritage; namely traditional Japanese and Celtic music. She wanted each of the five family members to have a part that evoked their distinct personality, with a leitmotif (recurring theme) linking them together.
The structure of the song thus contains five unique segments representing each of the family members, with a family theme being introduced in the beginning and then recurring throughout in different forms and voicings. The siblings' segments overlap slightly to show their closeness and to play off each others' energy. After all of the members receive their featured segment, the song finishes with a finale representing the family as a whole. The song incorporates elements of both Japanese and Celtic instrumentation and technique (though stylistically the piece leans more on the Japanese side overall).
The song begins with the soft cadence of singing bowls layered with tense strings and the dark drone of monk-like chanting. A solo cello slides in, introducing the leitmotif that will recur throughout the piece. This opening segment represents the father, Suichi, who is shrouded in mystery and represents a foreboding presence. With the instrumentation for this part, we wanted to evoke the depth of the unknown as if it's swallowing you up; the soundscape is ethereal and the chords are elusive and ominous.
At 0:57, harp and choir are introduced as we move onto Pitagora, the mother. This segment maintains much of the mystery and ethereal quality, but shifts to a more peaceful feeling, with contemplative harp plucking and soothing choir chords. Solo voices appear at 1:15, carrying on the family theme established earlier, and the individual voices join harmonically into a crescendo at 1:28.
This leads us into the first sibling, Kontanbu. He represents the fire, anger, and strength of the family, and what better way to represent that than a troupe of awesome taiko drummers? An overblown shakuhachi heralds this change at 1:29 and introduces us to Kontanbu's unpredictable nature, backed with some introductory taiko strikes and strong cello chords, before the drums take full charge at 1:50. This segment is unique in that it's the only one which does not feature the leitmotif; we wanted to have Kontanbu stand out as the "rebel" of the family, and also to provide a break from the motif by focusing on energetic and rhythmic texture.
Next, we get a bit of Neehowe overlapping the drums at 2:05 with the heralding of horns. The drums, while still large and epic-sounding, transition to emphasizing ensemble orchestral percussion over the taikos (which are still present). Neehowe is fully introduced at 2:19 as the family theme returns with triumphant brass and all five string sections soaring. We wanted to convey Neehowe's pride for her family, as well as a sense of tradition and devotion to the Republic, hence the rousing and uplifting nature of the segment.
Feeding off this positive energy, we once again perform a bit of overlap by introducing the final member of the family, Imoshi, by way of energetic flute harmonies at 2:33. Imoshi is described as flighty and hopeful, and the flutes play on the energy and positivity of the prior segment with their own sprightly performance. At 2:45, a Celtic whistle calls, ending the epic portion and bringing us into a softer segment with the addition of a recorder at 2:55. The whistle returns at 3:02 to add a bit of flight and whimsy to the more mellow-sounding recorder, and together the two woodwinds play a soft rendition of the familiar family theme that is meant to evoke a bit of Imoshi's hopeful nature. At 3:11, solo cello, choir, and strings appear playing a tranquil, contemplative passage meant to represent Imoshi's transition from a child of the streets to a sage of the Jedi Order; where her brash nature is giving way to a calmer, more introspective demeanor.
At 3:25, we begin to transition from the final family member into a final bow representing the entire family. For this, we wanted elements of each family member to make an appearance. Thus, from 3:25-3:35 we have the choir representing Pitagori, the return of the singing bowls and dark chanting for Suichi, and the shakuhachi and drums for Kontanbu, leading into a build from 3:36 that completes the family with triumphant brass and excitable flute trills for Neehowe and Imoshi respectively. Combined with dramatic strings and crashing cymbals, this last reprise of the family theme is meant to evoke the unity and strength of the family, as well as how each member fits into it in their own unique way. We wanted to give a sense of there being one spirit between all of them, despite the differences and difficulties they may face, hence the title of the song.
Overall, we hope we've balanced the individuality of the different characters' personalities with a unified family identity. It was certainly a challenge coming up with a way to speak to each member's traits yet maintain a cohesive and flowing quality, on top of merging the musical traditions of two very different cultures. But in the end, we feel we were able to rise to that challenge and provide a piece we're extremely proud of. We hope you enjoy it!
Patron: Imoshi
Styles: World, Cinematic, Orchestral
Featured instruments: cello, shakuhachi, taikos, Celtic whistle, recorder, Tibetan chanting, singing bowls
This is was our first theme that encompassed more than two characters; five, to be exact. Composing a family theme provided it's own unique challenges and rewards, with each character being distinctly different yet needing to contribute to a cohesive whole. In the end, we're really excited with the result!
Imoshi wanted the song's style to incorporate the real-world influences of the Aisha family heritage; namely traditional Japanese and Celtic music. She wanted each of the five family members to have a part that evoked their distinct personality, with a leitmotif (recurring theme) linking them together.
The structure of the song thus contains five unique segments representing each of the family members, with a family theme being introduced in the beginning and then recurring throughout in different forms and voicings. The siblings' segments overlap slightly to show their closeness and to play off each others' energy. After all of the members receive their featured segment, the song finishes with a finale representing the family as a whole. The song incorporates elements of both Japanese and Celtic instrumentation and technique (though stylistically the piece leans more on the Japanese side overall).
The song begins with the soft cadence of singing bowls layered with tense strings and the dark drone of monk-like chanting. A solo cello slides in, introducing the leitmotif that will recur throughout the piece. This opening segment represents the father, Suichi, who is shrouded in mystery and represents a foreboding presence. With the instrumentation for this part, we wanted to evoke the depth of the unknown as if it's swallowing you up; the soundscape is ethereal and the chords are elusive and ominous.
At 0:57, harp and choir are introduced as we move onto Pitagora, the mother. This segment maintains much of the mystery and ethereal quality, but shifts to a more peaceful feeling, with contemplative harp plucking and soothing choir chords. Solo voices appear at 1:15, carrying on the family theme established earlier, and the individual voices join harmonically into a crescendo at 1:28.
This leads us into the first sibling, Kontanbu. He represents the fire, anger, and strength of the family, and what better way to represent that than a troupe of awesome taiko drummers? An overblown shakuhachi heralds this change at 1:29 and introduces us to Kontanbu's unpredictable nature, backed with some introductory taiko strikes and strong cello chords, before the drums take full charge at 1:50. This segment is unique in that it's the only one which does not feature the leitmotif; we wanted to have Kontanbu stand out as the "rebel" of the family, and also to provide a break from the motif by focusing on energetic and rhythmic texture.
Next, we get a bit of Neehowe overlapping the drums at 2:05 with the heralding of horns. The drums, while still large and epic-sounding, transition to emphasizing ensemble orchestral percussion over the taikos (which are still present). Neehowe is fully introduced at 2:19 as the family theme returns with triumphant brass and all five string sections soaring. We wanted to convey Neehowe's pride for her family, as well as a sense of tradition and devotion to the Republic, hence the rousing and uplifting nature of the segment.
Feeding off this positive energy, we once again perform a bit of overlap by introducing the final member of the family, Imoshi, by way of energetic flute harmonies at 2:33. Imoshi is described as flighty and hopeful, and the flutes play on the energy and positivity of the prior segment with their own sprightly performance. At 2:45, a Celtic whistle calls, ending the epic portion and bringing us into a softer segment with the addition of a recorder at 2:55. The whistle returns at 3:02 to add a bit of flight and whimsy to the more mellow-sounding recorder, and together the two woodwinds play a soft rendition of the familiar family theme that is meant to evoke a bit of Imoshi's hopeful nature. At 3:11, solo cello, choir, and strings appear playing a tranquil, contemplative passage meant to represent Imoshi's transition from a child of the streets to a sage of the Jedi Order; where her brash nature is giving way to a calmer, more introspective demeanor.
At 3:25, we begin to transition from the final family member into a final bow representing the entire family. For this, we wanted elements of each family member to make an appearance. Thus, from 3:25-3:35 we have the choir representing Pitagori, the return of the singing bowls and dark chanting for Suichi, and the shakuhachi and drums for Kontanbu, leading into a build from 3:36 that completes the family with triumphant brass and excitable flute trills for Neehowe and Imoshi respectively. Combined with dramatic strings and crashing cymbals, this last reprise of the family theme is meant to evoke the unity and strength of the family, as well as how each member fits into it in their own unique way. We wanted to give a sense of there being one spirit between all of them, despite the differences and difficulties they may face, hence the title of the song.
Overall, we hope we've balanced the individuality of the different characters' personalities with a unified family identity. It was certainly a challenge coming up with a way to speak to each member's traits yet maintain a cohesive and flowing quality, on top of merging the musical traditions of two very different cultures. But in the end, we feel we were able to rise to that challenge and provide a piece we're extremely proud of. We hope you enjoy it!
"The Roads Between Us" - Luxelen and Araxus Love Theme, GW2 - LICENSED (Stage Production)
Song Info:
Show Content
SpoilerThe Roads Between Us (Araxus and Lux Love Theme)
 Patrons: Araxus/Lux
 Styles: Cinematic, Orchestral, Classical, Dramatic
 Signature: 3/4 and 4/4
 Tempo: Varies (110-180 bpm)
 Featured instruments: harp, cello, violin, soprano flute, clarinet, cor anglais, choir, piano, full orchestra
 Just like every character we do deserves a stand-out, unique theme, the same applies to our love themes. For every couple's love is unique. With this piece, we were dealing with characters who come from two completely different worlds and social classes and tackle their challenges in very different ways. Further, their duties take them far apart from each other for great lengths of time. I remembered Lux telling me (Llinos) that 'light and dark' features very heavily in their relationship - we wanted to protray that but as we got down the heart of it (I was scouring the journals like crazy) we realized it was another factor that sometimes contributed to the distance. Distance was a strong theme for these two. Despite everything that occured that ought to pull them apart and keep them apart, they are resolved to work to be together and stay at each others' side and face life's challenges as a team, two parts of one whole that work together beautifully.
 With this in mind, we wanted to incorporate that sense of distance and longing musically. The song begins with a very melancholy tone. We sort of envisioned a rainy day where Lux or Araxus might be looking out the window, thinking about the many roads between them and when one of those roads might bring them together again. So we have a thoughtful harp plucking in a soft, regular pattern like time slowly passing by. We gave the melody a very dark and sullen sound, carried by instruments such as a clarinet, cello, and violin, all lending their take. In particular, we chose the clarinet because it provided a feeling of the sluggish, mundane passing of the days; a very "gray" sound. The 'sparkly' effects were also a must because...mesmers. I remembered reading an entry about Lux perfecting her skills to be of better use to Araxus, perhaps this is how she's passing the time while keeping her thoughts on him?
 Incorporated into this dark beginning are elements of the struggles they have had to endure to be together, as well as between each other. 1:07 introduces some minor string trills, introducing a bit of that tension. 1:20 further develops that tension, even evolving into a bit of precariousness with the introduction of a mysterious viola harmony at 1:42. This whole movement is meant to personify the layers of personal struggles the two deal with; for her, it's trying to give Araxus a bright spot in his otherwise bleak world and keeping him from a dark path. For him, it's providing Lux a sense of reality in the ambiguous and cutthroat world around them as well as safety from it.
 However, at 1:50, the song pulls back the gray to reveal the first bit of sunshine, followed by a return to some of that darkness and ambiguity at 2:14 with the reintroduction of the cor anglais and new layers provided by low piano chords and tubular bells. The mentality is that their relationship is full of ups and downs; they do butt heads and conflict in their methods and points of view, and so the music reflects that dynamism and struggle for balance.
 It was important that this song carried that back-and-forth between warmth and coldness effectively but also fluidly, in order to reflect their ability to pull each other out of the darkness even though it always reappears in their lives down the road.
 Of course, in the end, their love is what ultimately triumphs, and at 2:30 the song climbs out of the darkness into the sun one last time. However, even though this is indeed a very warm and celebratory moment, we did something different than what we normally do: we lead with the low sections of the orchestra rather than the bright, high sections. In this way, even though the melody is very stirring and warm, there is nevertheless an inherent solemnity that we felt very fitting to see off a pairing made strong through struggle and sacrifice.
 It's always a challenge and an honor to create something so complex and emotional as the love between two characters, and we think this piece stands as one of our best works to date. We had a tremendous amount of fun weaving a dynamic tale of both struggle and triumph, and we hope you enjoy it!
 Patrons: Araxus/Lux
 Styles: Cinematic, Orchestral, Classical, Dramatic
 Signature: 3/4 and 4/4
 Tempo: Varies (110-180 bpm)
 Featured instruments: harp, cello, violin, soprano flute, clarinet, cor anglais, choir, piano, full orchestra
 Just like every character we do deserves a stand-out, unique theme, the same applies to our love themes. For every couple's love is unique. With this piece, we were dealing with characters who come from two completely different worlds and social classes and tackle their challenges in very different ways. Further, their duties take them far apart from each other for great lengths of time. I remembered Lux telling me (Llinos) that 'light and dark' features very heavily in their relationship - we wanted to protray that but as we got down the heart of it (I was scouring the journals like crazy) we realized it was another factor that sometimes contributed to the distance. Distance was a strong theme for these two. Despite everything that occured that ought to pull them apart and keep them apart, they are resolved to work to be together and stay at each others' side and face life's challenges as a team, two parts of one whole that work together beautifully.
 With this in mind, we wanted to incorporate that sense of distance and longing musically. The song begins with a very melancholy tone. We sort of envisioned a rainy day where Lux or Araxus might be looking out the window, thinking about the many roads between them and when one of those roads might bring them together again. So we have a thoughtful harp plucking in a soft, regular pattern like time slowly passing by. We gave the melody a very dark and sullen sound, carried by instruments such as a clarinet, cello, and violin, all lending their take. In particular, we chose the clarinet because it provided a feeling of the sluggish, mundane passing of the days; a very "gray" sound. The 'sparkly' effects were also a must because...mesmers. I remembered reading an entry about Lux perfecting her skills to be of better use to Araxus, perhaps this is how she's passing the time while keeping her thoughts on him?
 Incorporated into this dark beginning are elements of the struggles they have had to endure to be together, as well as between each other. 1:07 introduces some minor string trills, introducing a bit of that tension. 1:20 further develops that tension, even evolving into a bit of precariousness with the introduction of a mysterious viola harmony at 1:42. This whole movement is meant to personify the layers of personal struggles the two deal with; for her, it's trying to give Araxus a bright spot in his otherwise bleak world and keeping him from a dark path. For him, it's providing Lux a sense of reality in the ambiguous and cutthroat world around them as well as safety from it.
 However, at 1:50, the song pulls back the gray to reveal the first bit of sunshine, followed by a return to some of that darkness and ambiguity at 2:14 with the reintroduction of the cor anglais and new layers provided by low piano chords and tubular bells. The mentality is that their relationship is full of ups and downs; they do butt heads and conflict in their methods and points of view, and so the music reflects that dynamism and struggle for balance.
 It was important that this song carried that back-and-forth between warmth and coldness effectively but also fluidly, in order to reflect their ability to pull each other out of the darkness even though it always reappears in their lives down the road.
 Of course, in the end, their love is what ultimately triumphs, and at 2:30 the song climbs out of the darkness into the sun one last time. However, even though this is indeed a very warm and celebratory moment, we did something different than what we normally do: we lead with the low sections of the orchestra rather than the bright, high sections. In this way, even though the melody is very stirring and warm, there is nevertheless an inherent solemnity that we felt very fitting to see off a pairing made strong through struggle and sacrifice.
 It's always a challenge and an honor to create something so complex and emotional as the love between two characters, and we think this piece stands as one of our best works to date. We had a tremendous amount of fun weaving a dynamic tale of both struggle and triumph, and we hope you enjoy it!
"The Man and the Mirage" - Araxus's Theme, GW2 (gypsy/assassin/gunslinger theme)
Song Info:
Show Content
SpoilerThe Man and the Mirage (Araxus's Theme)
 Patron: Araxux/Lux
 Styles: Cinematic, Orchestral, World
 Signature: 4/4
 Tempo: Varies (120-150 bpm)
 Featured instruments: various guitars, mandolin, harp, viola, cello, choir, string ensemble, gypsy percussion
 Araxus is a two-sided coin. He has two distinct personalities, and that dichotomy contributes a great deal to his character. We had done themes for multi-faceted characters before, usually devoting whole movements to represent different aspects of those characters. This time though, we wanted to do something different. Mathew developed the idea of keeping the song continuous, weaving the two sides together simultaneously. The "glue" that made this concept work was the concept of using traditional instruments as sound design, creating a soundscape reminiscent of a mirage. That mirage is always there, gently rising and falling, sort of providing this strangely calm yet unstable harmony behind the melody.
 Another thing we did differently, based as much on Araxus's dual personas as his assassin profession, was to quickly and almost constantly shift the rhythm. It's slow and mysterious, then it's on it's feet and moving, then it pulls back to reveal the tense strings and choir, then it's jumping again. This was also meant to convey the process of assassination; first waiting and patience, then a flurry of movement, and back to tranquility as if nothing had ever happened.
 Instrumentation-wise, this was probably the most fun we've ever had. Mathew felt like a kid in a candy store! Araxus is a guitar player, and specifically mentioned wanting a gypsy vibe, so we feature a baroque guitar played in a loose gypsy/Spanish manner. For the rhythmic parts, we utilized traditional European ethnic and gypsy instruments including hand drums, frame drums, tambourines, and shakers. Also very important was to incorporate a definite sense of religiousness to the proceedings, since Araxus's order, The Blade of Grenth, is religiously-based. We accomplished this with choir backed up by warm low strings, and based the harmonies from the Greek Phrygian mode to convey a mystical quality.
 In developing the chronological story of the piece, the first chords from 0:00 - 0:15 represent the old man (Araxus' mentor) fishing Araxus out of the water and Araxus' memories of him. The subsequent viola melody is meant to represent this not quite sad, not quite joyful, but nevertheless present emotionality behind Araxus's development of his Zaren persona. Noticeably present is the weaving in and out of a strumming mandolin, as well as these scratchy strings at 0:48 and 0:54 that provide a kind of uncomfortable feeling, which we hoped would sort of disrupt the calm and convey an illusory sense of being watched.
 Then the rhythm is established from 1:00, and builds into the action-y assassin quality of the song. The guitar is introduced at 1:26, and develops a new melody that we tried very hard to keep completely ambiguous. Not sinister, not benevolent, not warm, not cold; this concept carries on into the quiet choir portion at 1:52. For this "respite", we obviously wanted to convey the religious quality of the assassin's duty, as well as the intriguing calm that comes with it, but we also took the opportunity to play on the idea that Araxus can be a very emotional and violent man internally. So at the same time that you hear angelic choir, you also hear these really unstable, quavering cello notes that swell and fade and swell and fade, as if threatening to overtake the tranquility completely. This was especially important to the idea we decided to play on before - that the cold, emotionless Zaren has a little bit of the emotion and humanity of Araxus, just as much as Araxus can never completely shed Zaren. They are ingrained in each other like habits, sometimes repressed, sometimes not. But the two personas certainly affect each other in their own ways and it was fun to explore how to distinct personalities worked in sync with each other.
 At 2:17 the rhythm picks up again, as the "holy respite" is left behind and Araxus makes his move. In finding a way to portray the understated yet calculated actions of an assassin, we chose the understated sound of plucking a harp harmonically to provide a muted, almost clockwork quality to carry the melody. It seemed to convey the sense of precision, concentration and timing that an assassin would employ...plus it sounded really cool!
 The piece builds into the finale at 2:44 with the introduction of legato violins. The violins portamento, or slide, in an exaggerated manner to reinforce the direness of the execution and subsequent escape. The song crescendos at 3:09, and we are left once again with the tranquil choir to accentuate the eerie silence following the act. The guitar also makes a final appearance in the form of a lyrical improv, followed by one last bow from the ethereal strings to leave us wondering if it was all just a mirage.
 Yet again, we have another piece under our belts that provided us with a wealth of creative opportunities, moments to break new ground, and just plain fun. This is another one of those special pieces that represents the constant evolution of our work, and we couldn't be more proud. We hope you enjoy it!
 Patron: Araxux/Lux
 Styles: Cinematic, Orchestral, World
 Signature: 4/4
 Tempo: Varies (120-150 bpm)
 Featured instruments: various guitars, mandolin, harp, viola, cello, choir, string ensemble, gypsy percussion
 Araxus is a two-sided coin. He has two distinct personalities, and that dichotomy contributes a great deal to his character. We had done themes for multi-faceted characters before, usually devoting whole movements to represent different aspects of those characters. This time though, we wanted to do something different. Mathew developed the idea of keeping the song continuous, weaving the two sides together simultaneously. The "glue" that made this concept work was the concept of using traditional instruments as sound design, creating a soundscape reminiscent of a mirage. That mirage is always there, gently rising and falling, sort of providing this strangely calm yet unstable harmony behind the melody.
 Another thing we did differently, based as much on Araxus's dual personas as his assassin profession, was to quickly and almost constantly shift the rhythm. It's slow and mysterious, then it's on it's feet and moving, then it pulls back to reveal the tense strings and choir, then it's jumping again. This was also meant to convey the process of assassination; first waiting and patience, then a flurry of movement, and back to tranquility as if nothing had ever happened.
 Instrumentation-wise, this was probably the most fun we've ever had. Mathew felt like a kid in a candy store! Araxus is a guitar player, and specifically mentioned wanting a gypsy vibe, so we feature a baroque guitar played in a loose gypsy/Spanish manner. For the rhythmic parts, we utilized traditional European ethnic and gypsy instruments including hand drums, frame drums, tambourines, and shakers. Also very important was to incorporate a definite sense of religiousness to the proceedings, since Araxus's order, The Blade of Grenth, is religiously-based. We accomplished this with choir backed up by warm low strings, and based the harmonies from the Greek Phrygian mode to convey a mystical quality.
 In developing the chronological story of the piece, the first chords from 0:00 - 0:15 represent the old man (Araxus' mentor) fishing Araxus out of the water and Araxus' memories of him. The subsequent viola melody is meant to represent this not quite sad, not quite joyful, but nevertheless present emotionality behind Araxus's development of his Zaren persona. Noticeably present is the weaving in and out of a strumming mandolin, as well as these scratchy strings at 0:48 and 0:54 that provide a kind of uncomfortable feeling, which we hoped would sort of disrupt the calm and convey an illusory sense of being watched.
 Then the rhythm is established from 1:00, and builds into the action-y assassin quality of the song. The guitar is introduced at 1:26, and develops a new melody that we tried very hard to keep completely ambiguous. Not sinister, not benevolent, not warm, not cold; this concept carries on into the quiet choir portion at 1:52. For this "respite", we obviously wanted to convey the religious quality of the assassin's duty, as well as the intriguing calm that comes with it, but we also took the opportunity to play on the idea that Araxus can be a very emotional and violent man internally. So at the same time that you hear angelic choir, you also hear these really unstable, quavering cello notes that swell and fade and swell and fade, as if threatening to overtake the tranquility completely. This was especially important to the idea we decided to play on before - that the cold, emotionless Zaren has a little bit of the emotion and humanity of Araxus, just as much as Araxus can never completely shed Zaren. They are ingrained in each other like habits, sometimes repressed, sometimes not. But the two personas certainly affect each other in their own ways and it was fun to explore how to distinct personalities worked in sync with each other.
 At 2:17 the rhythm picks up again, as the "holy respite" is left behind and Araxus makes his move. In finding a way to portray the understated yet calculated actions of an assassin, we chose the understated sound of plucking a harp harmonically to provide a muted, almost clockwork quality to carry the melody. It seemed to convey the sense of precision, concentration and timing that an assassin would employ...plus it sounded really cool!
 The piece builds into the finale at 2:44 with the introduction of legato violins. The violins portamento, or slide, in an exaggerated manner to reinforce the direness of the execution and subsequent escape. The song crescendos at 3:09, and we are left once again with the tranquil choir to accentuate the eerie silence following the act. The guitar also makes a final appearance in the form of a lyrical improv, followed by one last bow from the ethereal strings to leave us wondering if it was all just a mirage.
 Yet again, we have another piece under our belts that provided us with a wealth of creative opportunities, moments to break new ground, and just plain fun. This is another one of those special pieces that represents the constant evolution of our work, and we couldn't be more proud. We hope you enjoy it!
"Moonlit Waltz" - Moonlight Lantern's Guild Theme, GW2 (whimsical, dark fantasy)
"With All My Heart" - Rysari and Phylok Love Theme, TOR (choir, epic-fantasy)
Song Info:
Show Content
SpoilerWith All My Heart (Phylok and Rysari's Love Theme)
 Patron: Rysari
 Styles: Cinematic, Orchestral, Classical, Romance, Fantasy
 Signature: 4/4 and 3/4
 Tempo: 120-180 BPM
 Featured instruments: strings, harp, piano, flute, woodwinds, french horn, brass, orchestral percussion, full choir
 Taking on a love theme was a challenge not only because we had never done one before, but also because it required taking something very abstract and personal to other people and making it somewhat concrete with specific notes and rhythms. In addition, there needed to be parts that spoke about the two characters themselves.
 We ended up settling on an "romantic adventure" approach. It starts out with a sense of wonder and awe provided by the strings and choir, and then at 0:23 it becomes quite soft and introspective with a focus on the harp and later a trio of flutes (Rysari's instrument). This is meant to introduce Rysari's character, who is naive and full of wonder about the galaxy, but (at this point at least) ultimately alone.
 At 1:00, the tone changes into something very dashing and heroic. This is the introduction of Phylok. We took the idea that Phylock is an archaeologist/adventurer, so we created a sort of bombastic segment with lots of horns, percussion (Phylok's instruments), and acrobatic flute runs to convey his arrival into Rysari's life. Furthermore, the segment represents an optimistic, exciting new life as the two start having adventures together.
 At 1:24, we transition into the "heart" of the love theme. Smooth violins, followed by soft flute and sprightly staccato strings at 1:48 take us into a warm romantic waltz still tinged with the thrill of adventure.
 At 2:09, things shift gears quickly as we enter a dark, ominous movement. Disparate brass, brittle violas, and pounding drums getting closer and closer signal the approach of something sinister. This segment represents the doubt and disillusion that Phylok struggles with having seen his fair share of the Dark Side firsthand. We wanted to give the feeling of something "closing in", in that the Dark Side is like a psychological predator.
 But in the end, love triumphs all, and at 2:49, a drum roll and crashing cymbal introduce us to a triumphant finale with full brass, choir, and strings reprising Rysari's theme from the beginning. This not only brings the song full circle, but also weaves Phylok's instrumentation into Rysari's melody (a symbolic device signifying their ultimate victory and everlasting love together). Finally, at 3:24 the piece concludes warmly and peacefully with soft flautando strings, delicate harp, and hushed choir.
 This song is our biggest orchestral work to date, and features some of our most complex arranging. It was a lot of fun getting to create something to represent the passion and dynamism of two characters' love for each other, and we are very proud of how it came out. We hope you like it!
 Patron: Rysari
 Styles: Cinematic, Orchestral, Classical, Romance, Fantasy
 Signature: 4/4 and 3/4
 Tempo: 120-180 BPM
 Featured instruments: strings, harp, piano, flute, woodwinds, french horn, brass, orchestral percussion, full choir
 Taking on a love theme was a challenge not only because we had never done one before, but also because it required taking something very abstract and personal to other people and making it somewhat concrete with specific notes and rhythms. In addition, there needed to be parts that spoke about the two characters themselves.
 We ended up settling on an "romantic adventure" approach. It starts out with a sense of wonder and awe provided by the strings and choir, and then at 0:23 it becomes quite soft and introspective with a focus on the harp and later a trio of flutes (Rysari's instrument). This is meant to introduce Rysari's character, who is naive and full of wonder about the galaxy, but (at this point at least) ultimately alone.
 At 1:00, the tone changes into something very dashing and heroic. This is the introduction of Phylok. We took the idea that Phylock is an archaeologist/adventurer, so we created a sort of bombastic segment with lots of horns, percussion (Phylok's instruments), and acrobatic flute runs to convey his arrival into Rysari's life. Furthermore, the segment represents an optimistic, exciting new life as the two start having adventures together.
 At 1:24, we transition into the "heart" of the love theme. Smooth violins, followed by soft flute and sprightly staccato strings at 1:48 take us into a warm romantic waltz still tinged with the thrill of adventure.
 At 2:09, things shift gears quickly as we enter a dark, ominous movement. Disparate brass, brittle violas, and pounding drums getting closer and closer signal the approach of something sinister. This segment represents the doubt and disillusion that Phylok struggles with having seen his fair share of the Dark Side firsthand. We wanted to give the feeling of something "closing in", in that the Dark Side is like a psychological predator.
 But in the end, love triumphs all, and at 2:49, a drum roll and crashing cymbal introduce us to a triumphant finale with full brass, choir, and strings reprising Rysari's theme from the beginning. This not only brings the song full circle, but also weaves Phylok's instrumentation into Rysari's melody (a symbolic device signifying their ultimate victory and everlasting love together). Finally, at 3:24 the piece concludes warmly and peacefully with soft flautando strings, delicate harp, and hushed choir.
 This song is our biggest orchestral work to date, and features some of our most complex arranging. It was a lot of fun getting to create something to represent the passion and dynamism of two characters' love for each other, and we are very proud of how it came out. We hope you like it!
"Heart and Hearth" - Kitty Sparkle's Theme, GW2 (Dickensian, warm orchestral)
Song Info:
Show Content
SpoilerHeart And Hearth (Kitty Sparkle's Theme)
 Patron: Kitty Sparkle
 Styles: Classical, Orchestral, Victorian, Dickensian, Cinematic
 Signature: 4/4
 Tempo: 120 BPM
 Featured instruments: celesta, timpani, orchestral percussion, strings section, cello, flute, clarinet, brass section, horns, trumpets
 When we read Kitty's interview with TCTalk, we really got a strong feeling of warmth and spirit from her character. This is not only a testament to her great writing, but also the inherent dynamic of Kitty's character. She was made fun of when she was young, but rather than become bitter or withdrawn, she's turned her energies towards making others feel welcome and appreciated. She's the sort that offers the warmth of her home to wary travelers, always with an equally warm smile and a steaming kettle. And so, Llinos came up with the song title (fun fact, she's come up with everyone's song title except 'Animals Get Put Down') when she thought about how Kitty tends to open up both her heart and home to people, or her 'heart and hearth.'
 The beginning of the song introduces a wintry celesta and fluttery violin trills. Though rather than turn into a melancholy reflection, we tried to give it a measure of hope and whimsy, leading into some plucky pizzicatos and a harp glissando that propels the piece towards a youthful, slightly mischievous, but overall good-natured flute solo at 0:57. This was directly inspired by Kitty's occupation working with the cubs of the fahrar.
 At 1:12, we get introduced to the bombastic brass that characterizes Kitty's triumph of spirit and optimism. We wanted people to feel like they're in the presence of the lively, sometimes raucous personality that is Kitty. Being a Charr as well, we wanted to incorporate a bit of that proud warrior's dignity with thundering timpani drums and hefty low brass.
 1:28 consists of a transition that shows a bit more of Kitty's lighthearted, flirty side. The flowing solo cello bit at 1:37 was intended to represent her feminity. At 1:44, we delve right back into that triumphant brass, because with Kitty, she's always right back to the topic at hand before you can catch her on flirting!
 2:00 reintroduces the soft celesta and twinkling strings, this time introducing a lone clarinet at 2:24. A first for us, writing for clarinet that is, we felt it's sound best captured a combination of loneliness mixed with hope and strength, if that makes sense. we wanted to iterate that although she carries memories of hard times - childhood, mates long gone, comrades lost - her strength comes not from ignoring the past, but accepting it and truly moving on. The clarinet had this "so long, thanks for the memories, I'm stronger for them" type feeling, which was great for setting up the build into the finale.
 2:43 begins said build with rising violin trills, soaring string runs, twinkling chromatic percussion, enthusiastic mid string staccatos, and of course, the elated return of the booming brass and timpani drums. Besides serving the purpose of ending the song on a jubilant high note, which is how we picture any conversation with Kitty goes, we also wanted to feel clever in that we incorporated church bells (since Kitty loves to attend and cater weddings!) We wanted to end with the feeling that the listener has this huge feast spread out in front of them; that besides good company and a warm fire, they also have a full belly of Kitty's home cooking to enjoy it all!
 We try to challenge ourselves with every song, and this was certainly no different! Besides being our largest orchestral piece, it was also the first time we featured strong appearances from all sections of the orchestra.
 It was a true joy working on this song, and we hope you enjoy it too!
 Patron: Kitty Sparkle
 Styles: Classical, Orchestral, Victorian, Dickensian, Cinematic
 Signature: 4/4
 Tempo: 120 BPM
 Featured instruments: celesta, timpani, orchestral percussion, strings section, cello, flute, clarinet, brass section, horns, trumpets
 When we read Kitty's interview with TCTalk, we really got a strong feeling of warmth and spirit from her character. This is not only a testament to her great writing, but also the inherent dynamic of Kitty's character. She was made fun of when she was young, but rather than become bitter or withdrawn, she's turned her energies towards making others feel welcome and appreciated. She's the sort that offers the warmth of her home to wary travelers, always with an equally warm smile and a steaming kettle. And so, Llinos came up with the song title (fun fact, she's come up with everyone's song title except 'Animals Get Put Down') when she thought about how Kitty tends to open up both her heart and home to people, or her 'heart and hearth.'
 The beginning of the song introduces a wintry celesta and fluttery violin trills. Though rather than turn into a melancholy reflection, we tried to give it a measure of hope and whimsy, leading into some plucky pizzicatos and a harp glissando that propels the piece towards a youthful, slightly mischievous, but overall good-natured flute solo at 0:57. This was directly inspired by Kitty's occupation working with the cubs of the fahrar.
 At 1:12, we get introduced to the bombastic brass that characterizes Kitty's triumph of spirit and optimism. We wanted people to feel like they're in the presence of the lively, sometimes raucous personality that is Kitty. Being a Charr as well, we wanted to incorporate a bit of that proud warrior's dignity with thundering timpani drums and hefty low brass.
 1:28 consists of a transition that shows a bit more of Kitty's lighthearted, flirty side. The flowing solo cello bit at 1:37 was intended to represent her feminity. At 1:44, we delve right back into that triumphant brass, because with Kitty, she's always right back to the topic at hand before you can catch her on flirting!
 2:00 reintroduces the soft celesta and twinkling strings, this time introducing a lone clarinet at 2:24. A first for us, writing for clarinet that is, we felt it's sound best captured a combination of loneliness mixed with hope and strength, if that makes sense. we wanted to iterate that although she carries memories of hard times - childhood, mates long gone, comrades lost - her strength comes not from ignoring the past, but accepting it and truly moving on. The clarinet had this "so long, thanks for the memories, I'm stronger for them" type feeling, which was great for setting up the build into the finale.
 2:43 begins said build with rising violin trills, soaring string runs, twinkling chromatic percussion, enthusiastic mid string staccatos, and of course, the elated return of the booming brass and timpani drums. Besides serving the purpose of ending the song on a jubilant high note, which is how we picture any conversation with Kitty goes, we also wanted to feel clever in that we incorporated church bells (since Kitty loves to attend and cater weddings!) We wanted to end with the feeling that the listener has this huge feast spread out in front of them; that besides good company and a warm fire, they also have a full belly of Kitty's home cooking to enjoy it all!
 We try to challenge ourselves with every song, and this was certainly no different! Besides being our largest orchestral piece, it was also the first time we featured strong appearances from all sections of the orchestra.
 It was a true joy working on this song, and we hope you enjoy it too!
"Blackened Sky" - Renswerth's Shanty, GW2 (sea shanty, vocals at the end!) - LICENSED (Stage Production)
Song Info:
Show Content
SpoilerPatron: Renswerth
 Styles: Shanty, Cinematic
 Signature: 4/4
 Tempo: 96 BPM
 Featured instruments: harp, mandolin, cello, viola da gamba, choir, frame drum
 This project was admittedly a bit of a guilty pleasure, as we've always wanted to do a shanty (c'mon, who doesn't like pirate songs?) Of course, the challenge was that we had to stay true to the character, and Ren is not a pirate nor a sailor. That being said, coming from Lion's Arch, some of that must have rubbed off during his upbringing. Also, he has a keen interest in the Risen, who began arriving from the sea.
 We found that these maritime influences could combine into a sort of dark shanty that Ren may have heard the sailors and soldiers in Lion's Arch singing at the docks or taverns. To tie it more personally with Ren, we focused on the tragic story of Ren's brother Fearghal. Seeing his own brother burned, and bearing not only the psychological but physical scars, was a powerful image that we musicians could not ignore!
 For our shanty then, we wanted a song that would chill someone to the bone, especially Ren. At the same time, we wanted certain parts of it to have a soothing, ethereal quality. Our other challenge then was to create a melody that at once could be gritty and sinister, and then quickly transitioned into something soft and solemn.
 Before we get into the shanty proper, however, we spend some time introducing Ren himself. From Ren's journals, he has a lot on his mind, and he's a dedicated thinker.
 The song opens up with a choir, which starts things off with an appropriately contemplative mood. The harp that comes in shortly after represents the astute, studious side of Ren. Together, the harp and choir sounded like poring over books by candelight, and the mandolin strumming combined with the introduction of the low bass strings at 0:35 seemed to accent nicely. It also came to represent his dark thoughts that he was having in his friend's infirmary; all those questions floating about.
 The main shanty melody is introduced at 2:07. Playing the melody is a cello being performed "sul ponticello". This technique is produced by bowing very close to the bridge of the instrument, creating a scratchy, gritty sound with lots of harmonics. The goal here was to create something as intense and terrifying as what Ren experienced on the beach.
 The return to a contemplative sound at 2:43 was inspired by the incident at Lion's Arch with the Charr. Ren has to make a quick decision whether or not to accept the temptation of the dark arts, which he ultimately does. Thus, the brief contemplative moment represents his internal focus before he makes his decision, and then the segment ends with a rising, uncomfortable cello riff that leads into the finale.
 The song comes to and end with Llinos putting haunting words to the shanty. When doing research and performing the piece, we couldn't help but come up with some partial lyrics to imagine what was haunting Ren; we wanted words that might mean something to him as well as everyone else who might have heard of it. After we had lyrics, it was too tempting to resist singing them - so I (Llinos) started imagining how to have my character make a cameo in this piece in a small way (yet still add a little something to the song). Other artists sometimes get to do little cameos, so why not me?
 Anyway, Ren's RPer had written a great piece on their character's experience of the attack on Lion's Arch by Scarlet and her crew. My character was there during the attack as well and even remained to treat the wounded. Visually, we imagined Llinos softly singing this tune as she treated the injured soldiers in the aftermath of the fall of Lion's Arch. Perhaps one of the dying and wounded asked her to sing a shanty, and this one was the only one she knew? We imagined that in a small moment,
 Ren might have briefly heard Llinos sing the shanty as he passed by. We felt it added an appropriately dark touch, and that it would be a fun surprise! I know I had fun getting into it.
 We truly enjoyed researching and working on this piece, and we feel it's one of our most unique compositions so far. We hope you like it too!
 Fun fact: We got to use some of our more obscure library samples for this which made us happy - such as the anvil and the beating on a viola de gamba for percussion. Fun times.
 Styles: Shanty, Cinematic
 Signature: 4/4
 Tempo: 96 BPM
 Featured instruments: harp, mandolin, cello, viola da gamba, choir, frame drum
 This project was admittedly a bit of a guilty pleasure, as we've always wanted to do a shanty (c'mon, who doesn't like pirate songs?) Of course, the challenge was that we had to stay true to the character, and Ren is not a pirate nor a sailor. That being said, coming from Lion's Arch, some of that must have rubbed off during his upbringing. Also, he has a keen interest in the Risen, who began arriving from the sea.
 We found that these maritime influences could combine into a sort of dark shanty that Ren may have heard the sailors and soldiers in Lion's Arch singing at the docks or taverns. To tie it more personally with Ren, we focused on the tragic story of Ren's brother Fearghal. Seeing his own brother burned, and bearing not only the psychological but physical scars, was a powerful image that we musicians could not ignore!
 For our shanty then, we wanted a song that would chill someone to the bone, especially Ren. At the same time, we wanted certain parts of it to have a soothing, ethereal quality. Our other challenge then was to create a melody that at once could be gritty and sinister, and then quickly transitioned into something soft and solemn.
 Before we get into the shanty proper, however, we spend some time introducing Ren himself. From Ren's journals, he has a lot on his mind, and he's a dedicated thinker.
 The song opens up with a choir, which starts things off with an appropriately contemplative mood. The harp that comes in shortly after represents the astute, studious side of Ren. Together, the harp and choir sounded like poring over books by candelight, and the mandolin strumming combined with the introduction of the low bass strings at 0:35 seemed to accent nicely. It also came to represent his dark thoughts that he was having in his friend's infirmary; all those questions floating about.
 The main shanty melody is introduced at 2:07. Playing the melody is a cello being performed "sul ponticello". This technique is produced by bowing very close to the bridge of the instrument, creating a scratchy, gritty sound with lots of harmonics. The goal here was to create something as intense and terrifying as what Ren experienced on the beach.
 The return to a contemplative sound at 2:43 was inspired by the incident at Lion's Arch with the Charr. Ren has to make a quick decision whether or not to accept the temptation of the dark arts, which he ultimately does. Thus, the brief contemplative moment represents his internal focus before he makes his decision, and then the segment ends with a rising, uncomfortable cello riff that leads into the finale.
 The song comes to and end with Llinos putting haunting words to the shanty. When doing research and performing the piece, we couldn't help but come up with some partial lyrics to imagine what was haunting Ren; we wanted words that might mean something to him as well as everyone else who might have heard of it. After we had lyrics, it was too tempting to resist singing them - so I (Llinos) started imagining how to have my character make a cameo in this piece in a small way (yet still add a little something to the song). Other artists sometimes get to do little cameos, so why not me?
 Anyway, Ren's RPer had written a great piece on their character's experience of the attack on Lion's Arch by Scarlet and her crew. My character was there during the attack as well and even remained to treat the wounded. Visually, we imagined Llinos softly singing this tune as she treated the injured soldiers in the aftermath of the fall of Lion's Arch. Perhaps one of the dying and wounded asked her to sing a shanty, and this one was the only one she knew? We imagined that in a small moment,
 Ren might have briefly heard Llinos sing the shanty as he passed by. We felt it added an appropriately dark touch, and that it would be a fun surprise! I know I had fun getting into it.
 We truly enjoyed researching and working on this piece, and we feel it's one of our most unique compositions so far. We hope you like it too!
 Fun fact: We got to use some of our more obscure library samples for this which made us happy - such as the anvil and the beating on a viola de gamba for percussion. Fun times.
"Lingering Whisper" - Eleanora Smith's Theme, GW2 (soft, meditative, asian-influence)
Song Info:
Show Content
SpoilerLingering Whisper
 Patron: Eleanora
 Styles: Cinematic, Orchestral
 Signature: 4/4
 Tempo: 115 BPM
 This was one of those rare moments where I dove into this song with a very clear idea and the first minute of the song came to me quickly........and then........we had to think some more. We wanted to go with a very Memoir's of a Geisha feel (think Sayuri's theme) with a bit of Tina Guo's cello work from the game Journey. So we focused a lot on solos to really get that quiet, understated and complex feeling.
 Oh yes, and sparkly percussion. <3 So fun.
 We added a lot of fluttering strings to kind of add to that very whispery sound....and, well, here's the official description:
 Featured instruments: cello, bass flute, soprano flute, celesta, concert harp, orchestral percussion, strings ensemble
 When we thought about Eleanora's theme, we thought of a clash between inner emotion and outward stoicism. But "clashing" sounds together doesn't work very well in cinematic music, if not thought out carefully. In the interest of having a song that didn't sound "clashy", we decided to characterize Eleanora's disparate sides with different instruments, working together in harmony. The song begins with strings and a harp which maintain a soft, regular pattern, symbolizing her genteel, yet "at-arms-length" side. The cello comes in with the melody and represents a somewhat somber, yet strong internal undercurrent. We wanted it to sound sort of lonely; trying to reach out and connect with someone. At 0:55, there are distinctive violin minor trills that further hint of a more emotional side wanting to come out.
 Arriving at the middle of the song, a bass flute and soprano flute explore the melody further with contemplative legato lines. The bass flute, with its lower register and more subdued articulations, is meant to evoke a contemplative, thoughtful Eleanora. However, when the soprano flute takes over, we once again get a glimpse of the Eleanora underneath. Also, it is here that the celesta makes its appearance. It has a very structured rhythm, which we liked for Eleanora, plus it just sounded so haunting underneath the flute lines, so it ended up working pretty well!
 Naturally, the song builds into a finale, but we kept the cello up front to maintain that internalization. The strings swell, but it never gets too big or triumphant. Booming percussion is introduced, but it's distant and very slow. We wanted this part to maintain a sense of foreboding as the cello reaches the height of its emotion. Eleanora struck us as someone who is always calm and collected on the outside, but there is so much going on underneath just to maintain that balance. We wanted to show the struggle at its height here.
 The strings die down rather quickly, denoting Eleanora's self-control. Just as quickly, the strings rise again as if in one last push to drive her emotion out into the world, but she once musters her self-control as the music ebbs into a soft, soothing outro: a lingering whisper. For better or worse, Eleanora has managed to push all her emotions back inside.
 We really enjoyed this song because we didn't tell ourselves: "she's a thief, so let's put in a thievy action part". We chose to focus entirely on an internal struggle, and we think that made for a more interesting and personal character exploration. We enjoyed showing a bit of duality with the different registers and made sure to pause between the two because even the silence speaks for Eleanora's thoughts. The title is a play on the character's Tumblr page but also a nod to the Order of Whispers...aren't I so clever? ;p
 Patron: Eleanora
 Styles: Cinematic, Orchestral
 Signature: 4/4
 Tempo: 115 BPM
 This was one of those rare moments where I dove into this song with a very clear idea and the first minute of the song came to me quickly........and then........we had to think some more. We wanted to go with a very Memoir's of a Geisha feel (think Sayuri's theme) with a bit of Tina Guo's cello work from the game Journey. So we focused a lot on solos to really get that quiet, understated and complex feeling.
 Oh yes, and sparkly percussion. <3 So fun.
 We added a lot of fluttering strings to kind of add to that very whispery sound....and, well, here's the official description:
 Featured instruments: cello, bass flute, soprano flute, celesta, concert harp, orchestral percussion, strings ensemble
 When we thought about Eleanora's theme, we thought of a clash between inner emotion and outward stoicism. But "clashing" sounds together doesn't work very well in cinematic music, if not thought out carefully. In the interest of having a song that didn't sound "clashy", we decided to characterize Eleanora's disparate sides with different instruments, working together in harmony. The song begins with strings and a harp which maintain a soft, regular pattern, symbolizing her genteel, yet "at-arms-length" side. The cello comes in with the melody and represents a somewhat somber, yet strong internal undercurrent. We wanted it to sound sort of lonely; trying to reach out and connect with someone. At 0:55, there are distinctive violin minor trills that further hint of a more emotional side wanting to come out.
 Arriving at the middle of the song, a bass flute and soprano flute explore the melody further with contemplative legato lines. The bass flute, with its lower register and more subdued articulations, is meant to evoke a contemplative, thoughtful Eleanora. However, when the soprano flute takes over, we once again get a glimpse of the Eleanora underneath. Also, it is here that the celesta makes its appearance. It has a very structured rhythm, which we liked for Eleanora, plus it just sounded so haunting underneath the flute lines, so it ended up working pretty well!
 Naturally, the song builds into a finale, but we kept the cello up front to maintain that internalization. The strings swell, but it never gets too big or triumphant. Booming percussion is introduced, but it's distant and very slow. We wanted this part to maintain a sense of foreboding as the cello reaches the height of its emotion. Eleanora struck us as someone who is always calm and collected on the outside, but there is so much going on underneath just to maintain that balance. We wanted to show the struggle at its height here.
 The strings die down rather quickly, denoting Eleanora's self-control. Just as quickly, the strings rise again as if in one last push to drive her emotion out into the world, but she once musters her self-control as the music ebbs into a soft, soothing outro: a lingering whisper. For better or worse, Eleanora has managed to push all her emotions back inside.
 We really enjoyed this song because we didn't tell ourselves: "she's a thief, so let's put in a thievy action part". We chose to focus entirely on an internal struggle, and we think that made for a more interesting and personal character exploration. We enjoyed showing a bit of duality with the different registers and made sure to pause between the two because even the silence speaks for Eleanora's thoughts. The title is a play on the character's Tumblr page but also a nod to the Order of Whispers...aren't I so clever? ;p
