Hey peeps! Sorry about the lack of updates for the past few weeks, they've been pretty busy! I'm writing this on the VGL tour bus, as we begin our twelve hour drive to Wichita, Kansas for our fourth show of our two week tour. It's been a really great time so far! Performed some brand new segments which have gone really well, and premiered a new flute arrangement! :-D We just had a day off in Chicago which was awesome—I got to check out the Museum of Natural History, and went to my first ever NHL hockey game, where I witnessed a fistfight, a pane of plexiglass fall on a player's head, and a hockey stick fly violently into the audience. I think hockey is my new favorite sport. Anywho! I've posted a few random arrangements this week, but the one I really want to dig into is "Heavenly Flight" from Dragon Quest III. Let me just say a big THANK YOU to David for sending this one to me--he sent me an email a while back to ask me if I was familiar with the Dragon Quest series, and sadly I was not at the time. But I listened to "Heavenly Flight," and man, I just fell in love! my best friend Mallory recently bought Dragon Quest VIII and was showing it to me last week--this soundtrack is absolutely gorgeous. It's all live symphony orchestra and man does it bring such an amazing epic feeling to the game. I definitely want to play through the whole game someday. I decided to start with the original "Heavenly Flight" from Dragon Quest III, but ALL OF YOU should check out this arrangement of the piece from VIII, it's BEAUTIFUL! Let's talk about the texture first. This piece is comprised almost completely of arpeggios. An arpeggio is defined as a broken chord, where the notes are played or sung in sequence one after the other, rather than played simultaneously. And while I was reading the Wikipedia article on this, I found this very important point: “In early video game music, arpeggios were often the only way to play a chord since sound hardware usually had a very limited number of oscillators, or voices. Instead of tying them all up to play one chord, one channel could be used to play an arpeggio, leaving the rest for drums, bass, or sound effects.”Couldn't have said it better myself, Wiki. Remember when I talked about Castlevania's texture and how there were only 4 “channels?” In acoustic musical terms, this is like having a limit of four instruments. Four instruments vs. full symphonic orchestra means that some things are going to be different, because of the instrumental limitation. Same thing for channels—the less you have, the more creative you have to be about conveying basic musical things, like melody, harmony and rhythm. Using the arpeggio is a great way to “convey” chords. If a composer writes a piece for solo flute, he's working with one “channel” of sound. A flute can only play one note at a time—so what happens if you want your music to have some kind of a chordal structure? You can't sound a bunch of notes at the same time. That's when you break out the arpeggios, baby—it breaks up a chord into individual notes that the flute can play, one right after another; the chord is present in the music without having been played as a “chord.” And it also provides motion between notes, which is a cool and exciting effect! Playing each chord underneath the melody has a very different feeling than breaking the chords up into fluid arpeggios. Look at Heavenly Flight, for example—really, we're only working with two channels, if you think about it: melody and arpeggios. The arpeggios span many octaves, but we never have more than two notes playing at the same time. So with only two channels, this piece has melody, harmony and rhythm. Awesomeness. Actually, one of the best ways to learn composition is to severely limit yourself with the number of instruments, and see what you can do. I know that when I first started writing, everything was for huge full orchestras and choirs and every instrument I could find in Finale—but with that many instruments and options and colors, it's hard to really get to know each instrument. Write a piece for solo trumpet and you'll REALLY start feeling creative—how do you make a piece work with one instrument? You have to find different colors and options within the context of that instrument and really push yourself to discover and explore what it can do. Do that with every instrument in the orchestra; then, the next time you write a symphonic piece, you'll be amazed at all of the colors and sounds you never knew existed! Enjoy this week's arrangements for Heavenly Flight, Mario Party's Can It Be Done? and Ghosts n' Goblin's Stage 1 & 2! More on the way!
Heya folks! Gonna dive right in today: I talked briefly in in one of my other posts about the division of themes in this happy relic of my childhood; Koji Kondo associates certain melodies with certain types of levels of the game (i.e. the dark scary theme for castles and ghost houses, and the happier theme for pretty much everything else). But even though the melodic material is clearly the same between levels—we instantly recognize it when we hear it—there are many changes in the music that supports the melody. Accompaniment, key, meter, texture...there is, in fact, a name for this compositional technique, and it's a very cool one that has been in use for hundreds of years. It's called theme and variations. Theme and variations is one of many musical forms, that dates back to the Classical period and is still in use today. First things first--what's a form? Well, form as you know is short for “formula;” musical forms are essentially different formulas for how material is organized in a composition to make it a cohesive piece. In layman's terms: form is what makes a piece make sense. There are several basic forms that became popular during the Classical period (1700's and 1800's, Mozart and Beethoven's time), some of which are still in use today. There are entire libraries written about the Classical period, but one of the main things you should know is that, during that time period, music was supposed to appeal to the average listener; most of the people in concert halls did not have any sort of musical training at all, so the music was supposed to be easy for the audience to “understand,” i.e. easily recognizable melodies, phrases, harmonies, and of course, forms. There are tons of textbooks that talk about the forms of that period: sonata, rondo, scherzo, minuet and trio, etc...and of course, theme and variation (which I will know refer to as t&v). Let's take a look at an example t&v; this example is aptly named “ Variations on a Theme by Haydn,” by Romantic period composer Johannes Brahms. You certainly do not. need to listen to this entire thing to get the idea, but I encourage you to because it's AWESOME. When you listened to it, you probably said, “Hey, this piece is just the same basic melody, or harmony, or rhythm over and over again. Brahms just messes with it in different, crazy ways.” This is all part of the form called theme and variations (t&v) . In t&v, you can literally vary ANYTHING: texture, instrumentation, rhythm, meter, key, register, harmony, etc. The possibilities are never-ending...which Brahms proved by writing twenty minutes worth of variations. He chose a theme by Classical composer Haydn, introduced it to you, and then varied different aspects of it throughout the course of the piece, while retaining some kind of recognizable elements of it. “Cool...hey, wait! Isn't that what Koji Kondo did for the levels in Super Mario World?” YES. YES IT IS. I can't think of a more perfect example of theme and variation in the context of a video game. All the elements are there! Kondo created his main melody, and for the rest of the game, he messes with it. BAM. In a classical t&v, the theme is introduced first, and then the variations follow. Since the very first level we play contains the Overworld, then we call the Overworld the theme, and the rest of the levels following it the variations. Let's take a looksy (and you should listen to the tracks too, links on the Arrangement page!): 1) Overworld. Straightforward. Tuba hammers out the bassline, the jumpy banjo fills out the chords, and steel drum beats the melody in your face. Only in Super Mario World would all of those instruments work so perfectly together. Genius. 2) Underwater. The theme is now in a different meter; the original theme was in common time (4/4), while this variation is in a dreamy waltz (3/4). 3) Underground. In that low, percussive marimba, there's our friend, the ostinato! This is a perfect example of one of the most common uses of ostinato: as a variation technique. The composer can go completely nuts on the melody, harmony and rhythm of the theme, while the ostinato binds everything together. 4) Athletic. (No sheet music yet, sorry!) Now we've taken the theme and put it into a new musical style: a rag (short for “ragtime”). This is also a common way to vary a theme; for example, many composers have at least one movement that puts the theme into a “jig” format, which is a dance in 6/8. Lastly, it's in a different key. 5) Bonus Level. Almost forgot about this one! The changes in this one are not as drastic as in the other variations; it's been pushed to a more rapid tempo, with a new accompanimental pattern in the bass and steel drums. And of course, nonstop bongos. FTW. Now, just to clarify: for game music to be considered t&v, it's not enough to just bring back the theme over and over again in a video game soundtrack. There's a difference between using a leitmotif (recurring theme) and actually constructing a classical theme and variation, where the variations are very distinct and clearly divided. But we'll talk about that more next time! Enjoy this week's arrangements for Underground Theme, Bonus Level, and the map themes for Bowser's Valley and Special Zone! More on the way!
Yikes...so I definitely lied about updating more often! :-P Trust me, I, I wanted to! When I'm not traveling with VGL, I work two part-time jobs at home, and lately I've been getting slammed with hours at both of them lately. Money is a good thing! Not having time to practice/compose/arrange/blog is not LOL I do enjoy my jobs to a point though--I work as a singer at a Catholic Church, where I perform for the masses, funerals, weddings, communions, confirmations, you name it. I also work as a hostess in a Chinese restaurant, and WOW, talk about learning a lesson in humility!! Since I started working there three months ago, I have not ONCE seen my boss take a day off. His dedication to his restaurant is very much the same as my dedication to music, and seeing how hard he works literally every single day is very inspiring to me, to work hard every day as musician and better myself and teach myself new things. So, this week I'm posting only one arrangement, but it contains a very cool musical element that we can learn a lot about: the ostinato! The "Corridor of Time" theme from Chrono Trigger is a perfect example of this motivic tool. Let's first look at the definition of motive, which is essentially: a recurring musical fragment or idea that characterizes a composition. Hard to describe in words, but it motives are the things in a piece of music that make it unique from other pieces. What's an ostinato then? A motive or phrase that is repeated in the same musical voice. We're not talking "oh the motive pops up now and then throughout the piece"--we're talking some kind of rhythmic, melodic or harmonic idea that is literally looping over and over again. An ostinato doesn't have to last the whole piece of music to be considered an ostinato (although some pieces DO do that), but it does have to repeat several times in a row. The wikipedia article on ostinati that I linked to contains an important point: "Ostinati are to classical music what riffs are to popular music." Riff = ostinato, they're two different terms for essentially the same thing. Examples ahoy!: Classical music: Possibly the most famous example of rhythmic ostinato in classical music is Maurice Ravel's Bolero. That short pattern in the snare repeats, over and over and over again, for the entire song, unchanging (And the version I linked to isn't even the entire song--the whole thing is close to 19 minutes long!) Also check out Pachelbel's Canon in D and the first movement of Holst's Suite in Eb, both examples of harmonic ostinati. Listen to the unchanging bassline, while a ton of variation is going on in the rest of the instruments--this is called "ground bass." Pop music: I admit it: I am a Gleek. Here's a version of " Loser" by the cast from the TV show Glee--repeating guitar part right in the beginning? Yup, ostinato. Also, here's an interesting example of a sung melodic ostinato: the Glee cast's version of " Gold Digger." Video game music: ...CHRONO TRIGGER!! Seriously, this game is filled with great examples. Yasunori Mitsuda uses ostinati to great effect in all of his pieces. " Corridor of Time" has an ostinato that starts off the piece and plays straight through. It can be considered a rhythmic and melodic ostinato, though it breaks the rules slightly; technically, the phrase in a melodic ostinato should be exactly the same each time it repeats, but throughout this piece, the pitches change slightly to support the chord changes. The rhythm and contour are the same, however, so I think it fits the definition of ostinato. If you take a look at the score, you can see the ostinato line is in the topmost stave--it literally never stops looping. Here are a few more examples of MItsuda-san's use of ostinato in other pieces...can you hear the loop? What kind of ostinato is it--harmonic, melodic, rhythmic, a combination of those? Chrono Trigger - Undersea PalaceChrono Trigger - Last BattleMario Party - DK's Jungle Adventure (bet you didn't know he did the music for this game!) Other video game pieces with ostinati.
Donkey Kong Country - Vulture CultureMortal Kombat -- Courtyard
Earthworm Jim -- New Junk CityNotice that these examples have ostinati all over the place--Corridor of Time has it in the treble range, Undersea Palace and Vulture Culture have it midrange, and the rest of them have it in the bass/percussion. Actually, in Vulture Culture, there's a few ostinati running at the same time in all of the registers. Cool huh? Ostinato is a very groovy tool. So, the Corridor of Time! This piece I found difficult to arrange on a reduced piano score. Usually I try to fit everything on only two staves (also known as a grand staff). But my goal is to arrange the music in such a way that you can see EVERYTHING that's going on in every instrument. So let's look at our texture for a minute: we've got the melody, the chords supporting the melody, the bass, and the ostinato. You need at least three hands to get through all of that! So I did Corridor of Time for what's called "Four Hands Piano"--that is, two people playing one piano. So if you want to play any of my 4-hands arrangements, grab a friend and knock yourselves out! :-D Enjoy the new arrangement of Corridor of Time! More on the way--sooner this time, I promise! ;-)
Yikes, it's been a while since I've posted new arrangements! The last few weeks got crazy-busy for me--I had to prepare for VGL Indianapolis, where I performed in five different segments, PLUS putting together an absolute mountain of flute arrangements to play at the ticket booth, to advertise for the show. Then there was Gen Con itself, which was AMAZING!!! I mean holy crap, there were a LOT of games there! I spent waaay too much money, but hey, it WAS my birthday ;-) And then I went straight from Indianapolis to a family vacation for a week at a dude ranch, where I horsebacked and paintballed for several days, complete with getting shot in the head at less than twenty feet. EXACTLY as painful as it sounds. But I'm back, with more Super Mario World arrangements! Just two this week, but I'll have more stuff to post next week--now that I'm home for a while, I'll be back on schedule with my about-once-a-week posting. This week, we have the Underwater Theme and Forest of Illusion themes. Let's take a look at both. Forest of Illusion, although short, has a very interesting sound--my guess is that Kondo decided to use unresolved, nontraditional harmonies to reflect the mysterious, illusory nature of this map (for those of you who have played the game, almost every level on this map has two exits). For those of you who are interested in some beginner music theory, let's do some simple harmonic analysis. In traditional, 18th century tonality (Mozart and Beethoven's time), composers used what are called cadences to conclude harmonic progressions. Cadence comes from the Latin word "cadentia" which means literally "a falling." I personally prefer to think of a cadence as a landing. In traditional tonal writing, a composer uses a series of chords to support his/her melody, which is called a chord progression. But how do you know when one progression ends and another begins? Cadences. They are essentially musical punctuation marks. It's not as complicated as it sounds--in fact, you know EXACTLY what a cadence sounds like. Virtually all of the music we hear on the radio these days use cadences--and a lot of video game music too! For example, let's look at the other arrangement for this week, the Underwater Theme. The melody first appears in mm. 13-27. But wait a second--how do I KNOW the melody is ending in mm. 27? Take a listen to it (:19-:20). Do you hear that "landing" point in m. 27, how the phrase comes to a finish? WHY does it sound like that? Listen, and now follow along with the score: 1) We are in the key of F major. 2) The chord for m. 26 is built on the 5th note of the scale (C). Call it the V (five) chord. 3) The chord for m. 27 is built on the 1st note of the scale (F). Call it the I (one) chord. This relationship, between V-I, is called an authentic cadence and we hear it ALL THE TIME, in pop music AND concert music. This is considered the "strongest" type of cadence, because it has such a definitive sound. This is just one type of cadence, there are many different kinds (IV-I, V-vi, ii-V, etc.), but we'll get into those some other time ;-) So! Now that we know what a typical cadence sounds like, let's go back to the Forest of Illusion. Without getting too crazy with harmonic analysis: yes, there is a melody, and that melody does have landing points within it (i.e. mm.1-2), but do any of them sound as definitive as the landing point we found in the Underwater Theme? To my ear, no. Kondo creates non-traditional chord progressions, that don't resolve as strongly as traditional chord progressions; the cadences are more of a fading than a landing. And for me, that's what makes the Forest of Illusion Theme sound so mysterious :-D One last thing to know about cadences: there are MANY different forms. If you ever take a music theory class, the first types of cadences you'll learn about are the classical ones that composers like Mozart and Beethoven used in the 18th and 19th century. Concert music has come a loooong way since then, and while some composers still use traditional harmonies and chord progressions, many contemporary composers do not, including myself. But for me, I believe a cadence is any kind of landing point, whether it uses old-fashioned chord relationships or some totally rad, crazy progress ion that sounds nothing like Mozart--if a phrase sounds like it begins, travels, and then ends--or lands--then I'd call it a cadence. Different sounds for different times! Hope you enjoyed this week's lesson! If anyone has something in particular they want me to write about, whether it's straight-up music theory or a specific piece of video game music, feel free to comment or send me a message on the Contact page! I'd love to hear from you! Enjoy the new arrangements of Underwater Theme and Forest of Illusion! More on the way!
Hey all! Was out of town this week, so I apologize for the delay in posting new arrangements! This week, I decided to take a break this week from the carefree happiness of Super Mario World to dig into some Chrono Trigger music. Now I must confess, I still have not actually played this game *dodges flying bullets* but it's not my fault, I tell you! When I was a kid, my sibligns and I grew up with a Sega Genesis and then a Nintendo 64; the only time I got to play Super Nintendo or Playstation was when I visited my cousin's house two or three times a year, and I guess he didn't have Chrono Trigger, because I hadn't even heard of it until I was in college! But rest assured, I DESPERATELY want to play this game, I have absolutely loved all of the music I've heard from it so far, and it's one of my favorite segments that I perform with Video Games Live. So until I hijack a Super Nintendo and steal a copy of Chrono Trigger, I have been hunting down the music on Youtube. And wow...I can't believe how many orchestral colors Yasunori Mitsuda was able to get out of an SNES sound system. It really is very deep and complex music. Tell me the Chrono Trigger theme wouldn't sound completely EPIC with a live orchestra and solo saxophone. What jumped out at me when I was listening to the Chrono Trigger music was the use of strong orchestral textures in video game music, which I think was pretty innovative for its time. I've included a link to a VERY lengthy Wikipedia article, but in a nutshell: texture is essentially the way all of the rhythmic, harmonic, and melodic elements in a piece work together. And video game music is absolutely the PERFECT way to learn rudimentary texture! Seriously! Early video games (i.e. NES) had only few channels of sound to use for instrument voices, so the texture as a result was very "thin."For example, any piece of music from the first Castlevania: you've got your melody line, your harmony/countermelody line, bass line, rhythm section. And that's it. Because there's only one "voice" per line, it's VERY easy to hear the distinct lines of the texture. I found this awesome video a few days ago that is a GREAT example of how the growing abilities of sound cards give composers more textural ability. And it was not only the number of channels, but the growing number of " timbres" available to the composers. I mean, listen to the Chrono Trigger theme! Some of those sounds are CRAZY good for their time, like the timpani hits, strings, the snare drum! Over the years, video game music has become just as texturally complex as a modern-day orchestra--and in some ways even MORE complex, because video game composers often work with electronic instruments, which means the number of timbres they could create are positively endless. And as a result, all of these new timbres can work with each other in different ways to create new textures of sound. I liked both of these new pieces for different reasons. Chrono Trigger's theme really gets my blood pumping because it feels like it's always moving forward. The big timpani hits in the bass really give the piece power, but there is also a forward momentum in the quieter sections, i.e. the little harp ostinato that Mitsuda employs starting in m.26; the melody, harmony and basslines have become very long and sustained, to create a sweet, quiet moment. Without the percussion and rhythmic bassline, the harp is the instrument that keeps the piece moving. What a great choice; it's a soft, light timbre, a short, plucked sound, and therefore doesn't take away from the melody and harmonies. It's "there" without distracting us from what we "should" be listening to. I find that Mitsuda-san uses a lot of ostinatos in his work, which I'll write about next week regarding his "Corridor of Time" piece. "Zeal Palace" also has some seriously dark epicness, in very simple but effective ways. The use of pedal points give it a really forbidding, grim tone. It's like the antithesis of the Chrono Trigger theme, which excites us right at the beginning with loud, in-your-face drums and percussive harmonies; in the beginning of Zeal Palace, the low/high strings are barely moving at all, but it's the lack of movement that puts us on the edge of our seats! Two totally different approaches, but both excite us as listeners. Too cool :-D Enjoy the new arrangements for Chrono Trigger and Zeal Palace! More on the way!
Two more of the map themes this week, plus the Koopaling Battle Theme. Speaking of which, did you know that Bowser's kids in SMW are specifically called "Koopalings" and not "Koopa Kids?" While looking up the title of their battle theme, I found an entire wiki page dedicated to Bowser's children, with more information than I could ever possibly desire about his spawn. This discovery was both ridiculous and awesome. And speaking of RIDICULOUSLY AWESOME, man was their theme was crazy! Usually I have no trouble with melody lines, but transcribing the Koopaling Battle Theme was pretty difficult! The harmonies in the accompaniment weren't hard; the bass line is a basic pattern outlining the chords, and the harmonies (in the right hand of my transcription) are built in fourths. But the solo line moved FAST, and moved seamlessly between a LOT of different scales--for example, octatonic (mm.6-7), minor (m. 12) and chromatic (m.16). If the melody followed one scale throughout the whole piece, it would be easier for my ear to identify the notes. However, the composer will throw in a note that doesn't belong in the scale he was suggesting, at which point I go "D'OH, KOJI KONDO, YOU GOT ME AGAIN!" And it's the rapidly changing scales that make the melody line so awesome! It's crazy and frenetic, and it definitely puts me on the edge of my seat whenever I do battle with a Koopaling. The style of the piece reminds me VERY strongly of Latin bebop, which is a very fast and virtuosic type of jazz, with the same type of rapid melody line. The link I provided is only one example, I'm sure there are a ton more on Youtube! Personally, I've always found that the music from the Mario franchise has a lot of jazz and Latin influence in it...I wonder if Koji Kondo is a bebop fan? Enjoy the new arrangements for Vanilla Dome, Star Road and Koopaling Battle Theme! More on the way!
This week, I went a little nuts and started cranking out TONS of Super Mario World arrangements. It's the VERY FIRST video game I ever remember seeing; I think I was like four or five years old, at my aunt's house, watching my cousins do battle in one of Reznor's fortresses. I remember actually feeling scared when I saw Reznor shooting all the flames and the bridge vanishing beneath Mario's feet! See, you don't need crazy graphics to terrify gamers ;-) Because I love this game and its music so much, I am on a mission to transcribe literally EVERY piece of music from that game. I'm already working on all sorts of arrangements, some for piano, some for solo instrument & piano, I'm sure we'll have a piano duet thrown in there somewhere, etc. I'm having a lot of fun with this project, some of it is really quite challenging to transcribe! (Next week I'm doing the Koopaling Battle theme, and WOW is that music ridiculously crazy). So far into the project, I've noticed a few simple things: 1) Main Themes. I hear two big ones. The happy adventure theme (Overworld) and the evil danger theme (Underworld?). The happy theme is heard in Overworld, Underwater, Underground and Athletic levels. The evil theme is in the Ghost House and Castle. All contain either of the main melodies, just with different meters and textures. Crazy!! 2) They are heavily melodic. And that's why we hum them! 3) Division of Themes. Anyone notice that the level types are divided almost exactly like the very first Mario game? Overworld, Underground, Underwater, Castle. The only exception to this is the addition of the Ghost House and Athletic levels in SMW, and even those borrow from the Castle and Overworld themes respectively. I honestly didn't completely realize this until I started this project. Double crazy!! 4) The map themes are NOT heavily melodic. With the exception of the Forest of Illusion and Donut Plains, most of the map themes rely on simple harmonies + rhythmic interest. For example, Yoshi Island theme, which to me sounds like a basic call-and-response between the treble and bass lines. The lack of melody in the map themes makes sense though, you probably shouldn't have the map music overshadow the music of the actual levels. 5) I am having way too much fun :-D Enjoy the new Super Mario World arrangements for the Main Titles, Yoshi's Island, Donut Plains, and the Overworld! A LOT more are on the way!
This week's theme was Castlevania. I really get a kick out of arranging music from this game, it's very easy for me to just crank one out in about fifteen minutes because each song follows a very clear formula. You can hear very easily that composer Kinuyo Yamashita must have had only four channels of sound to work with, because the song is constructed in distinct lines, which make up the "texture:" You've got your bass line, which tends to hang out in the mid-bass clef register, occasionally dipping lower to the bottom of the clef; then there's your melody line, in the mid/top treble; then the middle line goes one of three ways, either harmonizing the melody, acting as a countermelody, or doubling the bassline. The last channel is of course the percussion track. Almost every single composition from the game is divided up in this way, but the formula never gets old! My favorite line to listen to is the mid-line, because it fluctuates so easily between all of the different functions; one second is harmonizing the melody, and then suddenly it's breaking off into a countermelody, etc. Take a listen and follow along with the score to see what I mean! Enjoy the new Castlevania arrangements for Nothing to Lose, Stalker, Vampire Killer and Walking on the Edge! More are on the way!
Last week, I had a hankering to get some new arrangements done, and I was surfing Youtube ideas for new tunes to arrange; after listening to music from more widely known titles (Castlevania, Mario Kart, etc) I randomly thought of the games I had played when I was a kid, the really old stuff for DOS computers. My dad had a whole CD of free or shareware games, and my siblings and I played them endlessly. I Youtubed one of them, which I barely remembered was called "Bio Menace." It was like stepping back into my childhood, hearing and remembering the catchy tunes from fifteen years ago! I spent a good afternoon on Youtube, looking up other games, and discovered two things: 1) My dad's CD was almost entirely made up of Apogee games, and 2) THE SAME GUY wrote the music for almost ALL of the games I had played! Bio Menace, Word Rescue, Duke Nukem, Commander Keen, Doom, Wolfenstein, Cosmo's Cosmic Adventure...the list goes on and on. Bobby Prince was his name, and man was he a talent. His compositional voice varies so much from game to game, it truly amazed me to find out that he had scored all of these games! I hope I meet him someday; his music is truly the voice of my childhood. Enjoy the new arrangements for Duke Nukem II, Word Rescue and Bio Menace! More are on the way!
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