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In addition to earning two Oscar nominations in 2014, Alexandre Desplat managed to score some of the year’s biggest box-office successes as all five of the films he scored ranked within the top fifty-five. The Imitation Game revolves around the life of Alan Turing, the British mathematician, cryptographer, and computer scientist who played an instrumental role in breaking the code of the Nazi’s “Enigma machine” during the Second World War, and who pioneered the subjects of computer science and artificial intelligence. While Desplat’s score for The Imitation Game is orchestrated much more traditionally than that for The Grand Budapest Hotel, it shares with the latter the technique of drawing on a small number of themes as a unifying device.
This theme, which is consistently associated with Alan (Benedict Cumberbatch), could well be considered the score’s main theme as it is heard with the film’s titles and is its most prominent musical idea.
The theme begins innocuously with a motif in the piano that is repeated to form an ostinato. Upon the entrance of the theme’s melody, the harmony surrounding the ostinato starts on a minor chord then shifts upward to a major chord. But as the name suggests, the theme is also used to highlight Alan’s major successes in the film. One of the most ironic aspects of The Imitation Game is that, not only does Alan experience great success in ways that most others can only dream of, but he also suffers equally great defeats in other areas of his life, namely in the death of his boyhood love, Christopher, and his ultimate conviction for his homosexuality. After considering the score with the film, one might believe this theme to simply represent the character of Christopher in the way that leitmotifs generally do, by drawing on musical techniques that suggest aspects of the associated character (a la John Williams or Howard Shore, for example). Desplat does a fine job of clarifying this interpretation as the Christopher theme possesses the very same notes and rhythms as the bass line to the Alan Successful theme. The only real differences are that the Christopher theme is always in a higher register, giving it more the character of a true theme, and its melody is always scored for the piano, an instrument that in film is typically used for moments of introspection, as here. Whether they take the form of the coded messages of the Nazi Enigma machine, Alan’s hidden homosexuality, or Alan’s work with the British government to keep the public and Germans from realizing that the Enigma code has finally been broken, secrets are one of the film’s most pervasive narrative themes.
In technical terms, the distance of the minor chord from the major (as measured by the chordal roots) is a minor sixth down (or major third up). While much more traditional in its overall sound than his other Oscar-nominated score, The Grand Budapest Hotel, Alexandre Desplat’s score for The Imitation Game manages to capture much of the expressive content of the film in its four most prominent themes.
The details of the fifth soundtrack album for HBO’s Game of Thrones have been revealed. Each graded piano solo in our collection is carefully selected and professionally arranged. As history has told us the first commercially successful video game was of course PONG, with it’s simple concept and limited sound (beep, beep, beep as the white square hit the bat). At this point I will point out soundtrack my personal favorite soundtracks from every game I’ve played over the years (and I’ve played a few) but here 5 of my favorite gaming soundtracks that I remember quite VIVIDLY! This is one of them instances when you imagine almost every track you grew up with was in this game and you would just listen to the radio stations for hours because it was that damn good. Well more the entire Max Payne Series because music within this game was well balanced from the first game combine with the narration of James McCaffery. This is just the comic strip from the first game is what you play this game for but the simple piece you listen to while the narrator speaks is what makes this game special to me.
This SNES classic is what reintroduced me to my first love (ROCK MUSIC) with 5 LICENSED tracks within the races makes this a good experience in which I played with great enjoyment (even on emulator) just playing this just gives me a good feeling inside because I enjoy just listening to it (the megadrive added one more track with radar love but the chip tunes were inferior compared to the SNES version but still wasn’t that bad).
In this page you can download sheet music, music files and more for the musical themes of the Game Boy (GB) video games "Pokemon Red", "Pokemon Blue" and "Pokemon Yellow". All the content of this website is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License unless otherwise indicated.
Have you ever noticed that certain types of musicians tend to have personality traits in common?
I first took the stunningly accurate Myers-Briggs test back in High School, then again a few months ago (just to see if anything had changed much over the years).
These include The Grand Budapest Hotel, The Monuments Men, Unbroken, Godzilla, and The Imitation Game. It serves as an appropriate accompaniment for Alan as its musical features subtly express aspects of his personality and circumstances. While this motion suggests a struggle from a negative (minor) state to a more positive (major) one, only two chords later, the harmony has, with seeming inevitability, sunk back down to the minor chord where the tune began. But in this case, the theme’s melancholic sound does not reflect Christopher’s good will and strong devotion to Alan.
But the fact that the theme is derived from the Alan bass line suggests that Christopher is literally the support for and basis of Alan’s emotions, an idea that is very consistent with Alan’s relationship with the character in the film.
Had the second chord also been minor, the chord progression would have upheld a long tradition of being associated with evil, most famously in Darth Vader’s theme from the Star Wars saga.
Combined with the composer’s penchant for distinctive ostinatos and colorful orchestrations, the result is a score whose subtly appropriate use of musical devices allows us to more acutely feel the incredible highs and lows that define the remarkable life of Alan Turing.
The album features selections of the original music from the fifth season of the show composed by Ramin Djawadi (Iron Man, Pacific Rim, Person of Interest, Westworld).
They are designed to be engaging and fun, while providing students with the best chance for success.


It’s pretty easy to pick up with a big group of intermediate cellists, and can sound amazing with large or small groups of more experienced musicians. In the third outing of our grizzled man with the luck of a bad luck charm  (who seems trouble always finds him). His interpretation of the game while enjoying it throughly is one reason why it’s on my wishlist alone with TB first impressions. To me this shows Hollywood has joined the fray in terms of the influence within the gaming today. They are the first installments of the Pokemon series and were released in 1996 (Yellow Version a year later).
Shortly after the theme’s true melody enters at 0:40, however, the ostinato continues to move through the same minor chord, even as the harmony around it is changing. These motions closely reflect several of Alan’s interactions with others, in which he unwittingly places himself at a disadvantage then tries to dig himself out of a hole, so to speak. It appears, for instance, when Alan is being interrogated at the police station at the very opening of the film, when the boy Alan waits in vain for Christopher to return to school after a two-week holiday (a scene that leads us back to Alan at the police station), and when we see the aftermath of the Nazi attack the cryptographers could have prevented after breaking Enigma.
Furthermore, the melody’s first two phrases both linger around and end on the fifth degree of the scale. More importantly, the theme is only ever heard during the scenes from Alan’s childhood, which are always flashbacks in his own mind. Desplat’s musical expression of this relationship is ingenious for both its simplicity and effectiveness.
The coded Enigma messages are perhaps most emblematic of this idea as they often carry directions for military offensives on the Allied forces. As it is, Desplat’s progression certainly references such associations but, through the use of a major tonic chord, creates a tension between positive and negative emotions.
Music is more pronounced with the sound design team going all out here, Giving you an experience that anybody would enjoy. If you can go back and remake a game this would be it (it was remake into Motor Rock and was promptly shut down by Blizzard, To me this is really a case of Blizzard should be rethinking about coming up with a REAL sequel for Rock N Roll Racing. Inspired by the famous Myers-Briggs personality test, we thought it would be fun to make a chart of the 16 basic personality types plus instruments that go along with them.
This clash of chords could well be heard to represent Alan’s staunch reluctance to “harmonize” with those around him and the “dissonance” that comes as a result. During his job interview to work at Bletchley Park, for example, where cryptographers are attempting to break Enigma, his untoward social manner earns him the dislike of Commander Denniston (Charles Dance), who is in charge of the operation. This lack of emphasis on the first scale degree (tonic) suggests something that is incomplete and in need of resolution (to the tonic), much as Alan’s feelings for Christopher are in the film. But there are also morally grey areas raised in connection with some of the other secrets in the film. I remember my first arcade with music, it was pac-man  with it’s intro to the start of the level. I never get tired of this classic because it holds up even today as one of the best open world games out there (San Andreas had similar in terms of soundtrack) but this one is a blinder because it’s all music I like a lot. This is movie style story telling at it’s best and add a decent sound with solid game mechanics and you are onto a winner here. I have grown up from gaming humble beginnings till now, from a gamers stand point from basic chip tunes to the full on compositions of set pieces with games having a full soundtrack rather than a repeated tune in an endless loop.
He spends the remainder of his time at Bletchley trying to avoid giving Denniston an excuse to fire him.
Notice, too, that the last two notes of each phrase outline a half-step from the sixth to the fifth note of the minor scale. For instance, keeping one’s homosexuality secret for several years prevents entanglements with British law (which at the time viewed homosexuality as a crime) but at the same time prevents one from having an open relationship with a member of the same sex.
But as time went by more games had sound and stage music (I remember games like Double Dragon and Ghost N Goblins which had good stage tracks, even if it was repetitive). Much the same could be said of his relationship with the other male cryptographers and the detective who is investigating him a few years after the war. This particular combination of minor scale degrees (6-5) has a long history of associations with expressions of the tragic, a fitting emotion for the theme’s connection with Alan’s defeats. And keeping the breaking of Enigma secret allows more military intelligence to be gained, but at the cost of allowing many known attacks on the British to occur so as not to arouse the Nazis’ suspicion. But with each generation of gaming, comes an evolution in terms of sound design with most games having a full soundtrack that could rival any blockbuster movie.
I’ve been immerse within it even picking up on certain aspects (Fantasy Zone II comparison in Kega Fusion to Meka you can hear the difference). The most famous piece of gaming music for a home system is the immortal Super Mario Bros on the Nintendo Entertainment System (which still holds up today). I love music and I’ve experienced a lot of brilliant music within games over the years (even the piano tunes within minecraft are brilliant and simple because it makes the experience more enjoyable).


Martin and stars Peter Dinklage, Nikolaj Coster-Waldau, Lena Headey, Emilia Clarke, Kit Harington, Aidan Gillen, Charles Dance, Natalie Dormer, Stephen Dillane, Liam Cunningham and Carice van Houten.
Buy surely that would make a game getter if you got a decent soundtrack when blowing away your enemies within the games?
Well with some solid tracks like Wizball on the C64 which was well known more as a sound rather than music but there were little sound bytes that just made the game for me personally.
The future for music in gaming is very bright because all the influences being brought it to add something to a game (whether it’s atmosphere, pace or just a distraction for a few minutes helps all round artists get noticed).
The final episodes of the fifth season of the show currently air every Sunday night on HBO. Then you had games like Rambo on the commodore C64 with its chip tune rendition of the Rambo theme when was awesome but couldn’t cover up how short the game actually was quite short (approximately 5 minutes of game play from start to completion). All I got to do really is sit back and enjoy listening to everything I play on my games list.
Then there was the title screen for Manic Miner with the screechy piano title tune despite be dreadful it was quite memorable.
However, there are times where it’s just way off the mark and just makes you wonder what is going on here. The Nes Batted first with Super Mario Bros and MegaMan (which had level stage music which hold up even today). When designing games, the teams designs and builds the engine and mechanics of the game then add the sound and music assets later.
There are time where this work but other times it can be a painful experience for the player.
I’m a firm believer of movie like games (in terms of story, Not FMV which sucked balls just look at Night Trap, which was just a case of timing and trapping the vampires like cretures). This is the mid to late 80’s where games and music were starting to coincide with each other. Like a movie, a soundtrack creates an atmosphere which either makes you continue playing or has you scratching your head, wondering why is there music for no reason (creative decisions is a strange creature and can be either hit or miss. Music in gaming has gone from simple bleeps and sounds to full blown orchestral pieces which could rival any Stat War movie and licensed music by bands, artists and even DJ’s. Since my childhood, I’ve seen and heard (from the perspective of the end user rather than a industry insider) all the changes to the industry in terms of games that have been produced. Tune were more detailed (during this period you had FMV games like Night Trap and Sewer Shark). If George Lucas was a game developer (he wasn’t a developer, it was a director of Lucasarts). He’d try and create games that had a narrative with sublime music and cool voice acting. As the 90’s drew on Games in music with the invention of the Sony Playstation painted the view of games with music to come. Even independent game developers are creating  music as well as the engines for their games. Starting off the scene with ridge racer and Wipeout (which had trippy trance and house music).
Anyways, it time to set the way back machine to the beginning of sound and later music in gaming from Pong to todays major triple A titles. PC games were also evolving with CD and with games like the 7th Guest and Full Throttle and Wing Commander 3 heart of the tiger, Pushing production to a more movie style of game with musical scores to boot. The old guard was either bought out or killed off for more umbrella like companies like Sony, Atari (Atari in name only not innovation Name was bought by french company InfoGrames, barely lasted 2 years) and Microsoft. Games had voice acting, Music and good sound direction (perfect example of sound direct was the original DOOM, which had your character having to listen hard for monster in the dark). This was the start of things to come with the way games were presented to the world with the big companies (like EA Batheasta, even THQ when they were in business). Rolling on in the late 90, Konami has utilized the full capacity with it’s like Snatcher (on the  SEGA CD) and Metal Gear Solid (on the playstation) this is when Storytelling and gameplay combine with real decent voice acting (decent for the time because it was the first game to have an extended voice and soundtrack.
This was the first atmospheric game for me that had music that I remember playing with friends and set my future in terms of games I played. Rockstar has included all sorts of music including classic tracks on the time period (like GTA Vice City a personal favorite of mine) but since the mid 2000’s Games started to hit Hollywood production costs with major publishers making multiple departments for art, sound and music and game design.
The balance is really hard to produce however from humble beginnings to modern day gaming, As A gamer, You got to admit, sound design has come a long way from just no music to full music compositions with actual orchestral pieces within a immersive experience to anybody who plays said games.



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