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The Greatest Video Game Music features most of the arrangements and orchestrations from the one off concert Video Game Heroes, which took place at Londons Royal Festival Hall on the 2nd September 2011. The concert began with Advent Rising's "Muse", which was an unlikely opener, but nevertheless quite emotional with its operatic focus. The main theme from Battlefield 2 is appropriately militaristic, and the brass and percussion are careful as to not overpower the rest of the orchestra too much. The album also includes "Soviet Connection" from Grand Theft Auto IV, an arrangement that was cut from the concert at the last minute.
All tracks recorded by Steve Price at Angel Studios and Sam Okell at Watford Colosseum on the Abbey Road mobile rig. Eiiaii ioaa?o aaiu ii?oaiey ea?iaie iocuea I?anoe?iue Eiiaiineee Oeea?iiie?aneee i?eano? ?aoee aianoe nai? eaioo a enoi?e? ea?iaie iocuee. Sony has announced that video game music will be coming to its Music Unlimited service, demonstrating that it does at least partially know what fans want. Final Zone doesn't have as many offerings as the other games on this album, but it does offer the highest quality tracks overall. Unfortunately, the MSX version of Digital Devil Story: Megami Tensei has the least amount of solid offerings. As for the High Grade Special Version, this features synth upgrades for "Fantasm Soldier Valis," "Final Zone," "A Smile from Miss Blue," "Romantic Hell," and "Bright Morning." However, none of the new tracks really offer much new to the piece. While I apologise to our readership for what is probably going to be surmised as an “off-topic rant,” I also don’t apologise, because it is a topic close to my heart.
I am of course talking about voting in the Classic FM Hall of Fame, which closes its public vote at the end of Saturday. So it has delighted me to see that, over the last three years, soundtracks for games and their composers have been given the recognition they deserve for their talents. Naturally, this has caused concern for, for the lack of a better term, the “old guard.” Calls of the pieces being boring, unimaginative, and not right for the chart have been slung around for years, with some even going as far as to suggest that “they should go and form their own chart” elsewhere. Then there is the suggestion that, because they are pieces of music composed in modern day, none of them should qualify for voting.
The naysayers are also ignoring an important facet of VG music being included in the chart – it becomes a gateway to the world of orchestral music.
In a way, all of these thoughts are irrelevant, because Classic FM do allow video game music in the Hall of Fame, and it’s something that is fantastic for everyone involved.
More importantly, it has shown that pieces from games soundtracks hold up without the rest of their source material, transcending the medium and showing exactly what music is – a universal language.
If there is one thing I am sad about, it is that WildStar will not feature in the Hall of Fame countdown. Instead, I’ve had to go with three pieces that resonate with me that I also consider capable of transcending their source material.
Yes, this will almost certainly mean Classic FM will play Aerith’s theme, despite the fact I consider the World Theme a far better piece both in terms of progression and technicality, but there’s no denying the power behind the music that accompanies FF VII’s most memorable cutscene. The game as a whole is an artistic achievement, using its visuals and audio cues to tell an interpretive story. There’s an air of calm and beauty in Kirkhope’s score for the sweet-based management sim, and many of its tracks wouldn’t be too out of place in an orchestral suite. Of course, those are just my picks, but what would you consider the best orchestral pieces that the game industry has to offer?
On the other hand, if i were a regular classic fm listen now expecting the usual playlist traditional classics i might decide to choose another radio station because i am no longer getting what i want. For a station that has a weekly show called "Saturday Night at the Movies", I'm surprised this was ever an issue; game soundtracks are essentially the same thing.
My only gripe with the campaign to get stuff into the Hall of Fame was that it championed Aerith’s Theme as I personally find it really bland. It's why Classic FM have embraced it despite the resistance to its inclusion - they see fans of VGM as a new source of revenue.
While I appreciate your background and love of VG music, as a regular listener of Classic FM, I would appreciate it if all of you who seem to just vote for VG music actually showed your appreciation for non-film, non-TV, non-VG orchestral music. First of all, thanks for taking the time to respond (and it's good to have a fellow listener on the site - I listen to The Morning Run every day without fail!) I hope that, like me, you're enjoying the countdown this weekend. I absolutely agree that the best music stands on its own, capable of telling a story just by hearing it, but I also think art in general is interpretive.
At the time of writing, pieces from video games The Last of Us and Starcraft II have featured in the chart, and I feel both deserve their place. Now, as for the whole "appreciation for [non-soundtrack] music", I can't answer that one on behalf of gamers (I'm not the ruler of them, sadly.) Personally speaking, I feel that my votes for chart mainstays wouldn't have mattered, as they were always going to feature due to the fact they are brilliant pieces. As for the 'agenda' thing, it's arguable that you're pushing an 'anti-VGM agenda,' and that John Suchet is pushing a 'Beethoven agenda' but let's be honest here - people are just voting for what they enjoy listening to (just like Suchet!) All the VGM movement has done is make gamers aware that game soundtracks not only qualifies, but is capable of standing on its own feet. As mentioned above, it's all a popularity vote, and ultimately the best pieces will remain while the flash-in-the-pans will disappear. Written by gamers, for gamers, we'll also be delivering the juiciest news from the industry, cutting commentary, insightful articles and open, honest reviews. The Interactive Classics series of music games was put together by music professionals who know what kids want in a game, and what parents and educators need in a lesson. Over 20 hours of puzzles and games, many of which are patented and unique to the Interactive Classics series. Some games teach children to recognize melodies regardless of the instruments used or the tempo and arrangement.
Children must identify the instrument and move it into the correct position before it hits the ground. Dozens of other puzzles and games within Interactive Classics series titles both teach and excite!
We can't show you everything on this page, but as you can see the music games of this series are comprehensive, original and fun.
The puzzles and games play out within original narratives — based on the original masterworks but adapted to the video game environment.
The games offer ways for children to learn more, add context and advance their music education through music encyclopedias, biographies, histories and more. As a game series created by professional musicians, composers and educators we made sure that each performance represents the work of great musicians. Exquisite, storybook style animation and superb sound quality hook players and enliven the experience.
The games masterfully teach children about musical instruments, musical sound and musical Composition.
I was absolutely delighted by this software and cannot think of a better way to teach music appreciation to young learners!
This game has a calming quality, unlike the frenetic energy of many video and computer games.


The Tatsujin -Toaplan Game Music Scene One- soundtrack was the first official release dedicated to Toaplan's arcade games and, contrary to its name, never received a sequel. The Hell Fire soundtrack, composed by Tatsuya Uemura, provides a lot of different soundscapes throughout its various stage themes.
In the end, this compilation covers quite a lot of ground, but not all the music here is good. It features music from a range of video game titles adapted by arranger and orchestrator Andrew Skeet for performance by the London Philharmonic Orchestra and the London Voices. Modern Warfare 2 is followed by something completely different, Ari Pulkkinen's theme tune for Angry Birds, which is brilliant fun and great to listen to. The standard physical release features the 21 aforementioned tracks, whereas the digital releases include a bonus. 1 is a compilation album featuring compositions from Shinobu Ogawa and Nobuhito Kouse for games produced by Telenet Japan.
The percussion is repetitive, which seems to be a plague for this album, but the entire atmosphere of this piece is ripe with tension. While there is no soundtrack on here that is extremely solid, each one offers, in varying degrees, a number of solid tracks.
For me, it has become an important yearly tradition, combining two of my favourite things – my passion for playing video games, and my love for music.
A campaign led by industry PR Mark Robins has come on leaps and bounds, with support for the movement in the millions.
While for now I will forgo the fact that segregation never solved anything, let’s instead focus on the fact classifying something as “classical” is a pointless endeavour, when we should be referring to the term “orchestral.” In that regard, large numbers of video game music rightly qualify. While someone may have wish nothing more than to hear the theme from Skyrim playing over the radio (and it’s a majestic thing when it happens) it also means that they get to listen to some of the genre’s most prominent pieces. The station gets an increased audience (along with all that delicious revenue, mmmmm), the audience gets to hear a wide variety of orchestral pieces, and the composers of game soundtracks get recognition on a global scale.
Final Fantasy is a series that is regularly brought up in this debate, but you only have to look at tracks like “Rose of May” and “To Zanarkand” to understand exactly why Uemastu is so heavily featured, but there are other examples. Regardless of what you think of the gameplay or even the MMO genre, there is no denying that Jeff Kurtenaker’s score was the best game sountrack of 2014, bar none.
I can’t even hover over the icon on my PS3 without hearing the theme, and it gets me every time. Whenever I hear it I’m instantly transported to a colourful countryside… that also happens to inhabited by pinatas.
Do let us know in the comments, but if you’re reading this today we urge you to go vote in the Classic FM Hall of Fame as well! The existing repertoire isn't going anywhere and is still rotated into the playlists regularly, but giving light to new pieces brings in new audiences.
After all, there have been several "Saturday Night at the Movies" dedicated to VGM, and their current Album of the Week is Final Symphony! I know you believe that fans of Aerith's Theme would love Lark Ascending, and, I agree, but where are the votes for Lark Ascending instead of Aerith's Theme? There's already been some significant rises and falls so far, and imagine we have more surprises to come.
Take the Troika movement from Prokofiev's Lieutenant Kije - a piece composed for a satirical comedy about a ridiculous emperor - that is now more associated with snow and Christmas than anything else, all because of interpretation. They are compositions that are not only emotive, but artistically impressive outside of their source material.
The point I'm getting at (or, as the internet kids say, "tl;dr") is that we should just enjoy the chart, discuss the music featured without telling people their opinion does not matter or is invalid, and celebrate the fact orchestral music is still as popular as ever. This feature is part of each title in the series, and acts as a primer and reference that children draw on when playing the various games. For instance, in Mozart's Magic Flute children must correctly answer trivia questions to win the game. I was very impressed with the sound quality and the ability to combine instrumental sounds so students could identify what instrument(s) made the music.
It features the soundtracks to Wardner, Rally Bike, Truxton (aka Tatsujin), and Hell Fire, all of which vary in quality. Given its short length, it doesn't really develop much and the aspects of the melody that are quite memorable are only present for a short amount of time.
The melody and accompaniment, while offering a darker tone, don't really do anything that exciting. While I find the soundtracks by Tatsuya Uemura and Masahiro Yuge to be quite successful overall, the two composed by Ree Ohta are rather forgettable. If you want that kind of thing, you'll have to check other streaming services like Spotify.
The games within this compilation include Fantasm Solder Valis, Shinra Banshou, Final Zone, and Digital Devil Story: Megami Tensei, plus five pieces from these selections with upgraded synth. The synth upgrade is nice, but it really does lose a lot of the atmosphere heard in the original. It's worth picking up if you can find it, but I also wouldn't pay exorbitant amounts of money for it either. Indecision has surrounded me and I’ve been unable to reach an internal consensus with the different points of view in my head.
In fairness, the appreciation was always there by the fans – you only have to look at the sell-out concerts around the world which exclusively feature music from games to see that – but the campaign to get them into the chart was more about legitimacy. Let’s say for a moment that they are right, and declare that anything after 1900 doesn’t qualify either. Gamers have already known the names Uematsu and Soule for decades, but three years ago they found a new audience when they were the poster boys of the initial campaign.
Sona Mi Areru Ec Sancituv from Panza Dragoon emotes a sense hope and determination, while Lament of the Highborne from World of Warcraft – a personal favourite of mine – reflects the feelings of loss and sadness. Perfectly capturing the lands and races on Nexus, augmenting themes depending on the situation, and being able to stand on its own feet when taken out of the game, it’s a shame that due to a lack of commercial release the soundtrack won’t get the recognition it truly deserves. The arguments I see from gamers in defence of Aerith's Theme is that this piece of music is associated with a very emotional part of the video game so I just don't "get it", but this argument proves my point: I shouldn't have to play a video game or watch a movie or even watch an opera to be moved by music, it should stand on its own.
It's also a damn fine piece of music, which is why it features in the countdown year after year. Of course, that's just my opinion, but then again that's the thing with the Classic FM Hall of Fame - a measurement of popularity.
Now that was a track that was fueled by an emotional response instead of musical merit, and disappeared from the chart completely last year as a result. Although simplistic overall, the rhythms help give off a sense of exploration and the melody itself is pretty serviceable. I like the contrast between the low and high pitched notes in the various sections of the melody.


The melody is quite strong, although not the most memorable, offering a variety of moods, some more tense while others are more motivating in sound.
The B section is a bit better with its more chaotic soundscape, but doesn't save the track in the long run.
I'd pass on this album and opt for the Toaplan Shooting Chronicle, if possible, as it contains a lot more music and higher quality overall. For example, "Fantasm Soldier" and "Lonely Soldier" feature some exhilarating melodies that, while simple, are extremely pleasing and quite catchy! Do I go with the status quo, ensuring that familiarity and stability within the ranks remains, or do I put my faith in something new and radical?
I grew up around it thanks to my family playing various instruments, going on to train on the violin from an early age, and later teach myself to play guitar in my teens.
After all, if movie soundtracks could find their way into the chart, why couldn’t video games?
The move would get rid of fan favourites such as Gershwin, Brittain, and Prokoviev, alongside other modern composers like Whitaker and Einaudi (which some would call a small victory… sorry, music in-joke there, and I apologise profusely.) In my mind, removing contemporary composers would do more harm than good, and would frankly make the chart a more boring place. Maybe lovers of Halo’s A Capella opening and drum-driven themes will find joy in Beethoven's Symphony No.
Two years ago, British composer Grant Kirkhope received accolades for his Viva Pinata soundtrack, see his work recognised outside of the games industry for the first time. Utterly breathtaking, and I certainly hope Wintory finds greater success in this year’s chart. There is no scientific way to categorically state a piece of music is the "best", only that it remains relevant.
I previously sang The Pearl Fishers in concert (in English, admittedly, but hey) which is why it holds a special place in my heart.
Themes like "Black Tea" and "Second Line" incorporate some of the elements mentioned in the tracks above, but don't really manage to stand out in the long run. The melody itself has a very peppy, heroic, almost spacey vibe that really works well with the infectious rhythms. The atmosphere is really haunting, thanks in part to the shimmering strings, and there was a good mix of action and suspense in the piece. At the same time, "Death Whisper" is an extremely dark piece focusing on the organ and some creepy string synth. There seems to be a feeling of lost hope, but, at the same time, the futuristic arpeggios seem to bring lightheartedness to the piece. Either way, it’s time to act before it’s too late, and I’ll be damned if I miss my opportunity to make my voice heard.
It was an important turning point not just for those composers, or even gaming soundtracks, but games in general.
VG music gets plenty of attention and airplay on Classic FM and I'm glad, but this yearly vote is for the very best - the Hall of Fame - not to just push your agenda. It's why the mainstays like Beethoven and Mozart - both of which continue to dominate the chart this year - will always be featured, and it is why VGM is now featured. Meanwhile, Viva Pinata is a game I'm not a fan of, but its music transcends its source material.
It definitely captures a bit of that sinister nature normally associated with boss themes, while at the same time giving off a heroic vibe in the melody. Overall, it's quite a strong theme that offers a pretty decent melodic hook, especially in the B section, where the melody takes on a bit of groove and follows up with a more adventurous tone before the loop.
The accompaniment gets a bit repetitive after a while, but at the same time, it does seem to add to the overall tone of the piece.
With that in mind, it shouldn’t come as a surprise that I have a strong appreciation for soundtracks, especially those for video games.
To halt such a fantastic opportunity to introduce gamers to new musical horizons puzzles me greatly. We were seen a truly mainstream form of entertainment outside of the shooty-shooty-bang-bang coverage that is usually the spearhead. Whether the pieces of VGM will have the staying power is a different question entirely, but I look forward to finding out. The melodic sections of the theme do give off an adventurous tone, but the more mysterious aspects of the tune are what make it stand out among the other stage themes.
The melody, particularly in the B section, has quite a heroic and adventurous vibe and is the highlight of the track. You can never end on a sad note, that's why "Super Sonic Sailing" is the last track worth mentioning on this portion of the collection. I like how the melody, although a bit forgettable, changes tempos midway through changing the atmosphere from mysterious to tense.
The last track is something completely different, "Gusty Garden Galaxy" from Super Mario Galaxy.
It's more atmospheric than "Death Whisper," but at the same time, it's much less spectacular; there is a nice rhythm going on with it, but it gets old rather quickly. However, themes like "Factory Mark," "In the Castle," "Dwarf, "Nodoka," "King," and "Shop," are ultimately forgettable due to very repetitive tones; while some may add some subtle additions here and there, they don't help salvage the tracks as a whole.
Even though the arrangement is lacking in a few areas, such as a lack of countermelody in the middle, they capture the spirit of the piece really well. As for Tetris, the opening is actually quite epic sounding, and then the piano started playing the Type A tune, after which the whole orchestra joins in.
The melody really stands out, and while it does sound a bit generic, it's still quite moving.
It's simple yet effective, and I love the lead instruments and how the track develops over time. It's another decent melody that seems to latch onto your brain, as it's extremely catchy at the same time. There are plenty of energetic and fun pieces, but some of the darker pieces just don't seem to execute nicely. The main melody motif is a bit repetitive and simplistic, but I do like how the harmonies develop as the track goes on. Ia Soundcloud ii?ii i?ineooaou iieiioaiio? eiiiiceoe? ec Modern Warfare 2.Aeuaii auoiaeo 8 iiya?y ia oece?aneii iineoaea.



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