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I will always remember the moment i heard this song. I listened to B&R to to this points with thoughts of "cool , great , well-made" and so on and then The Impressario started. I stopped the chat i was participating in before and my eyes, ears and smile got wider and wider. The 9 Minutes later my conclusion was: "This is the "best" song on the album and even the next ones can´t top THAT." Of course music is subjective. But for me it has proven to be that way. Enough said. No wait. One more thing: Thank you very much for "The Impressario" Mr. Kaufman!

1. Marth 2. Pit 3. Isaac

Yeah, you are right. I just got that revelation ( actually i remembered it ) that you can use a major-chord as dominant-chord to increase the pull to the prime. It is true that the rules of music theory are very loose but the reason why they are there ( so i was told ) is that it fits the taste of our ears, and for the start i want to understand theese basics. And thanks again for your reply i should get something done now!

Thank you guys very much for your answers ( in advance because i just opened my browser and i am now going to analyse what you wrote)! The only thing that didnt made sense for me was the Bb at the 7th and 8th bar, but lets see if i am getting it now with the approaches of you two. I will report later on what i have learned. Edit: It is almost embarrassing... D minor makes total sense. I think i must have been totally mentally tired after spending 8 hours of working with cubase. I am also trying to speed up my workflow and i ran into problems with pitchbending and note expression. (Havent found a solution yet) I will try the d minor approach now and the two examples you guys gave me. Up to now i have been a little hesitant regarding sus-chords because i have thought of them as "difficult" but i think that my perceptions are wrong and i should learn to take them into consideration more often to archieve the result of that whats in my head. Edit 2: @jnWake: I just explored your suggested sheet (the Kakariko Windmill) and studied the chords. The author (if that sheet is written by him and not by Koji Kondo) also took the dorian approach where the Bbmaj7 chord would not belong to. Approaching this in Dm as also AngelCityOutlaw mentioned makes more sense to me but leaves me with an A chord which has an C# that doesnt belong to the Dminor scale... I dont get this progression of chords and i really would like to understand it so i can use it later for composing.

See TLDR for the short version + the midi i am talking about. I just checked the music composition&production forum and i was suprised that there are so few Threads but then i read the sticky of zircon that there has been some stuff sorted out. I hope that it is ok to ask such kind of questions here, since i want to seriously start remixing and to apply my theory into practical experience. For my background: - I play drums for 11 years (recently much e-drum - I used wikipedia and "the principals of orchestration" course of garritan online (i read it whole!) to get theoretical knowledge - I got a midi keyboard which i am playing to develope melodys and chord progressions. Right now, for this sake of learning progress i started a Zelda remix of Song of Storms. I am heavely influenced by the remix of big giant circles feat. Jeff Ball (the string arrangements in particular!) and wanted to try to approach that remix by listening to the original and that remix. In the beginning all went fine. Since the song seems to have its emphasis around the "D" i approached it with a Dorian Church Mode but when i came to the second part of the melody , not one of my chords that i tried seemed to fit. I wanted to do it without a midifile but i thought for checking out whats going on it would be of a great help but i got even more confused when i looked at it in cubase. The notes in the 7th and 8th bar of the "Tango accordion" and "accordion" make no sense to me. I thought about different other scales ( like the harmonic minor scale even though the melody doesnt sound arabic)and came to the conclusion that it must be some song writing technique that i am not familiar with other doesnt comes to mind ( i should have known when i picked a Zelda Song. Oh, what fool i have been!). Only the step from bar 8 to 9 makes sense for me because it is a 5th leading to the prime. When i hear the midi it sounds "right" but it still could be the wrong approach. Thats the point where i come to my TLDR: TLDR: Can someone figure out what happens in the 7th and 8th bar of the 2 accordion instruments in this midi regarding the harmony. For which scale (or church mod) is this song written? Midi: http://www.justmidis.com/00-MIDI/2/000000004738/Song%20of%20Storms

So shreddage works inside the kontakt player which is a plugin VSTI, right? Good to know that it worked with Cubase 5 and 7, that sold it for me. =) Thanks for the answers , guys.

I am thinking about to buy this one. The only question for me: Does this one work with cubase 6? I checked zircon´s post and the website but the only thing i see is "kontakt player". Is it a traditional VSTi plugin?

EDit: Question answered. =)

Hmm, about that Guild Wars thingy: From all the instruments i have experienced up to know i would intuitively say that it is a Sitar (indish String Instrument) which is played in this track at a quite low register. When it comes to video game music i really like it in the Boss Music of Bastion (it is played on higher registers there.)

Shame on you for almost got me to dance in my sportstudio when i first listened to BiB while my training! This song is a stand out and really lives upon the fact that your vocals are so damn enthusiastic. I love the "smooth as honey"-line after the breakdown when you get really energetic and drag it from low to high! Keep on groovin'!

A hooray to you guys and your devotion! =)

Thank you for your reply. Yes, because it is that coverish i wouldnt ask if it could be an official OCR track, but i think it is quite good to use this forums as feedback. I know what you mean with the guitars, it is an expression-thing of the bass-player, i also like the higher note in the original. I am just playing the harmonics of the melody.

Hi everyone, when i have listened to the new remix-albums here on OCR i thought about posting my newest rmx/cover here. About me I am from germany and did some drum covers of other videogame stuff on my youtube channel. Five months ago i came in contact with a british bass player who asked me for a collab for this track and he did bass and most of the guitars on this one. It is surely not good enough for official OCR because it is a double-playthrough of the original and by that means not "really" creative (but we didnt play over the original and actually made a new midi track), but i hope some people enjoy it and leave a comment, because we really would like constructive comments on the mix. (from which i that we managed it quite good). Maybe some of you also enjoy the video where we show our one-takes. (in our next project with improved video quality ; ) Our focus on this cover was that we did one-takes of our instruments and you will notice that the mix gives bass and drums the advantage and leaves the guitars a little bit in the background. You could say it comes close to the black mages version with lesser soli ( we are not friends of to much soli that make a song meaningless ) and more double bass. For the video check: For the MP3 check: https://rapidshare.com/#!download|384p12|523615419|Final Fantasy VIII - Force your way Metal cover by Poplington%26Truemas.mp3 Thanks to everyone who clicks it and also leaves constructive comments here!

Yeah, i just got through the Strings section yesterday and after googling all the words , everything became quite clear. It was really mind-opening , especially the chording of the Violin, Viola, Cello and Double Bass was great to know. Also i never knew what "Harmonics" where. I never thought about that stopping a string creates a colder flute like timbre, but when i read it through it totally makes sense and ive heard it a hundred times before. Finally, getting through this stuff needs some research on some terms, but its definite worth the time!

@moseph: You brought me to an interesting thought: I really dont know how many horns are involved in the ensemble (so its called patch, not sample? ). So chording, them if they really contain all instruments of a given section of the orchestra, is indeed ridiculous. Unfortunately my manual is in the boxes from my last move from my flat, so i try to find some answers about this in the Motu Forum. But, taking not more than 2 ensemble patches of the same type similary sounds like a good rule of thumb.