I can be a purist sometimes, and I generally like to keep things simple, streamlined, and clear. Therefore Tetris, and more specifically its music, is a bit of a pain point for me, as it is the sole exception to our rule that ReMixes must arrange music specifically written for use in a video game, not merely music that has been used in a video game. It may seem like splitting hairs, but when you think about it, it's actually really core to what we mean when we talk about VGM, and when we claim that our mission is to promote the recognition of video game music as an art form. I feel strongly that, in order for the term "Video Game Music" to mean anything, it really needs to be defined as music written specifically for a game. Otherwise, when you factor in Rock Band, Guitar Hero, and the fact that TONS of public domain classical compositions have been used in games for decades, you're basically saying that Avril Lavigne and Tchaikovksy are both game composers. Don't get me wrong, I love... Tchaikovsky... but no matter how hard the '1812 Overture' or 'March Slave' may rock, they weren't written for games.
Sorry Pyotr... I still dig you.
Of course, we realized all that when we revised the standards and added the explicit exception for Tetris; the presiding sentiment was that it was so commonly identified by most of the world as VGM that its absence on the site would be too flagrant an omission for artists and listeners alike. Bad call? Perhaps... but at least the double-standard was acknowledged and codified, and we gave it some serious consideration. If we hadn't, it seems unlikely anyone else was going to. You can accuse us of overthinking or - as I've actually heard someone say - "trying too hard," but we're passionate about VGM, we wanna represent it to the best of our abilities, and I'd much rather be guilty of overanalysis than apathy. Apathy's plentiful on the Internet, but it's only particularly cool for the five or six weeks it should take you to outgrow it, in high school... preferably earlier.
Alrighty, now that THAT's outta the way, you can safely forget all that hoity-toity academic BS and just enjoy the music... if you so choose. And Vurez has made that very easy for you, with an excellentic "authentic" approach to arranging the Russian folk song we all know and may or may not love. McVaffe had his own take on doing the theme up legit way back in 2002, but Vurez specializes specifically in believable ethnic instrumentation, and he's done a pretty awesome job proving it:
"I was going for a Russian folk/orchestral style for this one. There are a lot of instruments used and goes a lot of places. I don't know if you want to mention in the write up or not, but I made somewhat of a music video for it and posted it on youtube: http://www.youtube.com/watch?v=bflfbR1i1Ds. It's a little random, but it shows some of the imagery I had in my head when putting together this track."
"The arrangement was melodically the same, but as far as backing tracks, counter melodies, and all the little details, it was stellar. The tempo increase at the end, and the well-used samples and maybe even some live performances mixed in? Either way, it sounds awesome."
Mr. Gerdt adds:
"With such short votes one would think I could add a lot. I can't. This is a really, really good arrangement that does some great stuff with the source without masking the original melody. Very nice!"
Pretty much; great work from Don on a classic ReMix that, regardless of the source questions, really shows his technical skill at arranging for diverse instrumentation.
on 2015-12-21 00:58:18
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Sources Arranged (1 Song)
- Regional > Slavic
- 7,238,381 bytes
- Size: 7,238,381 bytes
- MD5 Checksum: 649283888a31b208c73cde709d6dabe4
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