🎹 OST – Composer le Thème d’un jeux vidéo (Partie 2) feat. DDD

🎹 OST – Composer le Thème d’un jeux vidéo (Partie 2) feat. DDD

Hi all! In the last episode, we looked into
the creation process for theme songs, we covered most of the theoretical stuff. In this episode, we’re gonna look into this more in-depth, with a very special case study: The menu theme for the game Propaganda! *OST THEME SONG* So, in the last episode,
*it’s like we’re in a TV show innit ^^#* we talked about how to compose a theme song. Today, we’ll put that into practice,
with the music for the video game Propaganda. If you don’t remember that game, go check out the episode 01 of OST, where I’m on about it 😉 So, before you start creating any music,
you gotta have a look at the brief, the intentions behind the project, etc.
Let’s see what the boss has to say on this one! ❧ Thanks a lot Aurélien! I’m currently at home,
answering your subscribers’ questions live. ☙ ❧ Today, we’re look into what I was after
for my game’s title screen tune. ☙ ❧ … I gotta stop talking like that…
… I don’t even have an actual mic… ☙ ❧ What I wanted first and foremost
was a theme that sounded quite military, ☙ ❧ seen as the game’s 2 main themes
are war and propaganda. ☙ ❧ The game is actually called “Propaganda”,
so hopefully that was no surprise to you. ☙ ❧ To guide Aurélien, I sent him
a screenshot of the title screen, ☙ ❧ on which the game’s aesthetics
show through very clearly. ☙ ❧ I thought that would help him get a sense
of the mood I was after, ☙ ❧ so then we’re on the same page
before he gets to work. ☙ ❧ One of the reasons why this one song
was so important to me is that ☙ ❧ it’s the title screen song – as in
the 1st contact we make with the game. ☙ ❧ It had to be a song that makes us
want to fight for our great nation, ☙ ❧ a song that invigorates us.
It was the song that sets the tone for all that follows. ☙ ❧ So I told him I wanted something epic and grandiose, but with an additional very specific constraint: ☙ ❧ it had to fit with the game’s visual art
direction – rather retro and minimalist. ☙ ❧ Those are some rather conflicting concepts,
a challenge was to be expected right from the start! ☙ ❧ That about covers the brief I gave Aurélien
for him to start his work! ☙ So, we got pretty much everything we need to start:
the medium, the brief, and the part of the game
where the music will be heard. This universe is rather military,
with very pixel-friendly visuals, so what we want is
something appealing, and that’s coherent
with the rest of the game. Let’s try to walk in UnderTale’s footsteps – for it skilfully plays with the border between “retro”, and “realistic”, so we can try to
recreate this balance for Propaganda. Let’s also
keep in mind that we’re in a military universe;
I got a bunch of tricks up my sleeve just for these! First of all, let’s use the sound
of several soldiers marching, keeping in mind that the “march”
will be synchronized with the song’s beat, as well as a snare drum,
which will play what I’ll call: “that typical snare drum rhythm
that everyone has heard once in their lives.” *that thing right here* *sound familiar?* *my point exactly ^^#* The point of this theme song is to make the player
want to start their adventure, in order to do so, I’ll emphasize
the military and heroic aspects of the song, by using a lot of brass instruments! I’ll also use a trio of: I’ll also use a trio of:
xylophone, I’ll also use a trio of:
strings I’ll also use a trio of:
and clarinet, which will play a theme that will symbolize
the player’s adventure, the quest awaiting them, it’s a technique Japanese RPG-makers
know inside out! Speaking of which – I also added another theme
played by a trumpet, with some oboes and violins,
in the background. That’s to spice up the heroic aspect of the song
even more! *theme song* Subtle details accentuate
the “call of duty” aspect of the song, like the little bells, striking the time,
the time to start your adventure! To finish off the song I added a little break at the end,
*no, not that kind of break* it’s much more solemn,
and serves to remind us that though a big adventure is right around the corner,
so is the battlefield, and that’s not to be taken lightly. The break ends with a groupe of unfinished chords,
to hint to the player that the story isn’t set in stones,
actually the player themselves shall write it. And so the marching starts again,
as if the player rejoined their comrades, heading straight to the battlefront! That’s all well and good, but as it turned out,
one of the trickiest things to balance, was the “retro~oldschool” vibe, versus the “epic” vibe. ‘Cause when you’re using
retro instruments, “epicness” goes way down. And vice versa:
if the track’s too “epic”, the “retro” vibe gets lost. And that’s precisely where being in touch
with the game’s developper helps a lot. ❧ Indeed, successfully harmonizing
all this was no easy feat. ☙ ❧ Particularly because I had a very precise idea
of what I was after, ☙ ❧ but that I had a hard time communicating it
to Aurélien the first time around. ☙ ❧ Our first messages were about
the instruments to be used in the song. ☙ ❧ I really wanted the trumpets
to be heard lound and clear, ☙ ❧ ‘cuz I looove the sound of trumpets, ☙ ❧ but in the track’s 1st version,
there weren’t enough trumpets… ☙ ❧ Come to think of it, all in all, in life,
there aren’t enough trumpets… ☙ *trumpets trumpets trumpets?
TRUMPETS! Trumpets, trumpets trumpets!* ❧ We also went back & fourth
on the “epic” aspect of the song, ☙ ❧ at times I found that the crescendo
took a little too long to arrive, ☙ ❧ which made the song
a tad too monotonous, ☙ ❧ we went back & fourth
regarding the basses, too, ☙ ❧ ’cause I wanted the song
to have more impact, ☙ ❧ but combining a “retro” vibe and big heavy
basses is complicated, understandably, ☙ ❧ and we also went back & fourth numerous times regarding the end of the song, ☙ ❧ actually, at one point,
Aurélien put forward a rather daring suggestion, ☙ ❧ which was full of good ideas… ☙ ❧ … but which didn’t fit
with my idea of the song, ☙ ❧ so then he suggested something
a bit closer to ☙ ❧ the 1st version we already had,
and closer to the current version, ☙ ❧ and in the end we did find something
we were both happy with… ☙ ❧ … That wasn’t quite the final version yet though, ☙ ❧ ’cause on the very last bit I found
the track was slightly lacking in the… ☙ *you guessed it!*
❧ trumpets department… ☙ ❧ In the end, all in all, we went through about
6 or 7 versions before we found the prefect one. ☙ Indeed! It very rarely works perfect the 1st time around!
You often have to try again multiple times to attain that
sweet sweet final version. But once it’s done,
you can be proud of it! Alright then,
I’m a make you listen to the whole entire track, but before I do
I’d like to thank la Développeuse du Dimanche, for agreeing to appear in this video,
I invite you to go check out her channel, actually, I may or may not appear
in one of her last videos, too… more info over there! As usual, if you have any questions, you’re more than welcomed to ask them in the comments section below! I hope you enjoyed this 3rd episode! If you have any feedbacks,
please leave them in the comments too! It’s right down there waiting for you!
If you want to support me, please share, click that good ol’ blue thumb,
and subscribe so you don’t miss my upcoming vids! See you next time
in my next vid, TCHOUSS! *theme song – final version* GO PLAY THAT GAME

Comments (15)

  1. Vivement qu'on bosse sur la prochaine musique <3

  2. Très bonne réflexion sur la composition. Ultra intéressant 😛 Hâte l'OST 4 pour approfondir le sujet !

  3. Mec, je t'ai grillé pour les accords grandioses x) I mineur IV majeur, la technique qu'on connait tous…
    Bon après par contre GG pour gérer le rétro orchestral, c'est le genre de truc où j'aurai répondu "laisse tomber" après une crise de pointillisme épiléptique.
    J'ai hâte de voir à quoi ressemble le résultat final…

  4. Il faut beaucoup de mémoire pour apprécier cette vidéo. ^^' On a un inventaire de tout ce qui va se passer, puis ensuite on peut écouter tout en même temps. À mon avis ce serait beaucoup plus accessible si à chaque fois tu nous faisais écouter un exemple afin d'illustrer chacun de tes propos. Par exemple lorsque tu cites un instrument, pourquoi ne pas nous faire écouter son pattern ? Ou alors juste quelques notes afin que l'on puisse l'identifier ?

  5. Good job la famille !

  6. En même temps les trompettes c'est la vie. Après les cors d'harmonie.

  7. En tant que trompettiste, j'approuve totalement le message principal de cette vidéo. Oui je parle bien du message de Lola a 5:48

  8. Salut, merci pour la vidéo, c'est cool de voir comment bosse un compositeur, j'ai deux remarques :
    Рle son de la caisse claire fait synth̩tique, j'imagine que c'est pour le c̫t̩ r̩tro mais elle jure un peu avec les autres instrus je trouve
    – est-ce que la prochaine fois tu pourrais rentrer plus dans le détail de la compo ? genre quel gamme ou quel mode tu as choisi et pourquoi, comment tu as harmonisé, etc…

  9. 2:07 Calm before the storm ! 🙂

  10. Ce thème me rappel "Bulblax kingdom" dans Pikmin 2 ^^ J'aime déjà le jeu xD

  11. c'est pas mal mais ca fait trop pensser au theme de metal Slug 3 (End Title)

  12. Après y'a des exemples de chip tunes épiques ! Un morceau ne perd pas nécessairement d'epicness si il a beaucoup de sons rétro, je pense ! "Mt. Tamaranch" dans Link's Awakening, par exemple 🙂

  13. Évolution des trompettes dans les jeux :

    2018 – king k rool

  14. Merci de parler d'Undertale

Comment here