By Winifred Phillips
Winner of the worldwide tune Award Gold Medal for an outstanding publication within the box of music · Winner of the nationwide Indie Excellence e-book Award · Winner of the Nonfiction booklet Award (Gold Winner) · Winner of the yearly online game track Award (Best Publication)
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Additional info for A Composer’s Guide to Game Music
Here is an example: I was a teenager when I got my first keyboard. I舗d already enjoyed the benefits of a good education in both piano and voice, and was beginning to pursue a traditional education in music composition. None of this helped me figure out what to make of this new keyboard device. It was a beautiful thing with a silky black finish, and had been displayed in a place of honor at my local musical instrument store. I peered in wonder at all of its numerous buttons. I poked a few of them randomly, manipulated a slider, and peered at the softly glowing LCD screen positioned above the keys.
For now, let舗s just consider the idea that tone color may play a unique role in the creative thought process of a game composer. It can help us develop a deeper understanding of both our own work and the works of other composers. As an aside to this discussion of sensitive listening, I would like to mention the very important (but often contentious) practice of using reference works. This involves the placement of temporary pieces of music within a work of visual media (such as a film, a television program, a video game, etc).
A game composer will sometimes be asked to literally pull their compositions apart in order for them to be structured interactively. Without going too deeply into a subject that we舗ll be exploring later in this book, I舗d like to emphasize that an understanding of tone color can help us as game composers to structure our compositions so that they can be satisfactorily disassembled and then reassembled by the game舗s audio engine. The tone colors of various instruments determine their place in the overall ensemble.