Victor_lod

I try to listen to different compositions, mainly compositions from games like World of Warcraft, The Elder Scrolls V: Skyrim, The Elder Scrolls Online, The Witcher 3, and other fantasy RPG games; I have a very good ear, but I can’t identify patterns of shape, structure or anything that helps me with my compositions, these soundtracks that I mentioned, seem to be very well tied and connected, there is no way of knowing if the composer changed shape or not, he developed melodies or not, I am still confused

After creating a simple 8-bar period or sentence format What is the next step? Repeating the same 8 measures again seems to sound monotome To create some variation I tried to apply the techniques of melodic development, such as inversion, retrograde, ornamentation, augmentation or diminution, and when applying these techniques in the theme of 8 measures, the new material generated was very strange, without logic and without feeling any tips on how to elaborate the same theme again without it getting weird or too repetitive?

Thanks for the term name! Is there a composer from the classical or romantic period who composes in this structure?

In fact, there's a composer who does that, Matt Uelmen, listen to this composition, Diablo 2 - Wilderness there are several sections within the same composition, something like A, B, C, D, E, F, G, etc. Note that none of these sections has a melody / harmony similar to the previous section, each section presents a new harmonic and melodic material. I don’t know the name of this style of structure or composition, but i would like to know!

Bethoven was a king of the technique of developing a motif, of a small theme of 4 bars, he created long compositions. Schubert, Schumann, franz liszt and many others also created their compositions using the technique of variations of an idea. But my question here, are you know any old and new composers, who work with a melodic line without using motive development?

So in that case there are no sections? like Section A, B (contrast), A recapitulation? The background music melody cannot be a memorable, as it takes the player's attention to the song, correct? But doesn't keeping the instrumentation from beginning to end make the track monotome? Exemple, a musical composition for a desert city for a medieval fantasy game: I imagine an instrumentation such as acoustic guitar, flutes, sitar, strings, and middle east percussion. I imagine that a section B (contrast) would be necessary to change something and introduce news instruments, because listening to 4 minutes of music with the same instruments that only change the harmony, would it be boring?

Hey, thanks for the comment! I don't mean the length, but the internal structure of each track I want to know if the background music made for games has a scheme like Sentence or Period? If the shape used looks like ternary or rondo? If the melody used in these tracks is based on motives, or endless melody?

Hello guys! I hope you are all well! I have a question about music composition for games, more specifically, background music. About the shape of the structure: What form is generally used in compositions of music games? Ternary, Rondo, Theme and Variations? About the melody: What style of melody is usually worked on? the system of motive and development as did Beethoven, or Wagner's endless melody? About contrast sections: Do background songs need to follow the same instrumentation from beginning to end?