Archon's Music

Archon in no way claims to be a composer, which is kind of her. These are pieces she wrote 1-2 years ago, and, as far as I know, they're the only things she's written.

Manilla. This is a piece I happen to worship because it sounds excactly--EXACTLY--like music from my favourite game in the world, Vinny's Tomb 2.0. I mean, you can practically hear the weird banana peels and the yellow pierot. Orchestrated for... you know, I couldn't really tell you. Piano, snare drum, and... other stuff.

Creepy Sting. In my opinion, this 8-second music sting is the best piece Archon ever wrote. Quite well-crafted, but, as stated, frustratingly short. Piano, snare drum, high hat, and violins.

Banjo. Another 8-second piece, featuring--you guessed it--the banjo.

Ephor's Music

Ephor writes bad video game music. Sometimes, though, it's actually good.

She , a flight scene a la Daphne or Persephone. Orchestrated for flutes, mallet percussion (including the imaginary Bass-bass metalophone), celeste, music box and strings. Common and cut-time.

Cowboy Music Brass, timpani and strings. Packed full of cheesiness and all that other good stuff in Westerns.

Mera and Seja's theme. This is a love theme, though one of a love never realised, specifically taking place between two military figures. Strings, harp, wind chimes (these should be too high to be discordant; though their pitches don't match the melody, on my computer they sound just like tinkling), snare drum--for the military, of course--and piccolo (for Mera).

Olix. Sleazeball music. This is a short piece, only 28 seconds long (about as long as the protagonist Olix's attention span), and as chock-full of skuzzbucket as I could make it. Orchestrated for banjo, acoustic guitar, woodblocks, and whistling jackarse.

Alone (Not Lonely). Melancholy piano tune, which I deemed appropriate as the piano is one of the few instruments which, like some rare people, can be played by itself.

The House of Atreus. Initially, I had one skeleton song which branched off into two parts: the Iliad Musical version of the House of Atreus, and this piece which is, in reality, the first movement of an unfinished symphony of mine. I believe it's fully orchestrated including a quasi-possible tubular bell solo. If the speakers start to gringe on you, I share your sorrow. Too much bass in some parts for midi.

Clarinet Solo. This, by contrast, is a happy little piece that veers crazily between moods. Orchestrated for clarinet and pizz/arco strings. Trust me, I really, really didn't mean for it to sound wannabe Irish. I hate wannabe Irish music, being Irish myself. But I'm desperately afraid that that's what it evolved into!

Farthest From Home. Howard Shore kicks my butt. I just heard HIS version of Sam's theme, and it's only a bajillion times better and more heartwrenching than this, so go listen to it. But before you do, listen to my piddly little midi. At least Lord Shore and I agreed that it should open with flutes. Here's part two, supposedly the softest, most devoted side of Sam, as shown when he nurses Frodo or holds him in his arms. Finally, part three, meant to be the more heroic side of Sam, showing his moments of grandiose valour, such as slaying Shelob (protecting Frodo, as Tolkien says, like a "small animal defending its mate"). Hopefully the pizz strings in this one emphasise his small hobbitness.

Waltz 18, my second oldest piece, started right after Amaranth and only finished very recently. A version of it was used as "Grey Skies" in the Iliad Musical, but I beg you to ignore it... it was just artistic cannibalising, and I regard this as the real music. It's the longest one I've written at about 4 minutes long. Orchestrated for bells/vibraphone, oboe, flute, pizz and arco strings, harp, and of course--my favourite and yours--TUBULAR BELLS! And I'm pretty smug about it being in the Dorian mode.

Kakodaimon's Theme, as yet without a proper name. I tried doing some Elfman-esque orchestration here, and finally managed to get lines moving faster than the melody, which has been challenging me for awhile. Orchestrated for: Orchestra bells, two French Horns, Low Brass (trombones?), Violins, pizz Cellos, and arco Contrebasses.

Towner Country, a tune for a part of the Steppes where the people are sickeningly quaint, disturbingly capitalistic, and general all-around jerks. But quaint. It loses its direction entirely a little way into it, but I think it finds it again. Xylophone, strings, taiko drums, handbell choir.

Pai's Hymn, music for a girl named Pai and her quest, which is doomed to fail. She's fighting against the annexation of her tiny country into a larger one, but has such a pathetically small fighting force that the charge of her warriors isn't even remembered as a battle---just an easily dealt-with skirmish. Alto recorder, strings, low brass, timpani, and that annoying beeping thing you hear is allegedly an oboe.

Anonymous, from the same story universe. This is music for a "barbarian" character who's been completely coopted by the invading military, and has been since he was a child. Currently he's half-wittingly carrying out a genocidal campaign against his former people, as he's in charge of the enemy's invasion fleet. It's repetitive and despairing-sounding, if I did my job right; I was trying to work out of my usual style (major chord, minor chord, major/minor chord, DRUM!, melodrama, militancy, minor---oy). Koto, sitar, and strings.

Get on wit' ye!