This is a blessing right here. Also yes I agree with your opinion on the melody when the piece goes back to Gm being the real motiff of Skyrim as the Dragonborn's "DOVAHKIN" section is basically an extension of the Elder Scrolls motiff. Great job man!!
Hey Erik awesome stuff. I've got a question concerning the Dragon born motif that occurs frequently in the Skyrim OST. It seems like it appears in the oblivion intro as well and was wondering your thoughts on that. My theory is that the Septims were Dragonborn too right? So it would make sense to have that motif in Reign of the Septims. However I wonder if that connection was planned or sort of fell into place once he started scoring Skyrim. Interested to know if you think reign of the Septims and the dragonborn motif are related and if so, how? Thanks sorry for the long post. Edit: May have confused the Skyrim theme and the Dragonborn Motif here*
Very cool connection, I have no idea if its intentional though~ When I wrote my analysis for the video I didn't realize the motif was used in "Reign;" my best guess is that Soule decided to expand it as its own theme in Skyrim and it coincidentally fits perfectly in the lore. That being said, Soule does work fairly actively with TES development so I could see this lore connection as a planned idea that works really well musically too. Its hard to say if its a nod to the lore, but it is certainly a cool way to tie the world and music of IV and V together
Nice stuff I love you man. 1 question I am wonderwing for some time as a beginner amateur composer :). When I see chords in "strings" sections, how do they actually play them in practice. Is it like for excample cellos play C, violas play E and violins play C. Is it actually ok to compose strings in chords? :) Thanks a lot in advance for an answer. Subscribed for sure :)
Great question~ Overall, the concept your asking about is called "voicing" and "voice leading" if you want to look more into it there's some good videos on youtube like this one: ruclips.net/video/itj-6S1pMQ4/видео.html In general, how the notes are played depends on what sound you are going for as a composer. If you want a standard sound you generally score notes fairly far apart with the lowest notes going to bass and highest going to violin (see m.11 in "Awake," Soule uses a very standard "open voicing" bottom to top: bass-cello-viola-violin) In Soule's music, voicing is a bit different because (almost) all of his instruments are synth, so each chord can be easily balanced, changed, or expanded in post. When recording with musicians, a composer has to consider the separate lines the string players will be playing and if they have enough players (or voices) to make a certain chord sound the way they want... Soule does not have to do this in the same way with synth instruments. Consider the opening measures of awake, we start with a three voice chord in the upper strings, before moving to 4 voices in m.8 then to 1 voice in m.9. With real players this would likely be played Vln 1 on top voice, Vln 2 on middle voice, Vla 1&2 on bottom voice, but with this you have to consider that the bottom voice will be much louder because it has twice as many players. When our chord moves to 4 voices the Violas would split, then every upper string would move to the C on the following measure, making that note noticeably louder and more full because of the different timbres from the multiple upper strings. Soule with his synth instruments essentially has more agency over the separate voices; if he wants the 4 note chord in m.8 to be significantly louder than the 1 note in m9 he can tweak that with relative ease. Overall, none of these voice leading conundrums are necessarily problems, but they present different sounds for the composer to consider; there is no correct way to lead voices but rather many options, and a skilled composer will know what to use to achieve the sound they want. Very long answer to your short question, but chord voicing and voice leading is super important in composition and how one chooses to do it greatly effects their music
Score reductions (and full scores in general) are generally written untransposed because the conductor or person studying the score cares more about the harmonic structure of the piece than actually playing it themselves
This is a blessing right here.
Also yes I agree with your opinion on the melody when the piece goes back to Gm being the real motiff of Skyrim as the Dragonborn's "DOVAHKIN" section is basically an extension of the Elder Scrolls motiff. Great job man!!
Love Skyrim analysis, keep it up! You're doing an amazing job!
Loving the skyrim content! Jeremy Soule is personally my favorite composer!
wonderful
We stan
Perfect
Hey Erik awesome stuff. I've got a question concerning the Dragon born motif that occurs frequently in the Skyrim OST. It seems like it appears in the oblivion intro as well and was wondering your thoughts on that. My theory is that the Septims were Dragonborn too right? So it would make sense to have that motif in Reign of the Septims. However I wonder if that connection was planned or sort of fell into place once he started scoring Skyrim. Interested to know if you think reign of the Septims and the dragonborn motif are related and if so, how?
Thanks sorry for the long post.
Edit: May have confused the Skyrim theme and the Dragonborn Motif here*
Very cool connection, I have no idea if its intentional though~ When I wrote my analysis for the video I didn't realize the motif was used in "Reign;" my best guess is that Soule decided to expand it as its own theme in Skyrim and it coincidentally fits perfectly in the lore. That being said, Soule does work fairly actively with TES development so I could see this lore connection as a planned idea that works really well musically too. Its hard to say if its a nod to the lore, but it is certainly a cool way to tie the world and music of IV and V together
@@erikhoetingmusic9392 Thanks, Yeah I wish someone would interview him so we could get all his insights on his soundtracks.
@@orctimusprime9029 Same, there some quotes from him at the bottom of this site en.uesp.net/wiki/Skyrim:Music but it would be cool to learn a lot more
@@erikhoetingmusic9392 Thanks very much, I haven't seen this before.
Nice stuff I love you man. 1 question I am wonderwing for some time as a beginner amateur composer :). When I see chords in "strings" sections, how do they actually play them in practice. Is it like for excample cellos play C, violas play E and violins play C. Is it actually ok to compose strings in chords? :) Thanks a lot in advance for an answer. Subscribed for sure :)
Great question~ Overall, the concept your asking about is called "voicing" and "voice leading" if you want to look more into it there's some good videos on youtube like this one: ruclips.net/video/itj-6S1pMQ4/видео.html
In general, how the notes are played depends on what sound you are going for as a composer. If you want a standard sound you generally score notes fairly far apart with the lowest notes going to bass and highest going to violin (see m.11 in "Awake," Soule uses a very standard "open voicing" bottom to top: bass-cello-viola-violin)
In Soule's music, voicing is a bit different because (almost) all of his instruments are synth, so each chord can be easily balanced, changed, or expanded in post. When recording with musicians, a composer has to consider the separate lines the string players will be playing and if they have enough players (or voices) to make a certain chord sound the way they want... Soule does not have to do this in the same way with synth instruments. Consider the opening measures of awake, we start with a three voice chord in the upper strings, before moving to 4 voices in m.8 then to 1 voice in m.9.
With real players this would likely be played Vln 1 on top voice, Vln 2 on middle voice, Vla 1&2 on bottom voice, but with this you have to consider that the bottom voice will be much louder because it has twice as many players. When our chord moves to 4 voices the Violas would split, then every upper string would move to the C on the following measure, making that note noticeably louder and more full because of the different timbres from the multiple upper strings. Soule with his synth instruments essentially has more agency over the separate voices; if he wants the 4 note chord in m.8 to be significantly louder than the 1 note in m9 he can tweak that with relative ease. Overall, none of these voice leading conundrums are necessarily problems, but they present different sounds for the composer to consider; there is no correct way to lead voices but rather many options, and a skilled composer will know what to use to achieve the sound they want.
Very long answer to your short question, but chord voicing and voice leading is super important in composition and how one chooses to do it greatly effects their music
The Horn part isn’t in the right key :(
Score reductions (and full scores in general) are generally written untransposed because the conductor or person studying the score cares more about the harmonic structure of the piece than actually playing it themselves
In this case the transposition would be Horn in C