A three piece composition for a sci-fi based video game. The narrative of the hero on his final days of battle with compositional themes of conflict, consequence and resolution. Composed and recorded in 2011.

eginning with piano, 'Live to Forget' sets up the conflict with an ambiguous imitation of the musical themes that will be found throughout the three pieces. The opening instrumentation suggests isolation with its reoccurring pedal notes in the opening note (tonic). This evokes a vague sadness which is challenged at 1:15mins with the introduction of strings. It slowly resolves, introducing us to the main theme (conflict). 

By 2:02mins the piece has moved from its ambiguous tone to a more assertive rising cadence. This would be suitable accompaniment for any action sequence or conflict within the game. The lower synth is constantly rising throughout, building up towards a resolution or pause within the fight.

At 3:30mins we are introduced to the Hero Theme. A quick change in the chords and the major triads are welcomed, contrasting strongly to the previously aggressive, ‘cadential’ string lines heard earlier. It re-addresses the sense of isolation and establishes the protagonist more clearly before quickly being placed back into the rising string lines by 3:55mins.

The piece concludes with a strong minor cadence with the rising chords suspended. This represents a pause and  separates our character from the action. The separation leads strongly into our second piece 'A Hero Must Rise'.

Much shorter than 'Live to Forget', 'A Hero Must Rise' focuses entirely on the main character. It represents his presence and consequential moods after the fight. The entire piece is an elaboration of the hero theme. There is a strong sense of sadness from the opening string lines, separated by a long drawn out pedal note (0:44mins) - portraying the feeling of grief and strength. 

Our character is alone but focused, aware of his enormous responsibilities. The display of leadership is represented by the full orchestra with contrasting cannon lines again leading towards some form of resolution, but this time, it is within the character himself rather than the setting in which the action takes place.

'Final Stand' is the finale. It builds slowly, the recurring pedal chords in the Left hand of the piano are coupled with the rising melody line in the right. 'Final Stand' is elaborated entirely from a motif found in 'Live to Forget' (1:15-1:23mins).

By 1:39mins the tension has risen greatly within the piece. Suggestions of conflict are becoming aware but more personally than before. We have developed an attachment to the character and we are more aware of the consequences of conflict. At 2:53mins the direction of the piece is more aggressive, building to the conclusion of the 'Hero Theme' at the end, finishing the section and bringing us back to the character.

Garret Moore