A selection of tracks composed for or inspired by video games.

Video Game Music

A collection of music composed during my studies at Berklee College of Music in Valencia, Spain.

Berklee Valencia

End Credits

2017

The original soundtrack to BRAWLSTAR LEGENDS, a 2v2 mobile MOBA developed by Gazia Games.

Brawlstar Legends - Original Game Soundtrack

2013

A dramatic cue written for a film scoring course at Berklee Valencia, inspired by a plot outline for a scene in which a woman wakes up one day in her regular, ordinary neighbourhood to find a rather distressing note.

The cue, scored for flute, clarinet, strings, and piano, was recorded on September 23, 2013, on the Ann Kreis Scoring Stage at Berklee College of Music in Valencia, Spain.

Flute: Magdalena Martinez
Clarinet: Javier Ros
Viola: Santi Canto
Cello: David Oliver

Producer: Lucio Godoy
Engineers: Pablo Schuller, Chris Wainright

The Note

2013

A dramatic cue written for a film scoring course at Berklee Valencia. In this cue, inspired by a scene from "Los girasoles ciegos" ("The Blind Sunflowers"), music originally composed by our supervisor, Lucio Godoy, a man learns about the death of his son-in-law and grandchild on the Spanish-Portuguese frontier.

You can watch the video for this scene here: http://www.youtube.com/watch?v=y95KJkfulKY

This cue, scored for clarinet, bassoon, horn, and strings, was recorded on October 11, 2013, on the Ann Kreis Scoring Stage at Berklee College of Music in Valencia, Spain.

Clarinet: Claudia Camarasa
Bassoon: Miguel Puchol
Violin I: Eugeny Moriatov
Violin II: Fernando Pascual
Viola: Alvaro Gallego
Cello: David Barona

Producer: Lucio Godoy
Engineers: Pablo Schuller, Ian Kagey

Muerte en la frontera

2013

This is a tone poem written for a dramatic orchestration course at Berklee Valencia, inspired by a narrative in which two renowned investigators, Lucius and Benjamin, are sent to Egypt to find a missing aviator, only to become hopelessly lost in the desert. Suffering hallucinations from the extreme heat and dehydration, they encounter a horrendous, mischievous creature. They are found by an old Bedouin, who offers them refuge, and reveals to the investigators that the creature that they encountered was not merely a mirage...

This piece, scored for flute, clarinet, English horn, and bassoon, was recorded on October 21, 2013, on the Ann Kreis Scoring Stage at Berklee College of Music in Valencia, Spain.

Flute: Alvaro Octavio
Clarinet: Javier Ros
English horn: Daniel "Dani" Fuster
Bassoon: Miguel Puchol

Producer: Alfons Conde
Asst. Producer: Lawrence Lee
Engineer: Pablo Schuller

The Adventures of Lucius and Benjamin

2019

The end credits track from "Joey Boy" (dir. Mark Matechuk). This upbeat, lighthearted cue, scored for piano, upright bass, and drums, extends the happy ending of the film and sends the audience home with a smile.

Joey Boy - End Credits

2019

The end credits track from the short horror film, "Double Edged" (dir. Cliona Concetta). This cue features two full statements of the main theme of the film, the first of which is presented as a melancholic, haunting lullaby, followed by a rendition in strings (and capped off with a little surprise at the end).

Conductor: David Federman
Violin 1: Alex Toškov
Violin 2: Tanya Charles
Viola: Veronica Lee
Cello: Samuel Bisson

Recording Session Producer: Janal Bechthold
Recording Engineer: Gary Honess
Assistant to Composer: Andrés Galindo Arteaga

Recorded at Kühl Muzik, Toronto, Canada

Double Edged - End Credits

2019

The end credits track from the neo-noir feature, "No More Stolen Afternoons" (dir. Barry Germansky). This cue features a short statement of the main theme of the film, written in the idiom of an American Songbook-style jazz standard for trumpet, piano, bass, and drums.

Composer/Producer: David Federman
Trumpet: Ewan Divitt

Recording Engineer: Gary Honess
Recorded at Kühl Muzik, Toronto, Canada

No More Stolen Afternoons - End Credits

2013

This is a track from a hypothetical fantasy role-playing game, written for a Berklee Valencia video game scoring course. It is meant to represent a forested area for adventurers to explore, out of combat. The music is meant to convey the vastness of the forest, a hint of magic, and a sense of nobility.

This track, scored for horns, orchestral strings, and recorder, is presented as two looping iterations, with a fade at the end of the second. A proper loopable version is available on request.

Royal Forest

2013

This is a track from a hypothetical fantasy role-playing game, written for a Berklee Valencia video game scoring course. It is meant to represent a normal combat state within the game (and is meant as a companion piece to "Royal Forest"). In addition to conveying a sense of danger from an immediate threat, the music is also intended to inspire the adventurers to fight to their maximum potential.

This track, scored for horns, trombones, and percussion, is presented as two looping iterations. A proper loopable version is available on request.

Clash of Steel

2014

This is a cue written for my Master's thesis for the Scoring for Film, Television, and Video Games program at Berklee College of Music in Valencia, Spain. This adventure cue is meant to accompany a montage of excerpts of flying scenes from the works of Hayao Miyazaki.

This cue, scored for full orchestra, was recorded on May 21, 2014, in Lyndhurst Hall at AIR Studios in London, UK.

Conductor: David Federman
Producers: Lucio Godoy, Alfons Conde, Vanessa Garde
Session Engineer: Jake Jackson
Assistant Engineer: Fiona Cruickshank
Mix and Mastering Engineer: Pablo Schuller
Orchestra Contractor: Hilary Skewes

Full Personnel: See the full list of personnel here: http://federmusik.files.wordpress.com/2014/06/flight-recording-personnel.pdf

Watch the video of the recording session here: https://www.youtube.com/watch?v=yIiDdGR8I1Q

Please contact me privately to see the finished video project.

Flight

2023

A pirate-themed adventure track used as the main theme to a tabletop roleplaying game, scored for orchestral strings, horns, low brass, percussion, and electric bass, featuring a pirate band of bass viola da gamba, sopranino recorder, chitarrino, dulcimer, and bodhrán.

Viola da gamba: David Federman
Recording Engineer: Simon Miminis

Artwork: APHOTICMOTH (https://aphoticmoth.carrd.co)

The Hunt For Don Sancho's Treasure - Main Theme

2023

The end credits track from the heartfelt dramatic film, "The Sweetest Goodbye" (dir. Emily Schooley). This wistful cue features a full rendition of the main theme of the film rendered on nylon guitar and synths, and serves as an emotional catharsis to the narrative.

Composer/Producer: David Federman
Guitar: Andrés Galindo Arteaga

Recording Engineer: Monica Botelho
Recorded at Story Arts Centre, Toronto, Canada

The Sweetest Goodbye - End Credits

2024

The ending credits cue for the podcast series, "We Talk About Film" (prod. Justine McCloskey and Sarah Beaudin). This quirky cue, scored for a veritable pile of mandolins and dulcimers of varying sizes, captures the energy and verve of the podcast hosts.

We Talk About Film - End Credits

2025

An Andalusian-inspired adventure track used as the main theme to a tabletop roleplaying game, scored for oud, qanun, two sazes, two neys, zurna, chitarrino, Renaissance lute, hurdy-gurdy, percussion, strings, synths, vielle, and bass viola da gamba.

Vielle, Viola da gamba: David Federman
Recording Engineer: Simon Miminis

Artwork: Brian Patterson (https://brianfnpatterson.com)

Journey to the City of Ash - Main Theme

2015

This is a short piece for a series of web commercials that I wrote for Gallery Momiji, the home of the art show at Anime North, Toronto's premier fan-run Japanese animation convention.

You may watch the first of the three commercials in which this piece is featured here: https://www.youtube.com/watch?v=OxREXIrvbYk

This piece is scored for koto, strings, and synth.

Gallery Momiji Theme 2015

2015

Track 1/4 from the soundtrack to "Cow Bros: The Final Throwdown," a game by Dotly Studios for TOJam 10. This is a "CD version" (a loop into a fade) of the main title theme.

As this game is a Wild West-themed local multiplayer arena, I pulled out the big guns -- er, six-shooters -- and attempted to capture the essence of classic Spaghetti Western scores.

The main theme to "Cow Bros" is scored for strings, brass, electric and acoustic guitars, percussion, and whistling.

Cow Bros - Main Theme (CD ver.)

2015

Track 2/4 from the soundtrack to "Cow Bros: The Final Throwdown," a game by Dotly Studios for TOJam 10. This is a melodic stinger that plays over a brief countdown before the round begins.

"Duel Begin" is scored for electric guitar, percussion, and whistling.

Cow Bros - Duel Begin

2015

Track 3/4 from the soundtrack to "Cow Bros: The Final Throwdown," a game by Dotly Studios for TOJam 10. This is a "CD version" (a loop into a fade) of the game state music, played while the cowfolk are throwin' down in the corral.

For the game state music, I was directed to supply a more uptempo version of the main theme, which itself is intended to be reminiscent of classic Spaghetti Western scores.

The game state music in "Cow Bros" is scored for strings, brass, electric and acoustic guitars, and percussion.

Cow Bros - Game State (CD Ver)

2015

Track 4/4 from the soundtrack to "Cow Bros: The Final Throwdown," a game by Dotly Studios for TOJam 10. We hear this music at the end of the game, as the gunsmoke clears and the dust settles, and one Cow Bro remains victorious. This track plays over the countdown to the next round, leaving sufficient time for the victor to gloat over their vanquished foes.

"Game Over" is scored for strings, electric guitar, tubular bells, percussion, and whistling.

Cow Bros - Game Over

2015

An action/chase cue written for the 2015 NYU/ASCAP Film Scoring Workshop - Classic Hollywood Scoring track. Inspired by a scene from the "Serenity," our plucky team of space mercenaries must race back to their ship with an enemy craft of Reavers in hot pursuit.

This cue, scored for full orchestra, was recorded on June 11, 2015, in the Frederick Lowe Theater at NYU Steinhardt, New York, New York.

Conductor: David Federman
Producers: Mark Snow, Mark Suozzo, and Mike Patterson
Engineer: Nick Kmet

Escape The Reavers

2011, reorch. 2015

This is a concert version of the theme for a "someday" RPG project, "The Legend of Forester/有森伝説 (Arimori Densetsu)." This version, conceived in 2015, is a new orchestral mockup, featuring expanded orchestration, choir, and dulcimer.

As I wrote in 2011:

"In the interest of facilitating the adaptability of this project for both Western and Eastern audiences, the theme of our hero, the young Forester/Arimori, is written in a pentatonic row, presented here with a lush, Western orchestration. In composing this theme, I noted the versatility of the melody; in addition to the pastoral and heroic flavours contained in this presentation, Forester's Theme is suitable for adaptation as an Irish jig or piping tune, a waltz, or even a piece in the Chinese jiangnan sizhu style. I hope to one day explore these variations."

Also, as I noted in 2011, this was written in stylistic homage to some of my favourite contemporary composers and orchestrators.

Forester's Theme is scored for full orchestra, with dulcimer and choir.

The Legend Of Forester - Forester's Theme/有森伝説~有森のテーマ (2015 ver.)

2015

The end credits track from the indie romantic comedy feature film, "John Lives Again" (dir. Anthony Furey). This cue is comprised of a suite of themes and motifs that were heard earlier in the film, and is stylistically in keeping with the '80s rock vibe of the score and soundtrack.

Lead Guitar: Andrew Ross Geladaris
Rhythm Guitar: Billy Centenaro
Bass: David Corwin
Drums: Tom McGeoch
Keys/MIDI Programming: David Federman

Composer/Rockestrator/Producer: David Federman
Recording Engineer: Jake Valentine
Mix Engineer: Pablo G. Schuller

Recorded at Village Studios, Los Angeles, CA, and GELMedia Studio 1, Richmond Hill, ON

John Lives Again

John Lives Again - End Credits

2015

The end credits track from the indie drama short, "In Utero" (dir. Jonathan Krimer). This cue is a full statement of the main theme of the film, presented as a slow, haunting waltz for solo piano.

In Utero

In Utero - Waltz for Sarah (End Credits)

2016

The end credits track from the Spanish short psychological thriller, "Cruzar el umbral" (Crossing the Threshold). This cue is comprised of a suite of the themes and motifs heard earlier in the film, woven together in a creepy waltz.

Conductor: David Federman
Violin 1: Alex Toškov
Violin 2: Tanya Charles
Viola: Laurence Schaufele
Cello: Samuel Bisson

Recording Engineer: Gary Honess

Recorded at Kühl Muzik, Toronto, Canada

Cruzar el umbral

Cruzar el umbral - Créditos finales

2016

The end credits track from the short horror film, "Taking Possession" (dir. Peter Campbell). This cue features full statements of the main theme of the film, presented as a haunting, sinister waltz.

Conductor: David Federman
Violin 1: Alex Toškov
Violin 2: Tanya Charles
Viola: Woosol Cho
Cello: Samuel Bisson

Producer: David Arcus
Recording Engineer: Jim Zolis

Recorded at Rose Room Recording, Toronto, Canada

Taking Possession

Taking Possession - Next Victim - End Credits

2016

The end credits track from "The Suitcase" (dir. Philip Leung). This cue features a rousing rendition of the protagonist's theme, in the style of 20th-century Chinese orchestral music, blending the modality of traditional melodies with Western instrumentation.

Erhu: David Federman
Dizi: Dora Wang
Guzheng: Cynthia Qin
Pipa & Xiaoruan: Kate Tian
Cello: Samuel Bisson

Producer: Matthew Van Driel
Recording Engineer: Mateo Palmisano

Recorded at Kühl Muzik, Toronto, Canada

The Suitcase

The Suitcase - End Credits

2017

The full version of the end credits track from the short LGBTQ-themed comedy, "Esmerelda's Castle" (dir. Rachel Cairns & Sarah Hempenstall). This cue is a gypsy jazz-inspired arrangement and expansion of "Ruby's Song" (the "Esmerelda's Castle" theme, by Rachel Cairns & Neil Whitford).

Violin: David Federman
Guitar: Neil Whitford

Esmerelda's Castle

Esmerelda's Castle - Essie's Rag (End Credits)

2017

The end credits track from "The Last Supper" (prod. Patricia Ismaili & Clara Pasieka, dir. Christine Buijs). This quirky and light cue, scored for strings, organ, harp, and percussion, encapsulates the essence of the two protagonists and the tone of their kooky adventures together.

The Last Supper

The Last Supper - End Credits

2017

The draw fanfare from BRAWLSTAR LEGENDS, a 2v2 mobile MOBA developed by Gazia Games.

Brawlstar Legends OST

Brawlstar Legends - Draw

2017

The sudden death overtime track from BRAWLSTAR LEGENDS, a 2v2 mobile MOBA developed by Gazia Games.

Brawlstar Legends - Sudden Death

2017

The third brawl/battle track from BRAWLSTAR LEGENDS, a 2v2 mobile MOBA developed by Gazia Games.

Brawlstar Legends - Brawl 3

2017

The victory fanfare from BRAWLSTAR LEGENDS, a 2v2 mobile MOBA developed by Gazia Games.

Brawlstar Legends - Victory

2017

The first brawl/battle track from BRAWLSTAR LEGENDS, a 2v2 mobile MOBA developed by Gazia Games.

Brawlstar Legends - Brawl 1

2017

A fanfare that plays as the combatants enter the arena and the match is about to commence in BRAWLSTAR LEGENDS, a 2v2 mobile MOBA developed by Gazia Games.

Brawlstar Legends - Prepare to Brawl

2017

A fanfare that plays once all players' champions have been chosen and a match has been made in BRAWLSTAR LEGENDS, a 2v2 mobile MOBA developed by Gazia Games.

Brawlstar Legends - Champions Chosen

2017

The first hub/menu track from BRAWLSTAR LEGENDS, a 2v2 mobile MOBA developed by Gazia Games.

Brawlstar Legends - Hub 1 ~ The Hero's Heart (album ver.)

2017

The main title fanfare from BRAWLSTAR LEGENDS, a 2v2 mobile MOBA developed by Gazia Games.

Brawlstar Legends - Main Title

2012

Track 1/3, from the soundtrack to "Immortal Combat," a game by Rogue Badgers, created during TOJam 7. This track, scored for duduk, low strings, and harp, is the music for the opening, prologue, and character/stage select screens.

Immortal Combat - Threnody

2012

Track 2/3, from the soundtrack to "Immortal Combat," a game by Rogue Badgers, created during TOJam 7. This track, scored for orchestral strings, brass, organ, pan flute, and various percussion instruments, is for the fixed, 90-second battle sequence as the characters vie to gain enough faith and followers to effect the apocalypse. It's a little music by which to end the world.

Immortal Combat - Battle

2012

Track 3/3, from the soundtrack to "Immortal Combat," a game by Rogue Badgers, created during TOJam 7. This track, for horns and bass drum, is the victory sting that plays as the winning player's followers ascend to the heavens.

Immortal Combat - Victory - Rapture

2018

The final cue and end credits from "Haru's New Year" (dir. Alice Shin). This cue is comprised of two statements of the main theme: once embellished (over the final scene of the film), and again more straightforward (over the credits).

Piano: Mark Andrews

Composer/Producer: David Federman
Recording Engineer: Galen Weston
Mix Engineer: Jim Zolis
Assistant Engineers: Warren Hutton and Oliver Eksteins
Assistant to Composer: Andrés Galindo Arteaga

Recorded and Mixed at Rose Room Recording, Toronto, Canada.

Haru's New Year

Haru's New Year - Haru and Huran/End Credits (はるとフラン～エンディング)

2013

Track 1/4 from the soundtrack of "The Grind," a game by Los Ludo Luchadores for TOJam 8. This is a loop for the loading/title screen to the game, presented in a "CD version" (two loops and a fade).

This track is scored for guitar, bass, drumkit, and soprano saxophone.

The Grind - Welcome to the Robo-Office (CD ver.)

2013

Track 2/4 from the soundtrack of "The Grind," a game by Los Ludo Luchadores for TOJam 8. This is a single loop of the main game state music.

For this track, I was requested to write what could pass for inoffensive elevator or office Muzak. Since the office is populated by robots ("corporate drones," get it?), I produced a (watered-down) bossa nova groove, which was then arranged for chiptune instruments, as if that would be the robots' preference.

The Grind - The Daily Grind (Game ver.)

I am a Toronto-born, classically-trained composer specializing in music for the screen. You can hear my work in films like CRUZAR EL UMBRAL (dir. Sergio Hernández Elvira), THE SUITCASE (dir. Philip Leung), HARU'S NEW YEAR (dir. Alice Shin), and Season 5 of CBC's SOMEONE KNOWS SOMETHING podcast (prod. David Ridgen).&#13;
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I hold a Master of Music degree in Scoring for Film, Television, and Video Games from Berklee College of Music (Valencia Campu), where I studied under Lucio Godoy, Alfons Conde, and Ben Houge.&#13;
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Like what you hear? Want to hear more? Send me a message!&#13;

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