There are times when silence is effective, as well as times when grand, flourishing melodies are even more effective in modern media composition. In this analysis, I will look at two pieces from my portfolio: Epic Suspense, scored for a monologue delivered by Varys in Game of Thrones (GOT), and Together, scored to scenic footage from the video game Elden Ring. Together is my most recent scoring project, whereas Epic Suspense was written in my early days of scoring to picture. I chose these pieces because they best represent my compositional style and growth as a composer, while also connecting to media I am passionate about. Additionally, they showcase two approaches to scoring that I have used: Epic Suspense highlights dramatic effect, while Together emphasises atmosphere and immersion. In this analysis, I will explore my thought process behind composing these pieces, pointing out both strengths and areas for improvement.

I wrote Epic Suspense after noticing the lack of music in Varys’ monologue. In my head, I imagined how much more subtly intense I could make it. It’s a friendly conversation between friends, but it’s educational and warning as Varys questions man’s loyalty. Like Djawadi’s original GOT underscore, I kept a light focus on the low string section throughout the track, using the cellos and basses as a background motor. Though they are gradually drowned out, they establish a foundation for the shakers and taikos to take over as rhythmic drivers. This approach allowed me to subtly keep the track within the world of GOT, while integrating my own ideas. When the orchestra first enters, the violins follow the words spoken, playing tremolo and rising in intensity based on the words spoken. This is seen at 0:22 (“Should I be worried?”) and 0:36 (“Power is a curious thing, my lord”). I keep the harmonic progression simple with a repeated iv-i, allowing me to draw more attention to the melodies carried by the higher instruments. To complement the setting and it’s warm color tone, I opted for ethnic-sounding taikos. The woodwinds and piano help pace the scenes, shifting to mark each development or change in the conversation. 

As I composed this last year, listening back, I can hear various small issues throughout the track. This was my first attempt at scoring under dialogue, and I didn’t understand how to keep the attention on the words rather than the music. This is the biggest issue within the piece. After completing it, I learned how music under dialogue should support, not overpower. My instrumentation and composition were purposeful, but it was too strong compared to the scene I was scoring. The original scene contains no music, but comparing it to other well-known GOT tracks such as ‘Light of the Seven’, I notice that most of my composition draws attention away from the dialogue, especially the brighter elements like the high woodwinds and the piano. The string section, although a bit busy, could work here if it were dialed back slightly, slowed down to create a better balance. 

Together was written shortly after I beat Elden Ring.Rather than drawing inspiration from it’s music, I was captivated by it’s stunning visuals. A video titled ‘The Beauty of Elden Ring’ further inspired me to compose a piece that matched the landscapes. Given the game’s vast scale, my signature orchestral sound was a perfect fit. I aimed to keep a majestic theme throughout, as it best represented the story, visuals, and experience of exploring the game. 

The piece opens with a i-v-IV-I progression, immediately establishing grandeur with the Gm-F movement. I kept the introduction simple to allow for stronger development as the visuals progressed. At 0:18, the violins play quick spiccato arpeggios, adding a dark, yet mighty energy as the castle is revealed. At 0:41, we shift to the academy. This was one of few moments I could compose something intimate. I only used piano, harp and a cello section to emphasise a warm, delicate tone. Leaving the academy at 0:55, I expand the orchestra alongside the visuals, weaving melodies between the piano and violas, while adding gentle textures from the woodwind and brass. Entering the capital at 1:20, I wanted a moment of peace without losing the main theme. To add tension, I wrote a violin duet playing the melody over a 4:6 polyrhythm from the other strings. Reaching the last region of the game at 1:45, I introduce a solo soprano as well as focusing on the woodwinds to reflect the windy atmosphere. Finally, I finish with just piano and harp, playing a simplified version of the main melody to accompany a beautiful closing moment.

I wish I had more room to dive deeper and to explore the specific details of the positives and negatives of Together. This track was a huge step for my growth as a composer. I applied countless hours of learning here, for example, focusing on a clear melody while maintaining interest with variation. Listening back, there are still many areas I can improve, like choosing better instrumentation in places such as 0:42, where the cellos continue after leading a section instead of changing instruments, or improving my orchestral mixing, balancing the instruments so that they can all play without clashing together. The original Elden Ring score is very low-key, so composing Together felt like a breath of fresh air, breathing new life through melody-driven orchestration, compared to Elden Ring composer Yuka Kitamura’s minimalistic approach.

Composing these tracks was crucial to my development as a composer. Through these, I greatly expanded my range, understanding scoring to dialogue through Epic Suspense and enhancing atmosphere in Together. Looking back on them now, I recognise areas for improvement as well as strengths, particularly in instrumentation and restraint. These projects show that regardless of my skill level, there is always more for me to learn, and I will always take the lessons from my last project forward into my next.