Tracklist
- (9:48) [DR16]
- (0:00-4:48) [DR15]
- (4:48-9:48) [DR17]
- (4:37) [DR16]
- (5:00) [DR16]
- (2:18) [DR12]
- (3:46) [DR17]
- (8:19) [DR13]
- (4:20) [DR11]
- (3:16) [DR12]
- (6:24) [DR12]
- (2:44) [DR11]
- (3:00) [DR12]
- (3:00) [DR14]
- (7:20) [DR11]
- (14:15) [DR14]
- (10:00) [DR12]
- (5:00) [DR10]
- (3:24) [DR15]
- (12:00) [DR12]
- (10:30) [DR11]
- (19:30) [DR13]
- (6:24) [DR14]
-
(7:00) [DR13]
- (0:00-2:40) [DR10]
- (2:40-4:34) [DR13]
- (4:34-7:00) [DR12]
-
(6:00) [DR11]
- (0:00-1:43) [DR10]
- (1:43-3:37) [DR10]
- (3:37-6:00) [DR11]
Appendices
- (4:20) [DR18]
- (3:20) [DR18]
- (12:00) [DR11]
- (5:00) [DR11]
- (19:30) [DR13]
- (6:24) [DR13]
- (8:19) [DR14]
- (4:20) [DR12]
- (4:32) [DR15]
- (13:00) [DR15]
- (0:00-6:18) [DR13]
- (6:18-13:00) [DR18]
- (4:46) [DR14]
- (4:20) [DR13]
Quick Reference to Foreign-Language Titles
|
Translations of Foreign-Language Titles, or, “What Language Even Is That?” (French, Greek, Italian, Klingon, Latin) |
|||||
|---|---|---|---|---|---|
| #/Lang | Title | Romanized (if needed) | Meaning | ||
| 01 | F | La fille qui volait les astres | The Girl Who Stole the Stars | ||
| 01.a | F | (acoustique) | (acoustic) | ||
| 01.b | F | (électrique) | (electric) | ||
| 02 | G | Σῠ́γχορδαί Κρόνου | Súnchordaí Krónou | Saturn’s Chords | |
| 03 | L | Trēs unius paris perfectī in vītā | Three of a Perfect Pair in the Life | ||
| 04 | L | Sclopētum ostentātum caput ūniversī |
The Gun Pointed at the Head of the Universe |
||
| 05 | G | Χαῖρε Μᾰρῐ́ᾱ | Khaîre Maríā | Avē̆ Marīa (Latin: “Hail Mary”) | |
| 07 | L | Cursor sīcārum | Blade Runner | ||
| 08 | L | Lamento latrōnis | The Mercenary’s Lament | ||
| 10 | L | Dēsīderāta | Things Desired | ||
| 11 | L | Melōdia hōrae ūndecimae | Melody of the Eleventh Hour | ||
| 12 | L | Mārtiī hōrae ūndecimae | March of the Eleventh Hour | ||
| 13 | L | Fīliī Bombayānī | Children of Bombay | ||
| 14 | K | tIq’oy’ je taHqeq | Heartache and the Honorless | ||
| 15 | I | Malizia premeditata | Malice Aforethought | ||
| 17 | L | Terminī initiaque | Endings and Beginnings | ||
| 18 | G | Κοιμητήρῐον | Koimētḗrion | Graveyard | |
| 20 | G | Οἶκος κεκλεισμένων θῠ- ρῐ́δων, ᾰ̓κρόπολῐς σῑγῆς |
Oîkos kekleisménōn thŭrĭ́dōn, ăkrópolĭs sīgêsOîkos kekleisménōn thŭ- rĭ́dōn, ăkrópolĭs sīgês |
House of Closed Windows, Castle of Silence |
|
| 21 | G | Πλέοντες ἐν τῷ αἰθέρῐ | Pléontes en tôi aithérĭ | Floating in the Aether | |
| 22 | L | Fīnis fīnālis | The Final Frontier | ||
| 22.α | G | Πτῆσις ἐν διάστημᾰτῐ | Ptīsis en diástēmătĭ | Spaceflight | |
| 22.β | G | Ναυτῐκόν πολῑτείᾱς | Nautĭkón polīteíās | Republic Navy | |
| 22.γ | G | Κρίσιμη μᾰ́χη | Krísimi mắkhē | Decisive Battle | |
| A5 | G | Οἶκος ᾰ̓νοικτῶν θῠρῐ́- δων, ᾰ̓κρόπολῐς ῠ̔́μνων |
Oîkos ănoiktôn thŭrĭ́dōn, ăkrópolĭs hŭ́mnōnOîkos ănoiktôn thŭrĭ́- dōn, ăkrópolĭs hŭ́mnōn |
House of Open Windows, Castle of Songs |
|
| A6 | G | Βυθῐ́ζοντες εἰς Ἔρεβος | Buthĭ́zontes eis Érebos | Sinking into Erebus | |
| A8 | L | Sīcae cursōris | The Runner’s Blades | ||
| A9 | L | Nōtiō nivālis | Snowy Notion | ||
| A11 | L | Caput mortuum | Deadhead | ||
| A12 | L | Hae eunt ad ūndecim | These Go to Eleven | ||
Artwork
(front cover: Crab Nebula) |
(back cover: Crab Nebula (alt)) |
Front Cover
(click to embiggen)
The front cover image of the Crab Nebula was produced by the ⟨nasa
The Crab Nebula’s existence has been recorded for almost a millennium; it is now approximately 11 light-years in width. It is the remnant of a violent supernova explosion. But life as we know it simply couldn’t exist without supernovae; the elements necessary to constitute it formed in their explosions.
I wanted this album’s art to continue ’s ⟨aaronfreed
Back Cover
(click to embiggen)
An alternate composite of the front cover photo, also ⟨hubblesite
(I rotated both images 180° to make the tracklist cover up less of the supernova here.)
Interior Gatefold
(click to embiggen)
The interior gatefold again depicts the Crab Nebula; this image, ⟨chandra
“On Monetary Compensation” (below) links to every organization mentioned in this booklet.
Exterior Gatefold
(click to embiggen)
Track Commentary
-
«La fille qui volait les astres» (9:48) [DR16]
French: “The Girl Who Stole the Stars”
-
«La fille qui volait les astres (acoustique)» (0:00-4:48) [DR15]
French: “The Girl Who Stole the Stars (acoustic)”
composer: Aaron Freed, 2024-08-29 to 2024-10-11 inspired by: Yasunori Mitsuda, “” (Chrono Cross, 1999-11-18; OST 1999-12-18) -
«La fille qui volait les astres (électrique)» (4:48-9:48) [DR17]
French: “The Girl Who Stole the Stars (electric)”
composer: Aaron Freed, 2024-10-10 to 2024-10-11 An early work in progress that I’ll probably use for my unfinished scenario Marathon Chronicles. I’ve been subconsciously ripping off Yasunori Mitsuda for so long I felt he was long past due an outright tribute. I named this after a horrifically underrated track from Chrono Cross. I have , but its OST is third only to Final Fantasy VI and Risk of Rain 2 on my “favourite game OSTs” list, and it’s a defensible pick for the greatest of all time.
Although the main melody is pretty much written by now, I haven’t yet finished orchestrating this track, nor are all the instrument choices final; I plan to make it feel more “Renaissance” overall by adding instruments like viole da gamba and lutes. I think its atmosphere would be better served by just having it loop in-game, so I haven’t written a proper ending. Instead, it leads into the electric version, which I arranged around a month and a half after the acoustic one.
I actually barely changed the melodies for the electric version – I used a different bass line (more for the sake of variety than necessity), and I transposed a few of the instruments either up or down an octave, but the chord progression and the main melodies are all the same. It came together rather quickly, and I’m quite pleased with it, especially for an early draft.
The name is French for, well, “The Girl Who Stole the Stars” – again, I’m not one to be coy about my influences. (Astres apparently implies all the stars or an entire galaxy of stars; étoilles suggests a smaller number, but I prefer the former connotation.) Why French, rather than Italian or Latin? Honestly, pure aesthetics: I just preferred the French translation’s sound. 「光田さんに御免なさい」, found in the song tags, means roughly “With apologies to Mitsuda-san” (rōmaji: “Mitsuda-san ni gomen’nasai”).
-
-
«Σῠ́γχορδαί Κρόνου» (ft. Saturn) (4:37) [DR16]
Attic Greek: “Saturn’s Chords”
Romanized: “Súnchordaí Krónou”So called because one of my friends who uses the moniker Saturn wrote the first few chords. I wrote a few more chords in what, for lack of a better term, I will term the verse, plus all the chords in the middle-eight. I also created the arrangement. It’s still a relatively early work in progress – I plan to add some brass parts, and I may ultimately build it up into a metal track in its final iteration.
-
“Trēs unius paris perfectī in vītā” (5:00) [DR16]
Latin: “Three of a Perfect Pair in the Life”
Inspired by King Crimson’s “Three of a Perfect Pair” and the Beatles’ “A Day in the Life”; I started writing it the morning after seeing the group Beat in concert and still having the former track in my head. I’m not sure I’m sold on the progression towards the end of the track yet but haven’t decided what to do with it instead.
-
“Sclopētum ostentātum caput ūniversī” (2:18) [DR12]
Latin: “The Gun Pointed at the Head of the Universe”
Interpolating:
- Martin O’Donnell & Michael Salvatori - “Brothers in Arms” (Halo: Combat Evolved, 2001)
- Alex Seropian - “Chomber” (Marathon, 1994-12-21)
A work in progress which I’m putting together for Eternal – it’ll be used as the second half of the level music for “Echoes of Eden”, after Nicholas Singer’s arrangement of “Chomber / A Walk in the Woods”. The track it’s named after will be interpolated later in this arrangement.
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«Χαῖρε Μᾰρῐ́ᾱ» (3:46) [DR17]
Attic Greek: “Avē̆ Marīa” (Latin: “Hail Mary”)
Romanized: “Khaîre Maríā”Vaguely inspired by Ukrainian/Russian composer Igor Yakovlevich Krutoy’s (Cyrillic: Игорь Яковлевич Крутой) “Avē̆ Marīa”, which he wrote for the virtuosic Kazakh singer Dimash Qudaibergen (Cyrillic: Димаш Құдайберген). The overall chord progression is ubiquitous, but I specifically borrowed Krutoy’s upwards modulation. As a nod to this, I titled my composition the Greek equivalent of the same phrase.
Despite its title, Krutoy’s composition has no lyrics and is intended as a hymn for everyone; Krutoy, who is Jewish, wrote it without words at the request of Qudaibergen, who is Muslim. Krutoy in turn drew inspiration from Vladimir Fyodorovich Vavilov’s (Cyrillic: Влади́мир Фёдорович Вави́лов) composition of the same title (ca. 1970). Vavilov released his “Avē̆ Marīa” anonymously due to the Soviet Union’s prohibition on religious music; it is frequently misattributed to Giulio Caccini as a result.
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“Blood on the Sequencer” (8:19) [DR13]
A 5/4 disco track with a vaguely mysterious-sounding chord progression. No idea why I gave it this name; it was just the only title I could think of when I saved it. It feels vaguely watery, so if I end up using this for Endless Sky, I may end up using it for Successor space. I’m pretty pleased with this one’s vibe.
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“Cursor sīcārum” (4:20) [DR11]
Latin: literally “Runner of Daggers”
An early work-in-progress tribute to Vangelis’ Blade Runner soundtrack that I’ll probably end up using for Endless Sky.
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“Lamento latrōnis” (3:16) [DR12]
Latin: “The Mercenary’s Lament”
This 6/8 track was intended to be another CS-80-heavy track – and it still is, but it unexpectedly turned into a folk song while I was writing it. I decided not to abandon the CS-80-heavy instrumentation, though, and it somehow still works. I may expand this track slightly, but I’m already pretty happy with it – it’s got a pretty melody that feels like it could have existed for hundreds of years, and its arrangement’s simplicity really works to its favor in a lot of ways.
Lamento (lament) and latro (mercenary or highwayman) are, by some etymologies, cognates to each other, hence the song title. This track appears on Tempus Irae Redux’ level “The Revealing Science of God”.
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“Lurkers in the Deep” (6:24) [DR12]
An attempt at writing a dark ambient/old-school industrial piece, featuring extraordinarily heavy use of CS-80 voices; in fact, apart from the bass drop (which is actually sampled from the game Risk of Rain 2), the TR-808, and the Hans Zimmer-style brass stab, everything in the track is CS-80 (though I bitcrushed some of it to add some additional distortion). It’s used in the level “Big Man with a Gun”. Thanks to hypersleep (Apotheosis X, Where Monsters Are in Dreams, etc.) for some mixing help with this one.
It’s probably a stretch to say this track has a time signature, but to the extent that it does, I’d count it as 2/4.
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“Dēsīderāta” (2:44) [DR11]
Latin: “Things Desired”
A blatant pastiche of Nine Inch Nails’ “Wish” written for the level “This Is the First Day”, which uses “Wish”’s lyrics on its overhead map and is named after its first line. It came together very quickly. The in-game mix won’t use the guitar solo – it may be an OST-only thing, or I may yeet it to a completely different track. (I like the solo; I just don’t think it fits this track at all.)
This the only Tempus Irae Redux song I’ve written that exclusively uses 4/4 (unless you choose to count “Lurkers in the Deep” as 4/4), and I expect it to stay that way.
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“Melōdia hōrae ūndecimae” (3:00) [DR12]
Latin: “Melody of the Eleventh Hour”
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“Mārtiī hōrae ūndecimae” (3:00) [DR14]
Latin: “March of the Eleventh Hour”
Two tracks with related melodic and harmonic elements. I created the first as a candidate for the repository levels in Tempus Irae Redux, and the second as a candidate for the level “Polygonum opus” (which it will in fact be used for). To be honest, I wasn’t sure “Mārtiī hōrae ūndecimae” had the vibe we needed for the latter level, but James Hastings-Trew and Chris Borowiec convinced me to continue working on it, and I’m glad they did – I’m becoming quite satisfied with it. It’s probably not finished yet, though; in particular, the mix needs some work.
-
“Fīliī Bombayānī” (7:20) [DR11]
Latin: “Children of Bombay”
First off, allow me to state the obvious: I took this track’s bass lick from Deep Purple’s “Child in Time” (Deep Purple in Rock, 1970-06-05). What’s less known is that they themselves took it from It’s a Beautiful Day’s song “Bombay Calling” (It’s a Beautiful Day, 1969-06). (In turn, It’s a Beautiful Day reworked Deep Purple’s “Wring That Neck” [The Book of Taliesyn, 1968-10] into “Don and Dewey” on their second album, Marrying Maiden [1970-06].) This track’s title, naturally, alludes to both “Child in Time” and “Bombay Calling” (hence my use of the archaic “Bombay” instead of its current form “Mumbai”).
This song turned out surprisingly dynamic for what’s effectively an extended three-chord vamp. It probably helps that I used a good variety of instrumentation, and that several instruments I used (harpsichord, pipe organ, viola da gamba, dulcimer) rarely if ever show up in popular music.
In-game, I wasn’t planning to play this song’s dramatic ending until the player reaches the final area with the Juggernaut, but at this rate, I’m not sure I’m going to get around to that. In any case, I included a few minutes of the dramatic ending for the OST mix. We plan to use this track in the level “Towel Boy”, in which it will loop seamlessly.
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«tIq’oy’ je taHqeq» (14:15) [DR14]
Klingon: “Heartache and the Honorless”
A sludgy doom metal track in tribute to Dr Devon Belcher (1967-2020), creator of the level “Lather, Rinse, Repeat”, whose taste tended toward doom metal. A couple of its riffs are heavily inspired by Candlemass’ “A Sorcerer’s Pledge”, and another by the same band’s “Solitude”. (Also, bearing in mind that every metal riff is really just a rewritten Tony Iommi riff, Black Sabbath is inevitably a huge influence on this track; a chord progression used in its intro is also influenced by Metallica’s “Fade to Black”, largely as an in-joke on the similarity between its intro and that of “A Sorcerer’s Pledge”; and the drums in the first 4/4 section after the intro are influenced by Led Zeppelin’s “When the Levee Breaks”.)
The intro is meant for the level “Epicus Doomicus Metallicus”, a cathedral level that serves as a sort of intro to “Lather, Rinse, Repeat”; the remainder was meant to be used on “Lather, Rinse, Repeat”. This is still a work in progress; I expect the finished version to last over fifteen minutes.
The choral section’s soprano melody (but not its alto, tenor, or bass parts) and its lyrics are from “Diēs Īrae” (Latin: “Day of Wrath”), a medieval hymn of unclear authorship (though traditionally, it was attributed to Thomas of Celano). I already included the lyrics in ⟨aaronfreed
.github .io /compositions2023-2024notes .html #diesirae⟩, so to save space, I won’t reprint them here. (Note that this song does not include the final stanza of those lyrics.) Unfortunately, I suffered a major breakdown while writing this track (a mix of factors such as extreme stress and inconveniently timed medication refill trouble led me to decompensate), so as a result, it may be one of the last tracks I complete on this album: it was one of my favorite tracks on the album, but its surrounding context renders me unable even to listen to it right now, so I probably won’t go back to it for a while.
This track was previously known as “Lavā, ēlue, repete” (Latin: “Lather, Rinse, Repeat”), for the level I originally composed it for. Beyond noting that the new title is, to coin a phrase, better in the original Klingon, I won’t elaborate on its significance, but I do have some grammatical notes.
The word «tIq’oy’» (from «tIq», heart, and «’oy’», ache) is not found in any Klingon dictionary, but Klingon grammar allows compound words to be formed much as human languages like Hungarian and German do (or, to a lesser extent, English, as heartache itself attests). Moreover, English is to Klingons roughly as Greek was to the Romans, or as Latin is to us: a signifier of education. Thus, we can reasonably surmise that even if the expression didn’t originally exist in Klingon, a calque of the English expression would be inevitable.
As you’ve surely already guessed, «taHqeq» (also spelt «taHgeg») is one of Klingon’s most severe expletives, though in some cases it seems to be a slight on a target’s honesty rather than their honor (then again, one could argue that the two are inseparable). In any case, it’s singular; its plural form is «taHqeqpu’».
A few notes on orthography and pronunciation: The Klingon alphabet has 26 letters, but they don’t correspond 1:1 to our Latin alphabet. Furthermore, romanized Klingon only uses some Latin letters in compounds (i.e., lowercase h only exists in the compounds gh and tlh); it’s also case-sensitive (i.e., q and Q are different letters), which is why this song’s title starts with a lowercase letter. Meanwhile, H is pronounced like the ch in the German Bach or the Scottish loch. Also, that’s a capital
I, not a lowercaseL.Last of all, the Klingon script for this title is:
Which looks pretty awesome, if I do say so myself.
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“Malizia premeditata” (10:00) [DR12]
Italian: “Malice Aforethought”
A dark ambient track I made for the level “…evil so singularly personified…”, in the same vein as “Lurkers in the Deep”, but even more chaotic. To the extent that this song has a time signature, it’s in 7/4… sort of. The skittering TR-808 pattern that fades in and out throughout most of the song is the clearest hint at this, but even there, I engaged in some substantial misdirection to make it even more disorienting – the second bar of each four-bar loop skips half a beat, and the tom fill in the fourth bar adds it back. (It’s actually easier to count as a bar of 7/4, a bar of 13/8, a bar of 7/4, and a bar of 15/8.)
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“Above Cloud City” (5:00) [DR10]
Of course, in the scene everyone remembers, Luke was hanging below Cloud City, but this doesn’t have that kind of vibe, does it?
This is a fairly simple track, and it’s a rare case of me settling on a 4/4 time signature. When I started writing it, I didn’t know what I was going to use it for, where I was going with it, why I found this CS-80 synth drone voice so compelling, or why I felt the need to stick this specific kind of electronic beat over it. I still don’t have answers to a couple of those questions. I also don’t know what it is about the TR-808’s sound that makes its drum loops so effective, but I’m glad I have it at my disposal.
Owing to various other commitments, I wrote this track’s melody around a month after I wrote its backing – I wrote its melody after «Πλέοντες ἐν τῷ αἰθέρῐ»’s, if that’s any indication. I find it weirdly hypnotic and think it might be a fit for ’s ⟨endless-sky
.github .io⟩ Paradise Planets. -
“Terminī initiaque” (3:24) [DR15]
Latin: “Endings and Beginnings”
A piece written for “La fine di innocenza”, so named because it is really, for real, the final song I wrote for Tempus Irae Redux. In a sense (excuse the pun), it is thus an ending; it is also a beginning, since I will shortly be able to devote attention to other endeavors. It’s also an opportunity to reflect over what I’ve learned from the project, what I’ve done well, what I’d do differently if I had the chance to do things over. I’ve written over an hour of music just in the last month, of which over fifty minutes were for Tempus Irae Redux, and I’m happy with it, especially given the pace at which I wrote it.
For some reason, I feel compelled to mention that I’ve written these words while listening to the end of the Allman Brothers Band’s At Fillmore East performance of “Whipping Post”, and I feel an unexpected sense of serenity from Duane Allman’s guitar and Gregg Allman’s vocals. I don’t think I’ve reached that level of transcendence in my music yet, but I feel I’ve done pretty well, all things told.
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«Κοιμητήρῐον» (Ka’het attack) (12:00) [DR12]
Attic Greek: “Graveyard”
Romanized: “Koimētḗrion”A nightmarish dark ambient piece written as a prototype for the mood of ’s ⟨endless-sky
.github .io⟩ Graveyard. I envision the underlying synth drone (which I exported by itself as a bonus track; see “” below) playing throughout as the player explores the area; the percussive elements in the album version, including the TR-808 pattern and the synth stabs, would appear in rough proportion to the Ka’het’s attacks on the player. My fellow composer ⟨talashar
.bandcamp .com⟩ compared this to the works of Polish composer ⟨en .wikipedia .org /Krzysztof _Penderecki⟩ and called it “actually upsetting” and “brilliant”, so I think I may have succeeded in evoking the atmosphere I wanted. (It may be relevant to mention that I wrote this during one of my most hellish weeks in years.) I was going to shorten the drone for the in-game version, but the more I listen to it, the more I feel it derives much of its power from its slow, subtle evolution. The drone elements getting slowly but continually higher-pitched actually makes the song feel like an ascension towards hell, which is an extremely strange feeling to get from a piece of music, but one that feels appropriate for a perilous region of a space game. I don’t think the effect would be so strong if I shortened the length of time it takes to happen.
I plan to write an entire album of dark ambient pieces. This track will definitely appear on it.
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“Adronal” (10:30) [DR11]
Given how well «Κοιμητήρῐον» turned out, I quickly decided to start composing more tracks for the aforementioned dark ambient album. This one remains in its early stages, but it’s showing promise. I may or may not use this one for Endless Sky – right now, it’s tonally fairly similar to its predecessor, but I’m sure I can do several things to distinguish it more. I’m vaguely planning to use this for Predecessor space in ; ⟨endless-sky
.github .io⟩ very likely, I’ll overlay a warped version of “Blood on the Sequencer” (or whatever we end up using for Successor space) over parts of it as well. -
«Οἶκος κεκλεισμένων θῠρῐ́δων, ᾰ̓κρόπολῐς σῑγῆς» (19:30) [DR14]
Attic Greek: “House of Closed Windows, Castle of Silence”
Romanized: “Oîkos kekleisménōn thŭrĭ́dōn, ăkrópolĭs sīgês”Vaguely inspired by:
- 弘田 佳孝, 「閉じられた窓の館」 (Shadow Hearts, 2001-06-28)
Japanese: Yoshitaka Hirota, “House of Closed Windows”
Official English title: “Castle of a Silence”Rōmaji: Hirota Yoshitaka, “Toji rareta mado no yakata”
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光田 康典, 「運命に囚われし者たち」 (クロノ・クロス, 1999-11-18; OST, 1999-12-18)
Japanese: Yasunori Mitsuda, “Prisoners of Fate” (Chrono Cross)
Rōmaji: Mitsuda Yasunori, “Unmei ni torawareshi monotachi” (Kurono Kurosu) -
植松 伸夫, 「不安な心」 (ファイナルファンタジーＶＩＩ, 1997-01-31; OST, 1997-02-10)
Japanese: Nobuo Uematsu, “Anxious Heart” (Final Fantasy VII)
Rōmaji: Uematsu Nobuo, “Fuan na kokoro” (Fainaru Fantajī Sebun) - The Beatles, “Eleanor Rigby” (Revolver, 1966-08-05)
(John Lennon/Paul McCartney; string arrangement by George Martin)
Channeling my gloomy mood into music, as one does. A brilliant, heartbreaking Yoshitaka Hirota track for Sacnoth’s 2001 alternate history/Lovecraftian horror-themed RPG Shadow Hearts inspired this track’s harmonic direction, so its name is an Attic Greek translation of Hirota’s track’s Japanese and English titles, which, perhaps surprisingly, mean different things. (In modern Greek, it’d be «Σπίτι κλεισμένων παραθύρων, κάστρο σιγής», romanized as “Spíti kleisménon parathýron, kástro sigís”.)
I took some additional inspiration from Nobuo Uematsu’s masterful Final Fantasy VII track “Anxious Heart” and Yasunori Mitsuda’s equally masterful Chrono Cross track “Prisoners of Fate” for the arrangement – likewise, though I’m sure this goes without saying, the Beatles’ “Eleanor Rigby” (a strong match for this song’s overall mood, if I do say so myself).
This is based on a 42-measure chord loop, incidentally; I just wish I knew the question to the answer “42”. Or, for that matter, why this track’s harmony even works. The following notes occur in each chord. (I’ve printed the bass notes in magenta and highlighted the backgrounds of the white keys on the piano.)
Harmonic Analysis of «Οἶκος κεκλεισμένων θῠρῐ́δων, ᾰ̓κρόπολῐς σῑγῆς» # C C♯ D D♯ E F F♯ G G♯ A A♯ B Chord 1 X X X Em 2 X X X X C♯m7(♭5) 3 X X X X Cmaj7 4 X X X Em/B 5 X X X C♯m 6 X X X C 7 X X X A/C♯ 8 X X X A/C♯ 9 X X X Em 10 X X X X C♯m7(♭5) 11 X X X X Cmaj7 12 X X X Em/B 13 X X X X Amaj7 14 X X X G♯m 15 X X X C♯m/G♯ 16 X X X C♯m/G♯ 17 X X X A 18 X X X X B7 19 X X X Em 20 X X X X C♯m7(♭5) 21 X X X X Cmaj7 22 X X X Em/B 23 X X X X Bmaj7 24 X X X D♯m/A♯ 25 X X X C♯m/G♯ 26 X X X A 27 X X X A/C♯ 28 X X X C 29 X X X Em/B 30 X X X A 31 X X X C♯m/G♯ 32 X X X F♯m 33 X X X E 34 X X X E♭ 35 X X X G♯m 36 X X X Cm/G 37 X X X Fm/A♭ 38 X X X Gm/B♭ 39 X X X Cm 40 X X X Cm/E♭ 41 X X X B 42 X X X B/D♯ If you asked me to explain how I got from E minor in 29 to E major in 33, I’d have to describe it in abstractions: “A major (30) is in E melodic minor’s (29) scale; then C♯ minor (31) adds a G♯ on top of A major’s top two notes (C♯ and E); then F♯ minor (32) is C♯ minor’s subdominant, and it’s also the second chord of the E major scale (33).” Which makes sense to me, now that I’ve analyzed it like that, but I had to look at the piano to figure out why it was working.
And it gets weirder from there. If you asked me me why going to E♭ major (34) immediately after that sounds fine, I’m not even sure I can explain that after the above harmonic analysis. Perhaps it’s because E♭ major is a passing chord between E major and G♯ minor, the latter of which shares the D♯ (the same pitch value as E♭ in our twelve-tone equal temperament, though it’s not semantically the same note in theory contexts) with E♭ major and the G♯ and B with E major.
(Chord 35, which I notated as G♯ minor, could just as correctly be analyzed as A♭ minor. In that case, its notes would be read as A♭, C♭, and E♭. I’m ⟨aaronfreed
.github .io /musicalmodes .html #modetables⟩ as disliking C♭, B♯, E♯, and F♭: although they’re preferable to the alternative in certain contexts, I prefer to avoid those contexts outright, hence which I notated the chord in question as G♯ minor.) - 弘田 佳孝, 「閉じられた窓の館」 (Shadow Hearts, 2001-06-28)
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«Πλέοντες ἐν τῷ αἰθέρῐ» (6:24) [DR14]
Attic Greek: “Floating in the Aether”
Romanized: “Pléontes en tôi aithérĭ”Another electronic piece along the veins of “Above Cloud City”. I’m quite pleased with how its overall atmosphere has taken shape (its title refers to the feeling I get from its opening), and, if I do say so myself, its beat goes hard. (I’m self-admittedly fascinated with dance music in time signatures other than 4/4 or 3/4 – 7/4, in this case.)
I’m not entirely sure what it is about the Roland TR-808 that makes it feel so effortless to create great beats, but I’m inclined to rate its overall lo-fi feeling as a major point in its favor. I feel drum machines should sound like drum machines, and arguably, no drum machine has ever sounded more like a drum machine than the TR-808 (except maybe the CR-78).
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“Fīnis fīnālis” (ver. 3) (7:00) [DR13]
- «Πτῆσις ἐν διάστημᾰτῐ» (0:00-2:40) [DR10]
- «Ναυτῐκόν πολῑτείᾱς» (2:40-4:34) [DR13]
- «Κρίσιμη μᾰ́χη» (4:34-7:00) [DR12]
-
“Fīnis fīnālis” (isolated arps) (6:00) [DR11]
Latin: “The Final Frontier”
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«Πτῆσις ἐν διάστημᾰτῐ» (0:00-1:43) [DR10]
Attic Greek: “Spaceflight”
Romanized: “Ptīsis en diástēmătĭ” -
«Ναυτῐκόν πολῑτείᾱς» (1:43-3:37) [DR10]
Attic Greek: “Republic Navy”
Romanized: “Nautĭkón polīteíās” -
«Κρίσιμη μᾰ́χη» (3:37-6:00) [DR11]
Attic Greek: “Decisive Battle”
Romanized: “Krísimi mắkhē”
A proof-of-concept I wrote for a ⟨github
.com /endless-sky /endless-sky /discussions /10824 #discussioncomment-11410978⟩ (beware of spoilers) I’m developing for , ⟨endless-sky .github .io⟩ an open-source spiritual successor to Ambrosia Software’s beloved Macintosh space exploration franchise Escape Velocity. As such, I intend many of its major traits – its heavy use of CS-80, the synth drone underpinning the entire track, the layers of arpeggiation underpinning the second half of the piece, the simple but memorable melody, the blatant inspiration by Vangelis’ Blade Runner soundtrack – to be present throughout the entire soundtrack. This track’s first iteration track took me no more than eighty minutes to write, and I wasn’t actually planning to write a title theme for my proof-of-concept, but I think I may have accidentally written a title theme for my proof-of-concept. I’ll undoubtedly tweak the arrangement further (though it’s well along the way to what I envisioned, too), but the basic melody sounds exactly how I wanted it to.
I may retitle this track to mean “Endless Sky”. In Latin, the sense of boundless would be “Aethēr īnfīnītus”; the sense of timeless would be “Aethēr aeternus”. However, I may also rename it to Greek due to Vangelis’ strong influence on it. With the sense of boundless, this would be «Ᾰ̓́πειρος αἰθήρ» (“Ápeiros aithḗr”) in Attic Greek and «Άπειρος αιθήρ» (romanized: “Ápeiros aithír”) in modern Greek. For timeless, we’d use «Αἰώνιος αἰθήρ» (“Aiṓnios aithḗr”) in Attic and «Αιώνιος αιθήρ» (“Aiónios aithír”) in modern. (In Ancient Greek, αἰθήρ also refers specifically to the upper air, as opposed to Ἔρεβος (Érebos), the lower or dirtier air. For the sky as a whole, we’d use οὐρᾰνός (ouranós), whence the name of the deity and thus the planet.)
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Appendices
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“Sympathy for the Time Signature” (4:20) [DR18]
chord progression shamelessly stolen from:
The Rolling Stones, “Sympathy for the Devil” (Beggars Banquet, 1968-12-06)
(Mick Jagger/Keith Richards)
Created as a demonstration of time signature modulation for a ⟨aaronfreed
.github .io /whatistime .html⟩. This track shifts through the following repeating pattern: # BPM Meter Chords Key First Second Third Fourth 4 120 5/4 E-D-A-E E Mixolydian 0:00 - 0:10 1:02.5 - 1:12.5 2:05 - 2:15 3:07.5 - 3:17.5 4 96 4/4 E-D-A-E E Mixolydian 0:10 - 0:20 1:12.5 - 1:22.5 2:15 - 2:25 3:17.5 - 3:27.5 4 72 3/4 E-D-A-E E Mixolydian 0:20 - 0:30 1:22.5 - 1:32.5 2:25 - 2:35 3:27.5 - 3:37.5 5 48 2/4 E-D-A-E-E E Mixolydian 0:30 - 0:42.5 1:32.5 - 1:45 2:35 - 2:47.5 3:37.5 - 3:50 4 168 7/4 B-B-E-E E major 0:42.5 - 0:52.5 1:45 - 1:55 2:47.5 - 2:57.5 3:50 - 4:00 4 144 6/4 B-B-E-E E major 0:52.5 - 1:02.5 1:55 - 2:05 2:57.5 - 3:07.5 4:00 - 4:10 Those numbers may look arbitrary, but the key point behind time signature modulation is that the ratio of the tempo to the time signature’s numerator stays constant on either side of the modulation. Thus, 168/7 = 144/6 = 120/5 = 96/4 = 72/3 = 48/2 = 24. As a result, throughout the song, no matter the tempo or the time signature, the number of measures per minute remains constant at 24, or, put another way, a measure's duration is constant at 2.5 seconds.
This is the sort of thing I can only imagine working in a DAW (or at least a studio). Time signature modulations this complex are nigh-impossible for humans to pull off in a live setting (and I’d like to be able to talk to the ones who can): even a click track probably wouldn’t help much, as you’d have to be able to keep track of both the current tempo and the upcoming one.
As this is more an academic exercise than an actual song, I shamelessly stole the chord progression of the last song I’d listened to at the time, the Rolling Stones’ “Sympathy for the Devil”, which felt like an especially salient commentary on human nature at the time.
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“Polyrhythm Demonstration” (3:20) [DR18]
Not actually a song; as its name implies, it’s a demonstration of polyrhythms. I created it for ⟨aaronfreed
.github .io /whatistime .html⟩. It features these polyrhythms: Start End Ratio Start End Ratio 0:00 0:16 3:2 1:36 1:52 7:2 0:16 0:32 4:3 1:52 2:08 7:3 0:32 0:48 5:2 2:08 2:24 7:4 0:48 1:04 5:3 2:24 2:40 7:5 1:04 1:20 5:4 2:40 2:56 7:6 1:20 1:36 6:5 2:56 3:12 7:6:5:4:3:2 In all segments except the last, the kick drum plays the higher number, the snare plays the lower one, and the hi-hat plays their multiple, serving as a metronome of sorts. All except the last segment are also, at least theoretically, playable by a single human being on a drum kit. In the final case, the kick plays 7, the snare plays 6, the hi-hat plays 5, the floor tom plays 4, the middle tom plays 3, and the high tom plays 2.
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«Κοιμητήρῐον» (drone only) (12:00) [DR11]
Attic Greek: “Graveyard”
Romanized: “Koimētḗrion”See for commentary on this track.
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“Below Cloud City” (5:00) [DR11]
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«Οἶκος ᾰ̓νοικτῶν θῠρῐ́δων, ᾰ̓κρόπολῐς ῠ̔́μνων» (19:30) [DR13]
Attic Greek: “House of Open Windows, Castle of Songs”
Romanized: “Oîkos ănoiktôn thŭrĭ́dōn, ăkrópolĭs hŭ́mnōn” -
«Βυθῐ́ζοντες εἰς Ἔρεβος» (6:24) [DR13]
Attic Greek: “Sinking into Erebus”
Romanized: “Buthĭ́zontes eis Érebos” -
“Blood Beneath the Sequencer” (8:19) [DR14]
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“Sīcae cursōris” (4:20) [DR12]
Latin: “The Runner’s Blades”
All five of these tracks are manifestations of my latest bit of madness. Logic Pro has a feature called “Reverse Pitch” that does exactly what it says it does. This has some interesting side effects. It converts major chords to minor and minor chords to major; it converts ascending runs to descending and descending runs to ascending. Frequently enough, it makes hopeful music sound despondent and despondent music sound hopeful. In short, it creates the Bizarro World version of the original piece.
That said, some of these are obviously more distinct from their originals than others. To my ears, “Below Cloud City” and “Οἶκος ᾰ̓νοικτῶν θῠρῐ́δων, ᾰ̓κρόπολῐς ῠ̔́μνων” sound the most different; meanwhile, it’s almost hard to notice a difference in “Sīcae cursōris”. Your mileage may vary.
I was most surprised by how much «Οἶκος ᾰ̓νοικτῶν θῠρῐ́δων» recalled Maurice Ravel’s Boléro in mood; Boléro had structurally influenced «Οἶκος κεκλεισμένων θῠρῐ́δων», but I hadn’t been trying to emulate its mood at all.
These songs are, respectively, flipped versions of:
This is a story all about how my life got flipped, turned upside-down # Flipped Original A4 “Below Cloud City” “Above Cloud City” A5 «Οἶκος ᾰ̓νοικτῶν θῠρῐ́δων, ᾰ̓κρόπολῐς ῠ̔́μνων» «Οἶκος κεκλεισμένων θῠρῐ́δων, ᾰ̓κρόπολῐς σῑγῆς» A6 «Βυθῐ́ζοντες εἰς Ἔρεβος» «Πλέοντες ἐν τῷ αἰθέρῐ» A7 “Blood Beneath the Sequencer” “Blood on the Sequencer” A8 “Sīcae cursōris” “Cursor sīcārum” For completeness, since I harmonically analyzed «Οἶκος κεκλεισμένων θῠρῐ́δων», I’ll repeat the same analysis for «Οἶκος ᾰ̓νοικτῶν θῠρῐ́δων»:
Harmonic Analysis of «Οἶκος ᾰ̓νοικτῶν θῠρῐ́δων, ᾰ̓κρόπολῐς ῠ̔́μνων» # C C♯ D D♯ E F F♯ G G♯ A A♯ B Chord 1 X X X C♯ 2 X X X X C♯7 3 X X X X C♯maj7 4 X X X C♯ 5 X X X E/B 6 X X X Fm 7 X X X G♯m/B 8 X X X G♯m/B 9 X X X C♯ 10 X X X X C♯7 11 X X X X C♯7 12 X X X C♯ 13 X X X X Emaj7 14 X X X A/E 15 X X X E 16 X X X E 17 X X X G♯m/D♯ 18 X X X X D♯m7(♭5) 19 X X X C♯ 20 X X X X C♯7 21 X X X X C♯maj7 22 X X X C♯ 23 X X X X Dmaj7/C♯ 24 X X X D 25 X X X E 26 X X X G♯m/D♯ 27 X X X G♯m/B 28 X X X Fm/C 29 X X X C♯ 30 X X X G♯m/D♯ 31 X X X E 32 X X X B/F♯ 33 X X X C♯m/G♯ 34 X X X Dm/A 35 X X X A/E 36 X X X F 37 X X X C/E 38 X X X B♭/D 39 X X X F/C 40 X X X F/A 41 X X X F♯m/C♯ 42 X X X F♯m/A As you may notice, the C and F♯ columns are unchanged; meanwhile, the following notes swap:
- C♯ and B
- D and A♯
- D♯ and A
- E and G♯
- F and G
Just according to keikaku.
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“Nōtiō nivālis” (4:32) [DR15]
Latin: “Snowy Notion”
Vaguely inspired by:
- Lorna Shore, “Pain Remains” (Pain Remains, 2022-10-14)
(Austin Archey/Adam de Micco/Andrew O’Connor/Will Ramos/Michael Yager)
- Cyndi Lauper, “Time After Time” (single, 1983-03-12; She’s So Unusual, 1983-10-14)
(Cyndi Lauper/Rob Hyman)
-
菊田 裕樹, 「ねがい」 (聖剣伝説２, 1993-08-06; OST, 1997-02-10)
Japanese: Hiroki Kikuta, “A Wish…” (Secret of Mana [lit. Holy Sword Legend 2])
Rōmaji: Kikuta Hiroki, “Negai” (Seiken Densetsu Ni)
- Lorna Shore, “Pain Remains” (Pain Remains, 2022-10-14)
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“The Pipeline, Filling in Time” (13:00) [DR15]
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“The Pipeline, Filling in Time” (jazz) (0:00-6:18) [DR13]
Inspired by Ennio Morricone’s score for Il buono, il cattivo, il brutto (1966-12-23), especially:
- “Il buono, il cattivo, il brutto”
Italian: “The Good, the Bad, & the Ugly” (literally “The Good, the Ugly, the Bad”)
- “L’estasi dell’oro”
Italian: “The Ecstasy of Gold”
- “Il triello”
Italian: pun whose closest literal translation is “The Triel” (cf. “Duello” for “Duel”).
(The official translation, “The Trio”, is, shockingly enough, “Il trio” in Italian.)
- “Il buono, il cattivo, il brutto”
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“The Pipeline, Filling in Time” (metal) (6:18-13:00) [DR18]
-
-
“Caput mortuum” (4:46) [DR14]
Latin: “Deadhead”
Vaguely inspired by:
- The Devin Townsend Band, “Deadhead” (Accelerated Evolution, 2003-03-31)
(Devin Townsend)
- The Devin Townsend Band, “Deadhead” (Accelerated Evolution, 2003-03-31)
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“Hae eunt ad ūndecim” (4:20) [DR13]
Latin: “These Go to Eleven”
Four song sketches I wrote after the rest of the material on this album. A nearly two-hour and forty-minute runtime is already stretching the term “album” to its breaking point, but I don’t yet have enough new material to justify starting another album (nor have I yet decided what I’ll call my next release), so for now, these will just live here as bonus tracks.
I wrote “Nōtiō nivālis” the morning of Tallahassee’s first snow in 35 years, hence the name. I don’t know if anyone else will hear the influence of Lorna Shore’s “Pain Remains” or Cyndi Lauper’s “Time After Time”, but I suspect anyone who’s played Secret of Mana will hear the similarity to Hiroki Kikuta’s “A Wish…”.
“The Pipeline, Filling in Time” is named for a line in Pink Floyd’s “Welcome to the Machine”. I don’t think there’s actually an especially strong similarity between the two songs, but it was the only title I could think of at the time. This is probably the most developed of these four tracks; I like it enough that I’ve already made two versions of it, one of which qualifies as jazz and the other as metal.
“Caput mortuum” is inspired by Devin Townsend’s “Deadhead”, though again, I’m not sure how obvious this will be to anyone else. The Royal Albert Hall performance of that track in particular is one of the greatest vocal performances I’ve ever heard, and it has an equally transcendent guitar tone – the engineer on that recording deserves serious credit. I haven’t come close to matching that guitar tone, but hopefully I can at least come close to duplicating at least a few aspects of the atmosphere.
“Hae eunt ad ūndecim” got its name because of its 11/4 time signature – I hope I don’t have to explain the reference. It’s definitely the least developed of these sketches so far; I’m not entirely sure the finished version will sound much like this, but I am pretty fond of that 808 groove.
On Monetary Compensation
I currently can’t accept payment for my music. I instead encourage listeners who enjoy it to donate to and/or volunteer for reputable charities, civil rights organizations, and/or labor unions such as:
- The ⟨aclu
.org⟩ - The ⟨afsp
.org⟩ - The ⟨iww
.org⟩ - ⟨msf
.org⟩ - ⟨plannedparenthood
.org⟩ - The ⟨rainn
.org⟩ - The ⟨raicestexas
.org⟩ - The ⟨splcenter
.org⟩ - The ⟨thetrevorproject
.org⟩
Right now, my differences with some of these groups feel trivial in the broader context, and they all need money much more urgently than I do. (The above list is by no means exhaustive.)
You can also ⟨aaronfreed
On the Album Name
As noted above, Mūsica ex tempore malōrum is Latin for Music from a Time of Disasters. I’ll primarily leave interpreting this phrase as an exercise for the reader – (This title originally ended with clādis (of the disaster), but an absolutely rotten December and January pluralized disaster, and and alliteration convinced me to use it over ⟨en
I do feel obligated to mention a few facts that may make it seem a bit more thematically apt, though. First off, why is it in Latin? It’s not just that I like Latin (though I obviously do). On my ⟨aaronfreed
In English, the phrase ex tempore means carried out without preparation or impromptu. This is not an unjustifiable reading of its Latin etymon: ex may mean immediately after, and tempus may mean opportunity. I didn’t literally improvise any of this album, but I did write most of it unusually quickly: I wrote some seventy minutes of it in December 2024 alone. Thus, reading the title as Music from Just After the Opportunity of the Disasters isn’t precisely wrong, and its suggestion that disasters can present opportunities strikes me as entirely correct (Rebecca Solnit’s magisterial ⟨amazon
Failure is a necessary step to personal growth, but our culture doesn’t recognize it as one; in fact, we’re outright terrified of it. This is one of the . By embracing the lessons our failures present us, we become more effective in our endeavors, and we become better human beings.
Whenever we start a new creative discipline, we have to practice before we become any good at it. The old saying “The definition of insanity is doing the same thing over and over and expecting a different result” drives me (figuratively) nuts for that exact reason: that’s also a correct definition of practice.
In all my creative endeavors, from game design to writing to music to programming, I had to fail before I succeeded. This is true of everyone else, too. Skilled musicians have to practice. Many of them undoubtedly have innate natural talent, too, but untrained talent is still untrained. Practice – years, even decades of practice – is what gives you skill.
My 2025 has had a disastrous start. This album name is, in part, a way to remind everyone, not least of all myself, to search for the opportunities that disasters and failures present us.
—Aaron Freed
Tallahassee, FL
August 2024—February 2025