Thanks so much to the kind responses we got! Sorry it took me a while to get to updating this.
I'm really excited to share this one, our first commissioned piece using LIVE violin! We finally have an example to show those that are interested in going with this route. xDÂ
It took a while, between getting ourselves familiar with how to write for a live string instrument and then our violinist had to relocate from Vietnam back to Europe and then in-between all that, too, he also won a composing award and had to travel to California...
But it was such an amazing opportunity to hear what our music sounds like with live instruments and we really have to thank Shay for that awesome opportunity.
This song was commissioned for a SWTOR character, the next one will be Final Fantasy and will utilize live violin again AND live cello and we're already in the process of mixing it and it's amaaaazing.
Here's what the song sounds like without the live violin and just our mock-up:
https://app.box.com/s/gb1zb4yic60s0uuu5hr9t6km0xjrov7r
And here it is with the live violin!
[youtube]OwertpFFFL0[/youtube]
I'm really excited to share this one, our first commissioned piece using LIVE violin! We finally have an example to show those that are interested in going with this route. xDÂ
It took a while, between getting ourselves familiar with how to write for a live string instrument and then our violinist had to relocate from Vietnam back to Europe and then in-between all that, too, he also won a composing award and had to travel to California...
But it was such an amazing opportunity to hear what our music sounds like with live instruments and we really have to thank Shay for that awesome opportunity.
This song was commissioned for a SWTOR character, the next one will be Final Fantasy and will utilize live violin again AND live cello and we're already in the process of mixing it and it's amaaaazing.
Here's what the song sounds like without the live violin and just our mock-up:
https://app.box.com/s/gb1zb4yic60s0uuu5hr9t6km0xjrov7r
And here it is with the live violin!
[youtube]OwertpFFFL0[/youtube]
Show Content
Song Info:Cadence (Shay's Theme)
Patron: Shay
Styles: Orchestral, Symphonic, Cinematic, Violin Concerto
Featured instruments: solo violin, piano, string section, solo bass flute, small glass/metal percussion
"Emotion, yet peace." - The original Jedi Code.
This tenet, whereupon the later modification of a few words would drastically change it's meaning from then on, is the crux, lens, and paint brush by which we paint the world of Shay.
Even being who she is, which is much more than just a Green Jedi, there is a recurrent dichotomy that we noticed in exploring her backstory. At the same time, there is a steady line that never wavers: she is a compassionate soul, no matter what she does (or is required to do).
So when we set out to create her theme, we wanted to personify the facets of that dichotomy but not fall into the trap of jumping wildly between "dark" and "light", risking a confused and "stitched-together" experience. We wanted to maintain the tonal aspect throughout: a very deep, emotional richness, yet slightly tug the song in particular ways to show the aspects of her life affecting her.
The beginning of the song views Shay in the way of something like a "cold read". We latched onto the idea that, through her work as a "master of lies", there are few who truly get to know her for who she is. So as someone coming in from the "outside", the listener is introduced to a frigid-sounding piano solo. At 0:19, a solo violin and echoing glass joins the piano to fortify the cold, distant, and mysterious atmosphere. The fact that all of these instruments are playing in their respective high registers - there are literally no bass or tenor qualities at all - helps to deliver that sense of distance. However, towards the end of the violin's passage, at 0:37, the violin does indeed dip ever so briefly onto it's lowest string - a string known for it's depth and body - giving the briefest hint of something else beneath the surface of Shay's facades.
At 0:39, the orchestra comes in as well as a bass flute (you'll recognize this noble fellow if you've heard the "Journey" soundtrack, alongside the cello), providing a first glimpse of warmth. The introduction of this section is designed to hit you in the gut: not in an explosive sort of way, but in the way that emotion sort of creeps in on you and overtakes you. This is the first personification of "emotion, yet peace", where the emotion hits strongly yet it's not unwelcome; it's peaceful, almost therapeutic, with the bass flute providing an organic layer representing the Living Force. I suppose this is the first time we wanted listeners to literally feel what a character feels when they experience something. And in this case, it's the desire to sink in and let go, yet not lose yourself in the process. This, in turn, is represented by the violin not just returning at 1:05, but continuing the melody from the strings, signifying Shay's connection and understanding of the Force (note again how the violin begins in it's high register, yet ends very low, once again reinforcing that "hidden depth").
At 1:15, the tone shifts slightly into something more contemplative; the warm string chords have slowly dissolved and are replaced with brittle, cold notes (brought on by the players playing harmonics), the piano comes in high as well, thoughfully "plink"-ing, and the violin takes on a somber melody. This section represents the loss and loneliness that Shay is forced to deal with in a life that affords few true connections and many personal losses, as well as the guilt she maintains for those she has lost. Again, it was important for us to maintain consistency throughout the sections, so the instruments never switch all at once (nor do their techniques), but flow naturally and progressively.
The passage fades out between 1:30 and 1:35 in a manner that has the listener questioning where she'll go. Will she continue to sink into the dark of loneliness and guilt? Will she become fearful, angry, and lash out?
At 1:35, we have our answer as the violin and piano reintroduce themselves in a stirring, rhythmic interpretation of determination and action. One of the key features of Shay is her resolve and resilience: she can endure through an extreme amount of personal pain. At 1:44, the violin ostinatos coalesce into the introduction of Shay's melody: the true expression of her self, which we believe is appropriately defined by a strong, resilient sound. The violin is in full bloom, and urges to present the most complex picture of dichotomies yet: jubilant, yet not gleeful - triumphant, yet with a tinge of tragedy - resolution, yet with a tint of uncertainty. You'll notice once again that the violin acrobatically flourishes through it's full range of highs and lows, painting the full picture at last. This last point is particularly stressed as energetic string staccatos rise up with the solo violin and peak at 2:19, leaving the violin to sing strongly, yet waveringly on it's final high note as the bass flute reappears to echo the violin in a lower register, almost as if in a consoling sort of way.
It's the calling of the Force once again, urging Shay to remain strong amidst that uncertainty. And here we travel into the deepest and truest characterization of Shay.
The movement from 2:31 to 3:05 has a distinctly wanting or searching quality as it repeatedly shifts from deep and warm to high and fragile. We hear hints of Shay's melody in the bass flute and solo violin, though they are being pulled into the context of these shifts. This reflects the strongest personification of the dichotomous quality we wanted to capture: that she is someone seeking peace and belonging, yet her work as an infiltrator combined with her own deep mistrust prevents her from finding them. She is one constantly caught between her true self and her personas, from true compassion to mimicked apathy, from resolve to guilt, from the deep connections with those she loves to the loneliness she lives with. Yet through it all, she remains true underneath.
Thus, we have the following sections which not only alternate, but progress the conflict, where the fragile violin solo melody engages in a dialog with the rich, lower strings:
From 2:31 to 2:48: deep, mournful, sinking
From 2:48 to 2:56: high, aching, seeking
From 2:56 to 3:05: deep again, steady, furtively reassuring
At 3:05, there is a soft shift in mood as contemplative strings and the thoughtful "plink"-ing of the piano appear. This is meant to herald a turning point or critical mass with regard to the previous back-and-forth; a final resolution to the war within herself.
But there is no such resolution without a certainty of strife, and at 3:24 the final struggle begins. Strong low piano octaves are peppered with rapid high notes and a busy, roiling repeating violin arpeggio before the section centers on the strongest statement of Shay's theme at 3:42, with the piano playing deep and resonant single notes, soaring sordino strings providing a bouquet of emotion, and the solo violin taking on the melody. Of note is that the roles are switched: the first time we heard Shay's melody earlier in the song, the violin was playing high while the strings played low. Now, the violin is playing in it's deepest register, while the strings are allowed to shine and soar. Besides providing a textural difference, this switch personifies the moment of Shay finally exposing her true self in the hopes of finding peace and ending the conflict.
At 3:58, the high strings fade away, leaving the solo violin to finish Shay's melody exposed atop a bed of fragile strings. At 4:11, the solo violin fades away and we are left with simply the warmth from the low strings that nonetheless still has an ambiguous nature, repeating a two-chord sequence twice as if expecting an answer that may or may not come. Then, at last, the answer comes at 4:22 in the form of a fully resolute and warm C major chord, signifying that Shay will come to find the peace she desires.
In the end, our depiction of Shay and her many facets and dimensions is at the same time quite complex yet maintains a sort of elemental purity and simplicity in execution. We developed it organically, focusing on the quality of the storytelling and making sure we told the story we wanted to tell fully. We hope you enjoy it!
Patron: Shay
Styles: Orchestral, Symphonic, Cinematic, Violin Concerto
Featured instruments: solo violin, piano, string section, solo bass flute, small glass/metal percussion
"Emotion, yet peace." - The original Jedi Code.
This tenet, whereupon the later modification of a few words would drastically change it's meaning from then on, is the crux, lens, and paint brush by which we paint the world of Shay.
Even being who she is, which is much more than just a Green Jedi, there is a recurrent dichotomy that we noticed in exploring her backstory. At the same time, there is a steady line that never wavers: she is a compassionate soul, no matter what she does (or is required to do).
So when we set out to create her theme, we wanted to personify the facets of that dichotomy but not fall into the trap of jumping wildly between "dark" and "light", risking a confused and "stitched-together" experience. We wanted to maintain the tonal aspect throughout: a very deep, emotional richness, yet slightly tug the song in particular ways to show the aspects of her life affecting her.
The beginning of the song views Shay in the way of something like a "cold read". We latched onto the idea that, through her work as a "master of lies", there are few who truly get to know her for who she is. So as someone coming in from the "outside", the listener is introduced to a frigid-sounding piano solo. At 0:19, a solo violin and echoing glass joins the piano to fortify the cold, distant, and mysterious atmosphere. The fact that all of these instruments are playing in their respective high registers - there are literally no bass or tenor qualities at all - helps to deliver that sense of distance. However, towards the end of the violin's passage, at 0:37, the violin does indeed dip ever so briefly onto it's lowest string - a string known for it's depth and body - giving the briefest hint of something else beneath the surface of Shay's facades.
At 0:39, the orchestra comes in as well as a bass flute (you'll recognize this noble fellow if you've heard the "Journey" soundtrack, alongside the cello), providing a first glimpse of warmth. The introduction of this section is designed to hit you in the gut: not in an explosive sort of way, but in the way that emotion sort of creeps in on you and overtakes you. This is the first personification of "emotion, yet peace", where the emotion hits strongly yet it's not unwelcome; it's peaceful, almost therapeutic, with the bass flute providing an organic layer representing the Living Force. I suppose this is the first time we wanted listeners to literally feel what a character feels when they experience something. And in this case, it's the desire to sink in and let go, yet not lose yourself in the process. This, in turn, is represented by the violin not just returning at 1:05, but continuing the melody from the strings, signifying Shay's connection and understanding of the Force (note again how the violin begins in it's high register, yet ends very low, once again reinforcing that "hidden depth").
At 1:15, the tone shifts slightly into something more contemplative; the warm string chords have slowly dissolved and are replaced with brittle, cold notes (brought on by the players playing harmonics), the piano comes in high as well, thoughfully "plink"-ing, and the violin takes on a somber melody. This section represents the loss and loneliness that Shay is forced to deal with in a life that affords few true connections and many personal losses, as well as the guilt she maintains for those she has lost. Again, it was important for us to maintain consistency throughout the sections, so the instruments never switch all at once (nor do their techniques), but flow naturally and progressively.
The passage fades out between 1:30 and 1:35 in a manner that has the listener questioning where she'll go. Will she continue to sink into the dark of loneliness and guilt? Will she become fearful, angry, and lash out?
At 1:35, we have our answer as the violin and piano reintroduce themselves in a stirring, rhythmic interpretation of determination and action. One of the key features of Shay is her resolve and resilience: she can endure through an extreme amount of personal pain. At 1:44, the violin ostinatos coalesce into the introduction of Shay's melody: the true expression of her self, which we believe is appropriately defined by a strong, resilient sound. The violin is in full bloom, and urges to present the most complex picture of dichotomies yet: jubilant, yet not gleeful - triumphant, yet with a tinge of tragedy - resolution, yet with a tint of uncertainty. You'll notice once again that the violin acrobatically flourishes through it's full range of highs and lows, painting the full picture at last. This last point is particularly stressed as energetic string staccatos rise up with the solo violin and peak at 2:19, leaving the violin to sing strongly, yet waveringly on it's final high note as the bass flute reappears to echo the violin in a lower register, almost as if in a consoling sort of way.
It's the calling of the Force once again, urging Shay to remain strong amidst that uncertainty. And here we travel into the deepest and truest characterization of Shay.
The movement from 2:31 to 3:05 has a distinctly wanting or searching quality as it repeatedly shifts from deep and warm to high and fragile. We hear hints of Shay's melody in the bass flute and solo violin, though they are being pulled into the context of these shifts. This reflects the strongest personification of the dichotomous quality we wanted to capture: that she is someone seeking peace and belonging, yet her work as an infiltrator combined with her own deep mistrust prevents her from finding them. She is one constantly caught between her true self and her personas, from true compassion to mimicked apathy, from resolve to guilt, from the deep connections with those she loves to the loneliness she lives with. Yet through it all, she remains true underneath.
Thus, we have the following sections which not only alternate, but progress the conflict, where the fragile violin solo melody engages in a dialog with the rich, lower strings:
From 2:31 to 2:48: deep, mournful, sinking
From 2:48 to 2:56: high, aching, seeking
From 2:56 to 3:05: deep again, steady, furtively reassuring
At 3:05, there is a soft shift in mood as contemplative strings and the thoughtful "plink"-ing of the piano appear. This is meant to herald a turning point or critical mass with regard to the previous back-and-forth; a final resolution to the war within herself.
But there is no such resolution without a certainty of strife, and at 3:24 the final struggle begins. Strong low piano octaves are peppered with rapid high notes and a busy, roiling repeating violin arpeggio before the section centers on the strongest statement of Shay's theme at 3:42, with the piano playing deep and resonant single notes, soaring sordino strings providing a bouquet of emotion, and the solo violin taking on the melody. Of note is that the roles are switched: the first time we heard Shay's melody earlier in the song, the violin was playing high while the strings played low. Now, the violin is playing in it's deepest register, while the strings are allowed to shine and soar. Besides providing a textural difference, this switch personifies the moment of Shay finally exposing her true self in the hopes of finding peace and ending the conflict.
At 3:58, the high strings fade away, leaving the solo violin to finish Shay's melody exposed atop a bed of fragile strings. At 4:11, the solo violin fades away and we are left with simply the warmth from the low strings that nonetheless still has an ambiguous nature, repeating a two-chord sequence twice as if expecting an answer that may or may not come. Then, at last, the answer comes at 4:22 in the form of a fully resolute and warm C major chord, signifying that Shay will come to find the peace she desires.
In the end, our depiction of Shay and her many facets and dimensions is at the same time quite complex yet maintains a sort of elemental purity and simplicity in execution. We developed it organically, focusing on the quality of the storytelling and making sure we told the story we wanted to tell fully. We hope you enjoy it!
