Would like to Learn Basics, but where to start?

[Zvart 57]

Hello! (I apologize if this is the wrong forum for this topic.)

 

Forgive me, but I need to start by saying that my last true music class was over 8 years ago. Which has led to a problem.

 

I would like to be a producer/middle man/etc for gaming - and have been doing such for my current project. However, I am completely lost when it comes to music.

 

I do have a composer, but conversations have not been the easiest to follow. Neither of us have any significant amounts of experience working with creating music for video games, and my lack of recent knowledge for music in general probably isn't helping.

 

So I would like to ask for help on where you guys, the creators of some pretty rad musical numbers for games, think one in my position should start in learning how to accurately describe problems that occur in the game to the composer for the game.

 

My current knowledge includes watching Extra Credits ((Including their episode about Video Game Music and why it can be very memorable)), as well as discussions with a composer which boiled down to "vague topics for a short list we can reuse" ((Such as having 'small town music', 'city music', 'character motifs', etc)).

 

Any help would be greatly appreciated, and thank you for reading!

[TheoAllen 830]

The very basic step is to learn the software. It could be anything like FL studio (paid) or Anvil studio (free, but only produce midi)

Once you have learned how to use the software, try to imitate or remix any existing music. And it's not limited only on VGMusic. The purpose is for ear learning

 

As a reference

http://www.rpgmakervxace.net/topic/24517-theos-midis-mimic-and-remix/

 

Hope it helps

[Jonnie91 1,149]

The thing with music, is that it's VERY dependent on the composer, there is no right and write or wrong answer, there are a few general rules and ideas that you can follow, but music is a form of expression to many. 

 

The basics of learning music, are really quite theory based, knowing there are only 12 notes that you have to your use, and that certain intervals can evoke certain emotions. and certain frequencies can do that as well.There is soo much that you can learn and hundreds of books on the matter. 

 

At the end of the day, the best thing to do, is just try it out go with it. Think what you want things to feel/sound like and just try things out  

Get yourself a copy of some music software, and just try it out  

 

As Theo said above, a good start is indeed to do remixes, that can certainly help to get your confidence, and see how the "professionals" do it  

[The Dragon God 34]

I'm a composer with no interest in creating music my whole life before this year had started. BUT I started and have songs people like. I use Musicshake, free to use but downloads costs $$ so I'm looking for better options. All my songs are original, I don't try remixes. My advice, experiment, make original songs. A good composer imo knows his/her skills by making your own work. Getting a pure feel on what you like which tells you what genre you like. Know your soul by producing it in the music you create. I love creating music!!

Edited September 11, 2014 by The Dragon God

[Rush2112 52]

If you wish to learn music theory I'm your man! I had to memorize everything rom key to modes, intervals to cord construction, and cadences to non harmonic tones. I would be happy to break music down for you if you wanted to learn music itself. Just remember that it does take a lot of time and more than likely you would be done with the project before you'd be halfway where I am.

[CountSymphoniC 3]

Zvart, I was wondering, could you clarify what you mean by describing problems to the composer of the game?

[geluf 38]

It sounds like what you are actually wanting is a way to communicate with your composer about what you want, not actually learn the ins and outs of making music itself.

 

In all of my commercial work (which spans games, film, television and so forth), I always sit down with the producer or director and have what is called a "spotting session".  This is a lengthy meeting during which they explain to me, in detail, the precise moods they are attempting to evoke at specific moments.  Everyone goes about this differently (I've worked with all kinds, from novices to seasoned pros), so you shouldn't feel like there's a true "best" way.  

 

A typical spotting session will involve a lot of back and forth:

"Here I'm looking to make the audience/player feel melancholy.  A real sense of something lost that you can't quite put your finger on."
"So, sort of wistful?"

"Exactly."
"Alright.  So we let the melody breathe and keep it light.  Piano?"
"Yeah.  That sounds good.  Heavy piano."

etc.

 

Your composer should be throwing out suggestions to fill the gaps.  A deep understanding of orchestration isn't your job, it is the job of the composer.  If you say "I need this mood", your composer should be able to almost immediately suggest various instrumental combinations that might point towards your goal.  

 

It should be very back-and-forth, and they should be sending you clips and snippets as they work to make sure the direction is correct.

 

If you actually DO want to learn theory, I can point you towards some basic resources.  I have a Masters degree in Music Composition and Theory and have been working full-time in the field for a decade now.  

[Zvart 57]

It sounds like what you are actually wanting is a way to communicate with your composer about what you want, not actually learn the ins and outs of making music itself.

This is true, and what I was hoping for.

 

I will probably go around and look up a bit of music theory myself, but thank you, geluf, that was a large portion of what I was looking for!

 

Sorry if my question seemed unclear to people.

 

 

I will take the other suggestions, though, as I wouldn't mind dabbling in music myself, just not on a professional level. Thank you so much!

[M4uesviecr 29]

I think what would help, first, is figuring out how you and your composer can come to an agreement on the mood of the piece.

 

For example, if words seem to fail when describing your intentions, why not give the composer a visual? If a visual is unable to correctly accent the expression necessary, give an audio reference.

 

One thing that could be making this process difficult is how you are conveying the game:  You are trying to tell your composer what you want, but your definition of "scary, foreboding" may differ from his aural interpretation of "scary, foreboding".

 

The BEST way to get results is to show a play-through, or, better yet, have the composer play the game themselves.

 

 

Now, perhaps this is just me, but, when you boil music down to generic terms such as "shop music"/"battle theme", then that's what you're going to get. A theme that quickly grows tiresome, but also, a theme that can be ANYTHING. I'd avoid using generic titles to set the pace for a piece of music.

 

The most IMPORTANT thing is to know what you want. It's exceedingly hard for a composer to create a piece that fits your needs when you have no idea what that need happens to be. Though the composer has the expertise, they are looking for you to guide them because, ultimately, the music has to please the game, and you.

 

Don't be afraid to critique! I'm sure there are composers who disagree with me, but don't be afraid to make comments if you think a section is "too urgent" if they should be going for something slow, or if a particular phrase is "too flowing" if it plays during a tense section. I mean... if you don't think it'll fit with your game, tell them! I worked with a developer that, no matter what I wrote, was not fond of my compositions. We finally talked and realized I wasn't the composer he needed. It wasn't a douche move, either -- He was consistently getting music themes that weren't speaking for the project, and my morale was falling to pieces because I felt as though I wasn't doing anything right.

 

Also, please give the composer SOME creative license - You wouldn't hire Michelangelo if you wanted a painting that mirrored Picasso's style. I understand having a mood, or style to mimic (light, rock orchestral similar to FF7), but make sure your composer is writing what you need, not writing like someone you admire (i.e. writing something EPIC, expecting it to sound like Hans Zimmer).

 

 I'm a huge advocate for releasing someone who isn't meeting your standards. No composer can write everything the way everyone expects them to. 

 

(Unless you're Jake Kaufman)

 

 

 

Lastly, I totally agree with Geluf about constant communication. They should send demos/snippets. I've worked with developers who, after writing a piece of music, told me to scrap it because it wasn't what they wanted. Rather than send them a demo, I figured "THIS IS AWESOME, THEY'RE BOUND TO LOVE IT!"... and they didn't. Or it wasn't conducive to the mood. 

 

So, yep, hope this helped!

Edited September 11, 2014 by M4uesviecr